The 66th annual Grammy Award show is in full swing. Trevor Noah is hosting for his fourth consecutive year at Crypto.com Arena in Los Angeles, CA. Some big names are attending including SZA, who has nine nominations for her album SOS, as well as Victoria Monét, Phoebe Bridgers, Taylor Swift and more.
A number of artists will perform live during the show. Joni Mitchell, a nominee tonight and a nine Grammy award winner, will be performing at the show tonight for the first time. Her live album Joni Mitchell in Newport is up for best folk album.
Here are some of the most memorable looks of the night.
Taylor Swift. (Jeff Kravitz/ FilmMagic)John Gaines, Victoria Monét, and Hazel Monét Gaines. (Kayla Oaddams/ WireImage)Janelle Monae. (Matt Winkelmeyer/Getty Images for The Recording Academy)Doja Cat. (Jordan Strauss/ Invision/ AP)Olivia Rodrigo. (Kayla Oaddams/ WireImage)Miley Cyrus. (Frazer Harrison/ Getty Images)Alexis Roderick, Billy Joel, Della Joel and Remy Joel (Matt Winkelmeyer/ Getty Images for The Recording Academy)Billie Eilish. (Kayla Oaddams/ WireImage)Coco Jones. (Matt Winkelmeyer/ Getty Images for The Recording Academy)Dua Lipa. (Matt Winkelmeyer/ Getty Images for The Recording Academy)Noah Kahan. (Matt Winkelmeyer/Getty Images for The Recording Academy)(L-R) Phoebe Bridgers, Lucy Dacus, and Julien Baker of Boygenius. (Kayla Oaddams/ WireImage)Peso Pluma and Nicki Nicole. (Matt Winkelmeyer/ Getty Images for The Recording Academy)Gracie Abrams. (Frazer Harrison/ Getty Images)Calvin Harris and Vick Hope. (Frazer Harrison/ Getty Images)Paty Cantu. (Matt Winkelmeyer/ Getty Images for The Recording Academy)Michael Trotter Jr. and Tanya Trotter. (Matt Winkelmeyer/ Getty Images for The Recording Academy)Ed Sheeran. (Frazer Harrison/ Getty Images)Kat Graham. (Frazer Harrison/ Getty Images)Fantasia Barrino. (Frazer Harrison/ Getty Images)Big Hit and Hit-Boy. (Frazer Harrison/ Getty Images)Babyface. (Matt Winkelmeyer/ Getty Images for The Recording Academy)Lauren Daigle. (Matt Winkelmeyer/ Getty Images for The Recording Academy)Luis Figueroa. (Frazer Harrison/ Getty Images)Dawn Richard. (Matt Winkelmeyer/ Getty Images for The Recording Academy)Josh Groban. (Frazer Harrison/ Getty Images)Eric Burton. (Matt Winkelmeyer/ Getty Images for The Recording Academy)Charlotte Lawrence. (Neilson Barnard/ Getty Images for The Recording Academy)Brandi Carlile. (ROBYN BECK/ AFP via Getty Images)Jessica Ledon and David Guetta. (Frazer Harrison/ Getty Images)Tessa Brooks. (Frazer Harrison/ Getty Images)Tessa Brooks. (Marc Whitmore Kevin Mazur/ Getty Images for The Recording Academy)Montaigne. (Matt Winkelmeyer/ Getty Images for The Recording Academy)
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When he isn't writing or editing, you'll find him eating most everything he can get his hands on.","avatar":"https://secure.gravatar.com/avatar/d1ff591a3047b143a0e23cf7f28fcac0?s=600&d=blank&r=g","twitter":"theluketsai","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"","roles":["editor"]},{"site":"arts","roles":["administrator"]},{"site":"bayareabites","roles":["editor"]},{"site":"food","roles":["editor"]}],"headData":{"title":"Luke Tsai | KQED","description":"Food Editor","ogImgSrc":"https://secure.gravatar.com/avatar/d1ff591a3047b143a0e23cf7f28fcac0?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/d1ff591a3047b143a0e23cf7f28fcac0?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/ltsai"},"achazaro":{"type":"authors","id":"11748","meta":{"index":"authors_1591205172","id":"11748","found":true},"name":"Alan Chazaro","firstName":"Alan","lastName":"Chazaro","slug":"achazaro","email":"agchazaro@gmail.com","display_author_email":true,"staff_mastheads":["arts"],"title":"Food Writer and Reporter","bio":"Alan Chazaro is the author of \u003cem>This Is Not a Frank Ocean Cover Album\u003c/em> (Black Lawrence Press, 2019), \u003cem>Piñata Theory\u003c/em> (Black Lawrence Press, 2020), and \u003cem>Notes from the Eastern Span of the Bay Bridge\u003c/em> (Ghost City Press, 2021). He is a graduate of June Jordan’s Poetry for the People program at UC Berkeley and a former Lawrence Ferlinghetti Fellow at the University of San Francisco. He writes about sports, food, art, music, education, and culture while repping the Bay on \u003ca href=\"https://twitter.com/alan_chazaro\">Twitter\u003c/a> and \u003ca href=\"https://www.instagram.com/alan_chazaro/?hl=en\">Instagram\u003c/a> at @alan_chazaro.","avatar":"https://secure.gravatar.com/avatar/ea8b6dd970fc5c29e7a188e7d5861df7?s=600&d=blank&r=g","twitter":"alan_chazaro","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["editor"]},{"site":"news","roles":["editor"]}],"headData":{"title":"Alan Chazaro | KQED","description":"Food Writer and Reporter","ogImgSrc":"https://secure.gravatar.com/avatar/ea8b6dd970fc5c29e7a188e7d5861df7?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/ea8b6dd970fc5c29e7a188e7d5861df7?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/achazaro"},"rcastro":{"type":"authors","id":"11907","meta":{"index":"authors_1591205172","id":"11907","found":true},"name":"Raynato Castro","firstName":"Raynato","lastName":"Castro","slug":"rcastro","email":"rcastrodds@gmail.com","display_author_email":false,"staff_mastheads":[],"title":"KQED Contributor","bio":null,"avatar":"https://secure.gravatar.com/avatar/09976336176dd6a8edb95255611bea20?s=600&d=blank&r=g","twitter":null,"facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["contributor"]}],"headData":{"title":"Raynato Castro | KQED","description":"KQED 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FM","link":"/"}},"arts_13956683":{"type":"posts","id":"arts_13956683","meta":{"index":"posts_1591205157","site":"arts","id":"13956683","found":true},"guestAuthors":[],"slug":"late-night-filipino-food-24-hour-cafe-colma-lucky-chances","title":"The Bay Area’s Great American Diner Is a 24-Hour Filipino Casino Restaurant","publishDate":1714084178,"format":"aside","headTitle":"The Bay Area’s Great American Diner Is a 24-Hour Filipino Casino Restaurant | KQED","labelTerm":{},"content":"\u003cfigure id=\"attachment_13956692\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956692\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Cafe-Colma-Eating.jpg\" alt=\"Illustration of three men devouring halo-halo and other Filipino food at a diner counter.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Cafe-Colma-Eating.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Cafe-Colma-Eating-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Cafe-Colma-Eating-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Cafe-Colma-Eating-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Cafe-Colma-Eating-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Cafe-Colma-Eating-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Located inside Lucky Chances Casino in Colma, Cafe Colma serves tasty Filipino dishes 24/7. \u003ccite>(Raynato Castro)\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 artist Thien Pham. 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. This week’s guest artist is local dentist (and \u003c/i>\u003ca href=\"https://www.kqed.org/arts/13915387/amateur-bbq-competition-comic-dentist-pleasant-hill\">\u003ci>barbecue champion\u003c/i>\u003c/a>\u003ci>) Raynato Castro.\u003c/i>\u003c/p>\n\u003cp>Generally speaking, there are two types of people in the Bay Area. Those who have never been to our region’s only 24-hour Filipino restaurant. And those for whom \u003ca href=\"https://www.luckychances.com/dining.aspx\">Cafe Colma\u003c/a> — the frenetic, perpetually crowded diner located inside the Lucky Chances Casino — is nothing short of a local icon.\u003c/p>\n\u003cp>To put it this way: Ever since we started this project, I’ve been jonesing for the kind of nostalgic late-night diner that I grew up loving on the East Coast. You know the kind, with the laminated placemat menus, the milkshakes and Monte Cristos, and endless 24-hour breakfast options that hit just right at 2 a.m. Who knew the closest thing to capturing that vibe would be this Filipino casino cafe?\u003c/p>\n\u003cp>Like any proper diner, Cafe Colma is the place you’d go for brunch with your mom and your siblings, or where the entire extended family might swing by after picking someone up from SFO. It’s also the last stop you’d make after a long night of dancing and/or drunken foolishness — for local Filipinos, that might be after the Asian rave lets out at Temple Nightclub (which is closing soon, \u003ca href=\"https://www.sfchronicle.com/bayarea/article/soma-nightclub-permanently-close-19398549.php\">R.I.P.\u003c/a>). It’s no coincidence that the lines at the restaurant hit their peak at around 2 or 3 a.m.\u003c/p>\n\u003cp>There was only about a 15-minute wait when we rolled in at around 11 o’clock on a recent Friday night, which gave us time to walk around the card room proper, with its bright lights, solemn pai gow tables and 90% Asian crowd. Every so often, a bleary-eyed poker player would turn around and inhale several spoonfuls of fried rice from the little wheeled cart placed next to the table for that purpose.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Viewed in that light, the existence of Cafe Colma is purely practical: fuel to keep the most degenerate gamblers going deep into the night. But if we came in expecting a meal of cheap, okay-enough carbs, what we found instead was surprisingly homey and comforting food — and, honestly, the most enjoyable Filipino meal we’d had in months.\u003c/p>\n\u003cfigure id=\"attachment_13956693\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956693\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Lucky-Chances-Card-Room-v4.jpg\" alt=\"In a brightly lit casino room, players sit around a card table. One is eating fried rice off of a little cart behind him.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Lucky-Chances-Card-Room-v4.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Lucky-Chances-Card-Room-v4-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Lucky-Chances-Card-Room-v4-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Lucky-Chances-Card-Room-v4-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Lucky-Chances-Card-Room-v4-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Lucky-Chances-Card-Room-v4-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">You can eat garlic fried rice while you’re gambling. \u003ccite>(Raynato Castro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The menu is equal parts Chinese, Filipino and diner-style American, so whether you’re craving pancakes, prime rib or stir-fried bitter melon with scrambled eggs, Cafe Colma has got you covered. At its heart, though, this is a Filipino spot. When we ordered way too much from that section of the menu, we were rewarded with hit after hit.\u003c/p>\n\u003cp>The be-all and end-all is the kare-kare, a version of the classic oxtail and peanut sauce dish that tasted like someone’s grandma made it. The oxtails and beef tripe were impossibly tender and savory, bathed in a creamy peanut sauce that’s spiked with salty, pungent bagoong (fermented shrimp paste) for extra oomph. If you’re a lover of soft, squishy foods — of picking up bones and sucking them clean — this is your Platonic ideal of a dish.\u003c/p>\n\u003cp>\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003cb>\u003cstrong>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13955884,arts_13956218,arts_13953224']\u003c/span>\u003c/strong>\u003c/b>\u003c/span>Filipino food is a perfect late-night food because it’s cuisine that understands how to use vinegar to cut into a heavy meal of fried meats. All told, we must have had at least three or four different vinegars on the table. There was a pink one to dress the tokwa’t baboy, a very Filipino “salad” of sorts, made up of boiled pig ears and fried tofu. And then two different vinegar-based sauces for the crispy pata — a positively prehistoric-looking pork leg with the kind of thick, impeccably crunchy skin that every serious pork lover craves. We made quick work of the pata with our bare hands, but the sauces were what made the dish: the bright and spicy vinegar spiked with chilies and raw garlic, and the thicker one that was earthy and slightly sweet, made with pork liver.\u003c/p>\n\u003cp>Of course, we couldn’t leave without trying two of Cafe Colma’s most famous signatures — first, its buttery silogs, or garlic rice breakfast plates, served with fried eggs and your choice of meat. We opted for a surf-and-turf combination of bangus (aka milkfish) and pork chop, and both were fried to juicy, full-flavored perfection. Finally, to finish, who could resist the siren call of ube ice cream–topped halo-halo served in big sundae cups, especially when offered to us after midnight? “You’d better make that two orders,” we said.\u003c/p>\n\u003cp>I used to be one of those food purists who believed that there was some objective measure of deliciousness you could use to judge restaurants, and that nothing else particularly mattered — not the atmosphere or the service or the time of day. But look: There are other Filipino restaurants that serve fried pork and garlic rice that’s better, or at least as good, as Cafe Colma’s. But sitting there at the counter as we spooned up the last bits of red bean and condensed milk from our halo-halo, a little drunk on nostalgia and the prospect of hitting a lucky run at the blackjack table, that prospect was hard to imagine.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.luckychances.com/dining.aspx\">\u003ci>Cafe Colma\u003c/i>\u003c/a>\u003ci> is open 24/7 inside \u003c/i>\u003ca href=\"https://www.instagram.com/luckychancescasino/?hl=en\">\u003ci>Lucky Chances Casino\u003c/i>\u003c/a>\u003ci> at 1700 Hillside Blvd. in Colma.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"Go to Cafe Colma for delicious kare-kare and halo-halo at 3 a.m.","status":"publish","parent":0,"modified":1714084560,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":999},"headData":{"title":"Cafe Colma Is the 24-Hour Filipino Restaurant at Lucky Chances Casino | KQED","description":"Go to Cafe Colma for delicious kare-kare and halo-halo at 3 a.m.","ogTitle":"The Bay Area’s Great American Diner Is a 24-Hour Filipino Casino Restaurant","ogDescription":"","ogImgId":"","twTitle":"The Bay Area’s Great American Diner Is a 24-Hour Filipino Casino Restaurant","twDescription":"","twImgId":"","socialTitle":"Cafe Colma Is the 24-Hour Filipino Restaurant at Lucky Chances Casino %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Bay Area’s Great American Diner Is a 24-Hour Filipino Casino Restaurant","datePublished":"2024-04-25T22:29:38.000Z","dateModified":"2024-04-25T22:36:00.000Z","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-13956683","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13956683/late-night-filipino-food-24-hour-cafe-colma-lucky-chances","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13956692\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956692\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Cafe-Colma-Eating.jpg\" alt=\"Illustration of three men devouring halo-halo and other Filipino food at a diner counter.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Cafe-Colma-Eating.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Cafe-Colma-Eating-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Cafe-Colma-Eating-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Cafe-Colma-Eating-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Cafe-Colma-Eating-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Cafe-Colma-Eating-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Located inside Lucky Chances Casino in Colma, Cafe Colma serves tasty Filipino dishes 24/7. \u003ccite>(Raynato Castro)\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 artist Thien Pham. 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. This week’s guest artist is local dentist (and \u003c/i>\u003ca href=\"https://www.kqed.org/arts/13915387/amateur-bbq-competition-comic-dentist-pleasant-hill\">\u003ci>barbecue champion\u003c/i>\u003c/a>\u003ci>) Raynato Castro.\u003c/i>\u003c/p>\n\u003cp>Generally speaking, there are two types of people in the Bay Area. Those who have never been to our region’s only 24-hour Filipino restaurant. And those for whom \u003ca href=\"https://www.luckychances.com/dining.aspx\">Cafe Colma\u003c/a> — the frenetic, perpetually crowded diner located inside the Lucky Chances Casino — is nothing short of a local icon.\u003c/p>\n\u003cp>To put it this way: Ever since we started this project, I’ve been jonesing for the kind of nostalgic late-night diner that I grew up loving on the East Coast. You know the kind, with the laminated placemat menus, the milkshakes and Monte Cristos, and endless 24-hour breakfast options that hit just right at 2 a.m. Who knew the closest thing to capturing that vibe would be this Filipino casino cafe?\u003c/p>\n\u003cp>Like any proper diner, Cafe Colma is the place you’d go for brunch with your mom and your siblings, or where the entire extended family might swing by after picking someone up from SFO. It’s also the last stop you’d make after a long night of dancing and/or drunken foolishness — for local Filipinos, that might be after the Asian rave lets out at Temple Nightclub (which is closing soon, \u003ca href=\"https://www.sfchronicle.com/bayarea/article/soma-nightclub-permanently-close-19398549.php\">R.I.P.\u003c/a>). It’s no coincidence that the lines at the restaurant hit their peak at around 2 or 3 a.m.\u003c/p>\n\u003cp>There was only about a 15-minute wait when we rolled in at around 11 o’clock on a recent Friday night, which gave us time to walk around the card room proper, with its bright lights, solemn pai gow tables and 90% Asian crowd. Every so often, a bleary-eyed poker player would turn around and inhale several spoonfuls of fried rice from the little wheeled cart placed next to the table for that purpose.\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>Viewed in that light, the existence of Cafe Colma is purely practical: fuel to keep the most degenerate gamblers going deep into the night. But if we came in expecting a meal of cheap, okay-enough carbs, what we found instead was surprisingly homey and comforting food — and, honestly, the most enjoyable Filipino meal we’d had in months.\u003c/p>\n\u003cfigure id=\"attachment_13956693\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956693\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Lucky-Chances-Card-Room-v4.jpg\" alt=\"In a brightly lit casino room, players sit around a card table. One is eating fried rice off of a little cart behind him.\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Lucky-Chances-Card-Room-v4.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Lucky-Chances-Card-Room-v4-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Lucky-Chances-Card-Room-v4-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Lucky-Chances-Card-Room-v4-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Lucky-Chances-Card-Room-v4-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Lucky-Chances-Card-Room-v4-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">You can eat garlic fried rice while you’re gambling. \u003ccite>(Raynato Castro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The menu is equal parts Chinese, Filipino and diner-style American, so whether you’re craving pancakes, prime rib or stir-fried bitter melon with scrambled eggs, Cafe Colma has got you covered. At its heart, though, this is a Filipino spot. When we ordered way too much from that section of the menu, we were rewarded with hit after hit.\u003c/p>\n\u003cp>The be-all and end-all is the kare-kare, a version of the classic oxtail and peanut sauce dish that tasted like someone’s grandma made it. The oxtails and beef tripe were impossibly tender and savory, bathed in a creamy peanut sauce that’s spiked with salty, pungent bagoong (fermented shrimp paste) for extra oomph. If you’re a lover of soft, squishy foods — of picking up bones and sucking them clean — this is your Platonic ideal of a dish.\u003c/p>\n\u003cp>\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003cb>\u003cstrong>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13955884,arts_13956218,arts_13953224","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/strong>\u003c/b>\u003c/span>Filipino food is a perfect late-night food because it’s cuisine that understands how to use vinegar to cut into a heavy meal of fried meats. All told, we must have had at least three or four different vinegars on the table. There was a pink one to dress the tokwa’t baboy, a very Filipino “salad” of sorts, made up of boiled pig ears and fried tofu. And then two different vinegar-based sauces for the crispy pata — a positively prehistoric-looking pork leg with the kind of thick, impeccably crunchy skin that every serious pork lover craves. We made quick work of the pata with our bare hands, but the sauces were what made the dish: the bright and spicy vinegar spiked with chilies and raw garlic, and the thicker one that was earthy and slightly sweet, made with pork liver.\u003c/p>\n\u003cp>Of course, we couldn’t leave without trying two of Cafe Colma’s most famous signatures — first, its buttery silogs, or garlic rice breakfast plates, served with fried eggs and your choice of meat. We opted for a surf-and-turf combination of bangus (aka milkfish) and pork chop, and both were fried to juicy, full-flavored perfection. Finally, to finish, who could resist the siren call of ube ice cream–topped halo-halo served in big sundae cups, especially when offered to us after midnight? “You’d better make that two orders,” we said.\u003c/p>\n\u003cp>I used to be one of those food purists who believed that there was some objective measure of deliciousness you could use to judge restaurants, and that nothing else particularly mattered — not the atmosphere or the service or the time of day. But look: There are other Filipino restaurants that serve fried pork and garlic rice that’s better, or at least as good, as Cafe Colma’s. But sitting there at the counter as we spooned up the last bits of red bean and condensed milk from our halo-halo, a little drunk on nostalgia and the prospect of hitting a lucky run at the blackjack table, that prospect was hard to imagine.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.luckychances.com/dining.aspx\">\u003ci>Cafe Colma\u003c/i>\u003c/a>\u003ci> is open 24/7 inside \u003c/i>\u003ca href=\"https://www.instagram.com/luckychancescasino/?hl=en\">\u003ci>Lucky Chances Casino\u003c/i>\u003c/a>\u003ci> at 1700 Hillside Blvd. in Colma.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956683/late-night-filipino-food-24-hour-cafe-colma-lucky-chances","authors":["11743","11907"],"categories":["arts_1","arts_12276"],"tags":["arts_10278","arts_14183","arts_1297","arts_8805","arts_21928"],"featImg":"arts_13956689","label":"source_arts_13956683"},"arts_13956326":{"type":"posts","id":"arts_13956326","meta":{"index":"posts_1591205157","site":"arts","id":"13956326","found":true},"guestAuthors":[],"slug":"tru-gourmet-dim-sum-farmers-market-oakland","title":"How a Dumpling Chef Brought Dim Sum to Bay Area Farmers Markets","publishDate":1713884513,"format":"standard","headTitle":"How a Dumpling Chef Brought Dim Sum to Bay Area Farmers Markets | KQED","labelTerm":{},"content":"\u003cp>\u003cem>\u003cstrong>Editor’s note:\u003c/strong> This story is part of KQED’s \u003ca href=\"https://www.kqed.org/youthtakeover\">Youth Takeover\u003c/a>. Throughout the week of April 22-26, we’re publishing content by high school students from all over the Bay Area.\u003c/em>\u003c/p>\n\u003cp>Ever since I was five years old, one of my favorite traditions has been going to the Grand Lake Farmers Market with my dad every Saturday morning. \u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Nadege.headshot.jpg\" alt=\"\" width=\"160\" height=\"184\">\u003c/p>\n\u003cp>The market has been open since 1998 near the shore of Lake Merritt in Oakland, and it’s the perfect place to find almost anything you can think of — organic produce, fresh flowers and hot meals cooked to order while you wait. When I came with my dad, we’d order fresh gaufres from the Belgian waffle vendor, then browse the ripe nectarines and strawberries that were in season. Sometimes, we’d get rotisserie chicken and potatoes for lunch from one of the food trucks.\u003c/p>\n\u003cp>I even tried dim sum for the first time. One Saturday we noticed a stand called \u003ca href=\"https://www.instagram.com/trugourmet\">Tru Gourmet\u003c/a> that sold all kinds of steamed dumplings and buns. We ordered dumplings and crispy chicken wings, which turned out to be our favorite. Then we found somewhere near the booth to eat it all standing up.\u003c/p>\n\u003cp>That was about 10 years ago. As it turns out, Tru Gourmet is still around, setting up its stand at the Grand Lake Farmers Market — and \u003ca href=\"http://trugourmet.com/locations/\">two other farmers markets around the Bay Area\u003c/a> — every week. When I visited their tent on a recent Saturday, the line was so long that it almost crossed in front of the vendor next door. Inside, the cooks were busy heating the dumplings in bamboo steamers. Everything smelled so good, it was hard to choose. When I finally bit into a savory scallion pancake and delighted in the softness of a juicy pork bun, I urged my dad to order seconds.\u003c/p>\n\u003cfigure id=\"attachment_13956337\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956337\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-stand-crop.jpg\" alt='A display showing different kinds of dim sum available, all arranged in bamboo steamers. A sign on the table reads, \"Cash Only.\"' width=\"1920\" height=\"1320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-stand-crop.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-stand-crop-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-stand-crop-1020x701.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-stand-crop-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-stand-crop-768x528.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-stand-crop-1536x1056.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A display of the different kinds of dim sum available at Tru Gourmet’s Grand Lake Farmers Market stand on a recent Saturday. \u003ccite>(Nadege Mulamba)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What I realize now is that it isn’t very typical for dim sum to be sold at a farmers market — in fact, Tru Gourmet seems to be the only business doing it regularly here in the Bay Area. It made me curious: What made these chefs decide to set up their business outdoors instead of selling their dumplings inside a more traditional dim sum restaurant? And why doesn’t it seem like very many others are doing it?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I had the opportunity to interview the owner, Olivia Liu, who shared her story of how the business started.\u003c/p>\n\u003cp>\u003ci>The following interview has been edited for length and clarity.\u003c/i>\u003c/p>\n\u003chr>\n\u003cp>\u003cb>KQED: When did you start this business? \u003c/b>\u003c/p>\n\u003cp>\u003cb>Olivia Liu\u003c/b>: Tru Gourmet started with my mom, Cathy Tsui, back in August 2008.\u003c/p>\n\u003cp>\u003cb>Wow, almost sixteen years! Why did you want to create dim sum at the farmers market? \u003c/b>\u003c/p>\n\u003cp>My mother and I had a weekly tradition of dining on dim sum and visiting our local farmers markets, which gave us the idea to combine those two and start a family business. Dim sum translates into “touch of the heart.” Our goal is to touch your heart with handcrafted dim sum made from our hearts. [At Tru Gourmet,] you will find traditional dumplings one might see at popular dim sum houses and modern-day creations that aim to expand one’s view of dim sum, like black truffle shrimp dumplings or spiny lobster dumplings. We also have vegan dumplings such as our kale dumpling and bok choy dumpling, and seasonal [specials] like our asparagus dumpling.\u003c/p>\n\u003cp>We are proud to source most of our produce from the farmers markets we attend.\u003c/p>\n\u003cp>\u003cb>Did you know of any other businesses that were selling dim sum at farmers markets at that time?\u003c/b>\u003c/p>\n\u003cp>Back in 2008, we could have been the only ones. We have never seen [any other] dim sum at any farmers market, but it is common in food festivals.\u003c/p>\n\u003cfigure id=\"attachment_13956335\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956335\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-oivia-credit-andria-lo.jpg\" alt=\"A young woman in a white chef's jacket serves dim sum to a guest at a fancy gala.\" width=\"1920\" height=\"1320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-oivia-credit-andria-lo.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-oivia-credit-andria-lo-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-oivia-credit-andria-lo-1020x701.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-oivia-credit-andria-lo-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-oivia-credit-andria-lo-768x528.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-oivia-credit-andria-lo-1536x1056.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">True Gourmet’s Olivia Liu serves dim sum at an event at the Headlands Center for the Arts in Sausalito. \u003ccite>(Andria Lo, courtesy of Headlands Center for the Arts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>About 10 years ago, my dad and I actually had chicken wings at your Grand Lake market stand. They were so good, and I was sad that you only seemed to sell them once every two months. Do you guys still sell those?\u003c/b>\u003c/p>\n\u003cp>The \u003ca href=\"https://www.instagram.com/p/C5-9z0xrCd0/\">spicy crispy chicken wings\u003c/a> are definitely popular, and we also make spicy crispy \u003ca href=\"https://www.instagram.com/p/C5a6fWNr0cl/\">salmon\u003c/a>. We rotate our special every week, which is why it’s only served once in a while. My mother made these wings for me as a child, and they were my absolute favorite! I knew we had to put them on the menu.\u003c/p>\n\u003cp>\u003cb>Are there any challenges with making dim sum work at the farmers market? Do you have to change certain recipes to make it work?\u003c/b>\u003c/p>\n\u003cp>We had never worked at a farmers market before, so we learned how to adapt and improve along the way. In our 15 years of business, we have learned ways to operate more efficiently and effectively, especially in setting up our booth.\u003cb>\u003cbr>\n\u003c/b>\u003c/p>\n\u003cp>We have a commissary kitchen we work out of to prepare all of the dim sum. The dumplings are wrapped in the kitchen, and we steam everything fresh at the farmers markets.\u003c/p>\n\u003cp>\u003cb>What is your favorite memory from running this business? Was there a specific customer that stood out to you? \u003c/b>\u003c/p>\n\u003cp>It’s building relationships with my customers. So many regulars come every week and make my dim sum part of their weekly ritual. There have also been many regulars who moved away but make it a priority to stop by whenever they are visiting. Countless mothers ate my dim sum while pregnant, and I saw these babies grow up. Whenever a child wants my food for their birthday party, or if I cater a bar or bat mitzvah, quinceañera, holiday party or wedding, it feels so special to be included in their special day. Any time a first-time customer comes back after they try the dim sum to tell me how much they enjoyed it, it is one of my favorite things. The food industry is a labor of love, and it is incredibly gratifying to receive excellent feedback.\u003c/p>\n\u003cp>One rainy winter day when I first joined the Grand Lake Farmers Market, one of my regular customers, Jefferson, brought me a cup of tea because he saw me shivering in the cold. It was a small gesture, but it meant so much to me, and I still remember it over 10 years later.\u003c/p>\n\u003cfigure id=\"attachment_13956336\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956336\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-scallion-pancakes.jpg\" alt=\"A stack of scallion pancakes on a white plate.\" width=\"1920\" height=\"2379\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-scallion-pancakes.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-scallion-pancakes-800x991.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-scallion-pancakes-1020x1264.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-scallion-pancakes-160x198.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-scallion-pancakes-768x952.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-scallion-pancakes-1240x1536.jpg 1240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-scallion-pancakes-1653x2048.jpg 1653w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A stack of crispy, savory scallion pancakes. \u003ccite>(Courtesy of Olivia Liu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>That’s really sweet!\u003c/b>\u003c/p>\n\u003cp>Yes, and during the wildfires, a customer named Linda gave me and my mother masks because she was concerned since we work outdoors. Knowing I am more than just a food vendor to these customers warms my heart. Being a part of this amazing community is such a special thing.\u003c/p>\n\u003cp>[People from] all walks of life enjoy my dim sum, from babies to their grandparents, people who have never had it or those with food sensitivities. We have vegetarian, vegan, gluten-free, seafood and meat options. There is something for everyone. Everyone loves dim sum!\u003c/p>\n\u003cp>\u003cb>What’s your favorite item on your menu? \u003c/b>\u003c/p>\n\u003cp>A VIP client of mine hired me to cater her mother’s birthday dinner. She had requested that I make something with black truffles. That is when the black truffle shrimp dumpling was born. It is my personal favorite dumpling and has also become a favorite for many regulars. It’s special how we add black truffle to the shrimp filling, and we also add black truffle to the top of the dumpling.\u003c/p>\n\u003cp>But the traditional shrimp dumpling might be [better] for you if you are a purist. Some would say the shrimp dumpling is how to tell if a dim sum house is good or not.\u003c/p>\n\u003cfigure id=\"attachment_13956334\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956334\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-black-truffle.jpg\" alt=\"Two varieties of dim sum on a paper plate. One of them is topped with black truffle shavings.\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-black-truffle.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-black-truffle-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-black-truffle-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-black-truffle-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-black-truffle-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-black-truffle-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Tru Gourmet’s more modern, creative dim sum items include a shrimp dumpling that incorporates black truffles. \u003ccite>(Courtesy of Olivia Liu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What’s the best thing about selling at the farmers market? \u003c/b>\u003c/p>\n\u003cp>I love working at the farmers market! It’s such a wonderful community. Most of my customers are regulars who come every week, rain or shine. I appreciate their support. Even during the beginning of COVID, regulars came every week. It was because of them that I was able to stay in business.\u003c/p>\n\u003cp>We have been in business for 15 years and hope for another 15 years to come.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ca href=\"http://trugourmet.com/\">\u003ci>Tru Gourmet Dim Sum\u003c/i>\u003c/a>\u003ci> is open at the Grand Lake Farmers Market (746 Grand Ave., Oakland) on Saturdays from 9 a.m. to 2 p.m. \u003c/i>\u003ci>You can also find them at the Marin Farmers Market (3501 Civic Center Dr., San Rafael) on Sundays from 8 a.m. to 1 p.m., and at the California Avenue Farmers Market (400 California Ave., Palo Alto) on Sundays from 9 a.m. to 1 p.m.\u003c/i>\u003cbr>\n\u003cem>\u003cbr>\nNadege Mulamba is a senior at Oakland Technical High School enjoys listening to music, writing and baking in her free time. She is passionate about screenwriting and wants to major in film.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Tru Gourmet has been selling its pork buns and shrimp dumplings outdoors for more than 15 years.","status":"publish","parent":0,"modified":1713824467,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":35,"wordCount":1561},"headData":{"title":"How Tru Gourmet Brought Dim Sum to Bay Area Farmers Markets | KQED","description":"Tru Gourmet has been selling its pork buns and shrimp dumplings outdoors for more than 15 years.","ogTitle":"How a Dumpling Chef Brought Dim Sum to Bay Area Farmers Markets","ogDescription":"","ogImgId":"","twTitle":"How a Dumpling Chef Brought Dim Sum to Bay Area Farmers Markets","twDescription":"","twImgId":"","socialTitle":"How Tru Gourmet Brought Dim Sum to Bay Area Farmers Markets %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"How a Dumpling Chef Brought Dim Sum to Bay Area Farmers Markets","datePublished":"2024-04-23T15:01:53.000Z","dateModified":"2024-04-22T22:21:07.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Food","sourceUrl":"https://www.kqed.org/food","sticky":false,"nprByline":"Nadege Mulamba","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13956326/tru-gourmet-dim-sum-farmers-market-oakland","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Editor’s note:\u003c/strong> This story is part of KQED’s \u003ca href=\"https://www.kqed.org/youthtakeover\">Youth Takeover\u003c/a>. Throughout the week of April 22-26, we’re publishing content by high school students from all over the Bay Area.\u003c/em>\u003c/p>\n\u003cp>Ever since I was five years old, one of my favorite traditions has been going to the Grand Lake Farmers Market with my dad every Saturday morning. \u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Nadege.headshot.jpg\" alt=\"\" width=\"160\" height=\"184\">\u003c/p>\n\u003cp>The market has been open since 1998 near the shore of Lake Merritt in Oakland, and it’s the perfect place to find almost anything you can think of — organic produce, fresh flowers and hot meals cooked to order while you wait. When I came with my dad, we’d order fresh gaufres from the Belgian waffle vendor, then browse the ripe nectarines and strawberries that were in season. Sometimes, we’d get rotisserie chicken and potatoes for lunch from one of the food trucks.\u003c/p>\n\u003cp>I even tried dim sum for the first time. One Saturday we noticed a stand called \u003ca href=\"https://www.instagram.com/trugourmet\">Tru Gourmet\u003c/a> that sold all kinds of steamed dumplings and buns. We ordered dumplings and crispy chicken wings, which turned out to be our favorite. Then we found somewhere near the booth to eat it all standing up.\u003c/p>\n\u003cp>That was about 10 years ago. As it turns out, Tru Gourmet is still around, setting up its stand at the Grand Lake Farmers Market — and \u003ca href=\"http://trugourmet.com/locations/\">two other farmers markets around the Bay Area\u003c/a> — every week. When I visited their tent on a recent Saturday, the line was so long that it almost crossed in front of the vendor next door. Inside, the cooks were busy heating the dumplings in bamboo steamers. Everything smelled so good, it was hard to choose. When I finally bit into a savory scallion pancake and delighted in the softness of a juicy pork bun, I urged my dad to order seconds.\u003c/p>\n\u003cfigure id=\"attachment_13956337\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956337\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-stand-crop.jpg\" alt='A display showing different kinds of dim sum available, all arranged in bamboo steamers. A sign on the table reads, \"Cash Only.\"' width=\"1920\" height=\"1320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-stand-crop.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-stand-crop-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-stand-crop-1020x701.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-stand-crop-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-stand-crop-768x528.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-stand-crop-1536x1056.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A display of the different kinds of dim sum available at Tru Gourmet’s Grand Lake Farmers Market stand on a recent Saturday. \u003ccite>(Nadege Mulamba)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What I realize now is that it isn’t very typical for dim sum to be sold at a farmers market — in fact, Tru Gourmet seems to be the only business doing it regularly here in the Bay Area. It made me curious: What made these chefs decide to set up their business outdoors instead of selling their dumplings inside a more traditional dim sum restaurant? And why doesn’t it seem like very many others are doing it?\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 had the opportunity to interview the owner, Olivia Liu, who shared her story of how the business started.\u003c/p>\n\u003cp>\u003ci>The following interview has been edited for length and clarity.\u003c/i>\u003c/p>\n\u003chr>\n\u003cp>\u003cb>KQED: When did you start this business? \u003c/b>\u003c/p>\n\u003cp>\u003cb>Olivia Liu\u003c/b>: Tru Gourmet started with my mom, Cathy Tsui, back in August 2008.\u003c/p>\n\u003cp>\u003cb>Wow, almost sixteen years! Why did you want to create dim sum at the farmers market? \u003c/b>\u003c/p>\n\u003cp>My mother and I had a weekly tradition of dining on dim sum and visiting our local farmers markets, which gave us the idea to combine those two and start a family business. Dim sum translates into “touch of the heart.” Our goal is to touch your heart with handcrafted dim sum made from our hearts. [At Tru Gourmet,] you will find traditional dumplings one might see at popular dim sum houses and modern-day creations that aim to expand one’s view of dim sum, like black truffle shrimp dumplings or spiny lobster dumplings. We also have vegan dumplings such as our kale dumpling and bok choy dumpling, and seasonal [specials] like our asparagus dumpling.\u003c/p>\n\u003cp>We are proud to source most of our produce from the farmers markets we attend.\u003c/p>\n\u003cp>\u003cb>Did you know of any other businesses that were selling dim sum at farmers markets at that time?\u003c/b>\u003c/p>\n\u003cp>Back in 2008, we could have been the only ones. We have never seen [any other] dim sum at any farmers market, but it is common in food festivals.\u003c/p>\n\u003cfigure id=\"attachment_13956335\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956335\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-oivia-credit-andria-lo.jpg\" alt=\"A young woman in a white chef's jacket serves dim sum to a guest at a fancy gala.\" width=\"1920\" height=\"1320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-oivia-credit-andria-lo.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-oivia-credit-andria-lo-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-oivia-credit-andria-lo-1020x701.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-oivia-credit-andria-lo-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-oivia-credit-andria-lo-768x528.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-oivia-credit-andria-lo-1536x1056.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">True Gourmet’s Olivia Liu serves dim sum at an event at the Headlands Center for the Arts in Sausalito. \u003ccite>(Andria Lo, courtesy of Headlands Center for the Arts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>About 10 years ago, my dad and I actually had chicken wings at your Grand Lake market stand. They were so good, and I was sad that you only seemed to sell them once every two months. Do you guys still sell those?\u003c/b>\u003c/p>\n\u003cp>The \u003ca href=\"https://www.instagram.com/p/C5-9z0xrCd0/\">spicy crispy chicken wings\u003c/a> are definitely popular, and we also make spicy crispy \u003ca href=\"https://www.instagram.com/p/C5a6fWNr0cl/\">salmon\u003c/a>. We rotate our special every week, which is why it’s only served once in a while. My mother made these wings for me as a child, and they were my absolute favorite! I knew we had to put them on the menu.\u003c/p>\n\u003cp>\u003cb>Are there any challenges with making dim sum work at the farmers market? Do you have to change certain recipes to make it work?\u003c/b>\u003c/p>\n\u003cp>We had never worked at a farmers market before, so we learned how to adapt and improve along the way. In our 15 years of business, we have learned ways to operate more efficiently and effectively, especially in setting up our booth.\u003cb>\u003cbr>\n\u003c/b>\u003c/p>\n\u003cp>We have a commissary kitchen we work out of to prepare all of the dim sum. The dumplings are wrapped in the kitchen, and we steam everything fresh at the farmers markets.\u003c/p>\n\u003cp>\u003cb>What is your favorite memory from running this business? Was there a specific customer that stood out to you? \u003c/b>\u003c/p>\n\u003cp>It’s building relationships with my customers. So many regulars come every week and make my dim sum part of their weekly ritual. There have also been many regulars who moved away but make it a priority to stop by whenever they are visiting. Countless mothers ate my dim sum while pregnant, and I saw these babies grow up. Whenever a child wants my food for their birthday party, or if I cater a bar or bat mitzvah, quinceañera, holiday party or wedding, it feels so special to be included in their special day. Any time a first-time customer comes back after they try the dim sum to tell me how much they enjoyed it, it is one of my favorite things. The food industry is a labor of love, and it is incredibly gratifying to receive excellent feedback.\u003c/p>\n\u003cp>One rainy winter day when I first joined the Grand Lake Farmers Market, one of my regular customers, Jefferson, brought me a cup of tea because he saw me shivering in the cold. It was a small gesture, but it meant so much to me, and I still remember it over 10 years later.\u003c/p>\n\u003cfigure id=\"attachment_13956336\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956336\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-scallion-pancakes.jpg\" alt=\"A stack of scallion pancakes on a white plate.\" width=\"1920\" height=\"2379\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-scallion-pancakes.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-scallion-pancakes-800x991.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-scallion-pancakes-1020x1264.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-scallion-pancakes-160x198.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-scallion-pancakes-768x952.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-scallion-pancakes-1240x1536.jpg 1240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-scallion-pancakes-1653x2048.jpg 1653w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A stack of crispy, savory scallion pancakes. \u003ccite>(Courtesy of Olivia Liu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>That’s really sweet!\u003c/b>\u003c/p>\n\u003cp>Yes, and during the wildfires, a customer named Linda gave me and my mother masks because she was concerned since we work outdoors. Knowing I am more than just a food vendor to these customers warms my heart. Being a part of this amazing community is such a special thing.\u003c/p>\n\u003cp>[People from] all walks of life enjoy my dim sum, from babies to their grandparents, people who have never had it or those with food sensitivities. We have vegetarian, vegan, gluten-free, seafood and meat options. There is something for everyone. Everyone loves dim sum!\u003c/p>\n\u003cp>\u003cb>What’s your favorite item on your menu? \u003c/b>\u003c/p>\n\u003cp>A VIP client of mine hired me to cater her mother’s birthday dinner. She had requested that I make something with black truffles. That is when the black truffle shrimp dumpling was born. It is my personal favorite dumpling and has also become a favorite for many regulars. It’s special how we add black truffle to the shrimp filling, and we also add black truffle to the top of the dumpling.\u003c/p>\n\u003cp>But the traditional shrimp dumpling might be [better] for you if you are a purist. Some would say the shrimp dumpling is how to tell if a dim sum house is good or not.\u003c/p>\n\u003cfigure id=\"attachment_13956334\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956334\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-black-truffle.jpg\" alt=\"Two varieties of dim sum on a paper plate. One of them is topped with black truffle shavings.\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-black-truffle.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-black-truffle-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-black-truffle-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-black-truffle-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-black-truffle-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/tru-gourmet-black-truffle-1536x1152.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Tru Gourmet’s more modern, creative dim sum items include a shrimp dumpling that incorporates black truffles. \u003ccite>(Courtesy of Olivia Liu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What’s the best thing about selling at the farmers market? \u003c/b>\u003c/p>\n\u003cp>I love working at the farmers market! It’s such a wonderful community. Most of my customers are regulars who come every week, rain or shine. I appreciate their support. Even during the beginning of COVID, regulars came every week. It was because of them that I was able to stay in business.\u003c/p>\n\u003cp>We have been in business for 15 years and hope for another 15 years to come.\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>\u003ca href=\"http://trugourmet.com/\">\u003ci>Tru Gourmet Dim Sum\u003c/i>\u003c/a>\u003ci> is open at the Grand Lake Farmers Market (746 Grand Ave., Oakland) on Saturdays from 9 a.m. to 2 p.m. \u003c/i>\u003ci>You can also find them at the Marin Farmers Market (3501 Civic Center Dr., San Rafael) on Sundays from 8 a.m. to 1 p.m., and at the California Avenue Farmers Market (400 California Ave., Palo Alto) on Sundays from 9 a.m. to 1 p.m.\u003c/i>\u003cbr>\n\u003cem>\u003cbr>\nNadege Mulamba is a senior at Oakland Technical High School enjoys listening to music, writing and baking in her free time. She is passionate about screenwriting and wants to major in film.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956326/tru-gourmet-dim-sum-farmers-market-oakland","authors":["byline_arts_13956326"],"categories":["arts_1","arts_12276"],"tags":["arts_21727","arts_22099","arts_10278","arts_1297","arts_1785","arts_1143","arts_4533"],"featImg":"arts_13956333","label":"source_arts_13956326"},"arts_13956676":{"type":"posts","id":"arts_13956676","meta":{"index":"posts_1591205157","site":"arts","id":"13956676","found":true},"guestAuthors":[],"slug":"baby-reindeer-netflix-review-problematic-abuse-lgbt-queerness","title":"Netflix’s ‘Baby Reindeer’: A Dark, Haunting Story Bungles its Depiction of Queerness","publishDate":1714081090,"format":"standard","headTitle":"Netflix’s ‘Baby Reindeer’: A Dark, Haunting Story Bungles its Depiction of Queerness | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cfigure class=\"wp-block-image size-large\">\u003c/figure>\n\u003cp>\u003cem>Note: You can’t really talk about this series without discussing a major revelation that occurs in episode four of its seven-episode season. So be warned: Spoilers ahead. \u003c/em>\u003c/p>\n\u003cp>There’s a reason that the first scene in the first episode of \u003cem>Baby Reindeer,\u003c/em> now streaming on Netflix, plays like it’s a classic setup to a joke: \u003cem>Woman walks into a bar.\u003c/em>\u003c/p>\n\u003cp>Creator and star Richard Gadd is setting our expectations exactly where he wants them set; he needs us to think that the story he’ll tell us over the next seven episodes will conform to the narrative contours of dark comedy.\u003c/p>\n\u003cp>[aside postid='arts_13955549']He’s already tipped us off that the comedy in question will be dark indeed, via a framing device that opens the show: We see his character Donny Dunn filing a police report that he’s being stalked by a woman named Martha (Jessica Gunning).\u003c/p>\n\u003cp>Cut to six months earlier: Martha enters the pub where Donny tends bar. Everything that follows is meant to place us inside Donny’s head. As he tells us about her, we can’t help but see her as he does: A sad, fat, pitiable middle-aged woman who’s clearly lying about her life. She’s not the high-powered lawyer she says she is — if she were, surely she could afford to buy a drink. And why would she spend all those potentially billable hours bellied up at Donny’s bar whenever he’s working a shift? And why would she proceed to send him thousands of unhinged text messages and stalk him, his girlfriend, and his family?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Right, we think. We know what we’re in for: \u003cem>Baby Reindeer \u003c/em>is the story of one hapless young man getting cruelly stalked by a mentally ill woman, who, it turns out, has a history, and a criminal record, for doing so.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=eafm1gB6SCM\u003c/p>\n\u003cp>Moreover, it’s a true story. True-ish, anyway, as \u003cem>Baby Reindee\u003c/em>r is based on Gadd’s autobiographical one-man show.\u003c/p>\n\u003cp>[aside postid='arts_13954225']But Gadd soon complicates our understanding of events. It turns out Donny is a struggling would-be comedian; we watch a series of his cringeworthy sets before sparse, stone-faced audiences. He seems depressed and friendless — his work colleagues at the bar are hostile louts; he’s living with his ex-girlfriend’s mother on the outskirts of London.\u003c/p>\n\u003cp>Plus there’s the nagging fact that while Donny may not actively \u003cem>encourage \u003c/em>Martha’s fawning attention, he is awfully passive about shutting down her determination that they could get together, even as she grows more insistent, and more threatening.\u003c/p>\n\u003cp>Also, as the cop asks him at the start of the first episode. Why did he let it all go on for six months before filing a formal complaint?\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\n\u003cfigure class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://media.npr.org/assets/img/2024/04/25/br_101_unit_00683_rt.jpg-br_101_unit_00683_rt-1--9d5299c1b3002fe7610a6ea4c77f371792b6bd3f.jpg?s=1200&c=75&f=jpeg\" alt=\"A smiling white woman sits at the edge of a pub bar.\" width=\"1200\" height=\"900\">\u003cfigcaption class=\"wp-caption-text\">Jessica Gunning as Martha.\u003c/figcaption>\u003c/figure>\n\u003c/figure>\n\u003ch3>The rug-pull\u003c/h3>\n\u003cp>The answer to that question is what \u003cem>Baby Reindeer \u003c/em>is truly about. It’s where the conventional and familiar trappings of dark comedy and psychological thriller fall away to reveal the show’s true, beating heart: Sexual abuse, and its lingering aftermath.\u003c/p>\n\u003cp>It isn’t until episode four that we learn that five years before Martha entered his life, Donny met a successful television writer named Darrien (Tom Goodman-Hill) who gave him career advice, promised to set him up with opportunities, and supplied him with drugs. During those sessions, while Donny was helpless to stop him, Darrien would sexually abuse him.\u003c/p>\n\u003cp>[aside postid='arts_13954702']This, the series proceeds to argue — far too tidily — is the answer to everything. It’s why Donny became the depressed, self-loathing man we’ve come to know. It’s why his comedy career stalled. It’s why he’s since chosen to degrade himself by having meaningless sex with both men and women, doing more drugs, and by developing an interest in “extreme” pornography.\u003c/p>\n\u003cp>It’s also, of course — or so the show would have us believe — why he was so disarmed and flattered by the attention Martha gave him, which seems (compared to the drug-filled sexual cesspits he once frequented) pure and wholesome and, not for nothing, reassuringly straight. At one point Donny guiltily admits to us that, at his very lowest point, he even started to find Martha — imagine that! a \u003cem>fat \u003c/em>woman! — sexually arousing.\u003c/p>\n\u003cblockquote class=\"npr-pull-quote\">\n\u003ch2>The series repeatedly and clumsily conflates the horror of abuse with the simple fact of queer sexuality.\u003c/h2>\n\u003c/blockquote>\n\u003cp>It’s this aspect of \u003cem>Baby Reindeer\u003c/em> — Gadd/Donny’s ultimate willingness to confront his abuse and explore its aftereffects — which has earned the show its most fulsome praise from critics and audiences. But in practice, the series repeatedly and clumsily conflates the horror of abuse with the simple fact of queer sexuality. Purely for dramatic purposes, \u003cem>Baby Reindeer\u003c/em> implies that Donny’s sexuality conforms to the laws of cause (the abuse) and effect (queerness). Worse, it does so in a way that seems specifically designed to reassure those audiences who believe queerness is something that happens \u003cem>to \u003c/em>people, something that can be triggered from the outside.\u003c/p>\n\u003ch3>Catching queerness like a cold\u003c/h3>\n\u003cp>Let me be clear: \u003cem>Baby Reindeer\u003c/em> is not making any kind of broad sexual/political case that same-sex abuse leads its victims to experience same-sex desire. Neither is it saying that all putatively straight men who get sexually abused by other men will henceforth be attracted to trans women.\u003c/p>\n\u003cp>[aside postid='arts_13953601']But it does want us to believe — in fact it entirely \u003cem>depends \u003c/em>upon us believing — that \u003cem>Donny\u003c/em>, for one, experienced same-sex desire only after his abuse — desire it goes out of its way to depict as filthy and degrading. It does, too, want us to believe that \u003cem>Donny \u003c/em>failed to make any romantic connections with women or men after his abuse — until he met Teri (Nava Mau) on a trans dating site.\u003c/p>\n\u003cp>Gadd himself identifies as bisexual, which makes it all the more puzzling and frustrating that, again and again, the series takes absurd pains to present Donny as someone who is not at all like the kinds of queer folk who (shudder!) willingly have sex with each other and (shock horror!) use recreational drugs and (gasp!) watch porn.\u003c/p>\n\u003cp>Rest assured, straight audiences: Donny’s queer sexuality was something forced upon him — a fact that his stoic father (Mark Lewis Jones) understands and underscores because, as he tearfully explains to his son, “I grew up in the Catholic Church.”\u003c/p>\n\u003cp>It’s a jaw-dropping scene, but not for the reason it wants to be. It’s meant as a moment of startling honesty and searing empathy between father and son.\u003c/p>\n\u003cp>It plays like a tasteless, homophobic joke.\u003c/p>\n\u003ch3>Sticking the dismount\u003c/h3>\n\u003cp>For all its queasy discomfort with, and prissy diffidence about queer sexuality, there is one thing \u003cem>Baby Reindee\u003c/em>r gets absolutely, hauntingly right: Its ending.\u003c/p>\n\u003cp>As the series concludes, Martha has been jailed for stalking Donny. In a thinner, less resonant series, our hero would take this as an unalloyed victory, as vindication. But smartly, Gadd shows us a Donny who has acknowledged his abuse but has only begun to effectively deal with it.\u003c/p>\n\u003cp>Donny, instead, wallows. He walks the streets, playing Martha’s tender/terrifying voicemails in his headphones. He sets out to confront his abuser, only to cave and accept a job working for him. He shambles through his life alone, until he enters a pub (\u003cem>Man walks into a bar\u003c/em>) and realizes he can’t pay for his drink. The handsome bartender comps him out of pity, just as Donny did to Martha in the first episode. The end.\u003c/p>\n\u003cp>… OK, that pity-drink callback at the very end is a bit on-the-nose, but the series’ refusal to afford Donny a clear, uncomplicated, once-and-for-all victory is a smart one. Had the series ended with a sense of triumph and finality, it would have been dramatically satisfying but emotionally dishonest. Human psychology is more complex than that, and the damage done by abuse more insidious.\u003c/p>\n\u003cp>[aside postid='arts_13953497']When we leave him, Donny is still trapped by his past, because he hasn’t yet done the work he needs to do. He still believes he deserves to be trapped, defined, by what happened to him.\u003c/p>\n\u003cp>But the series plants the seeds for the change that we know is coming: When he’s alone in that room of his, he’s turning his experience into the one-man show that will become \u003cem>Baby Reindeer\u003c/em>. It’s that process of transmutation and creation that will ultimately allow him to process his abuse and turn it into something that engages with the wider world, and grant him the ability, finally, to heal.\u003c/p>\n\u003cp>Maybe, in the process, he will manage to move past finding other queer folk and fat people disgusting. \u003cem>Baby Reindeer\u003c/em> suggests that Richard Gadd hasn’t quite managed to do that, yet.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>But I’m holding out hope for Donny.\u003c/p>\n\n","blocks":[],"excerpt":"The new series, based on creator Richard Gadd's one-man show, depicts queer sexuality as something that happens TO people.","status":"publish","parent":0,"modified":1714081090,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":31,"wordCount":1560},"headData":{"title":"A Queer Analysis of Dark Netflix Series, ‘Baby Reindeer’ | KQED","description":"The new series, based on creator Richard Gadd's one-man show, depicts queer sexuality as something that happens TO people.","ogTitle":"Netflix’s ‘Baby Reindeer’: A Dark, Haunting Story Bungles its Depiction of Queerness","ogDescription":"","ogImgId":"","twTitle":"Netflix’s ‘Baby Reindeer’: A Dark, Haunting Story Bungles its Depiction of Queerness","twDescription":"","twImgId":"","socialTitle":"A Queer Analysis of Dark Netflix Series, ‘Baby Reindeer’ %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Netflix’s ‘Baby Reindeer’: A Dark, Haunting Story Bungles its Depiction of Queerness","datePublished":"2024-04-25T21:38:10.000Z","dateModified":"2024-04-25T21:38:10.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"1247130712","nprHtmlLink":"https://www.npr.org/2024/04/25/1247130712/baby-reindeer-review-netflix","nprRetrievedStory":"1","nprPubDate":"2024-04-25T11:32:00-04:00","nprStoryDate":"2024-04-25T11:32:00-04:00","nprLastModifiedDate":"2024-04-25T11:32:00-04:00","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13956676/baby-reindeer-netflix-review-problematic-abuse-lgbt-queerness","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure class=\"wp-block-image size-large\">\u003c/figure>\n\u003cp>\u003cem>Note: You can’t really talk about this series without discussing a major revelation that occurs in episode four of its seven-episode season. So be warned: Spoilers ahead. \u003c/em>\u003c/p>\n\u003cp>There’s a reason that the first scene in the first episode of \u003cem>Baby Reindeer,\u003c/em> now streaming on Netflix, plays like it’s a classic setup to a joke: \u003cem>Woman walks into a bar.\u003c/em>\u003c/p>\n\u003cp>Creator and star Richard Gadd is setting our expectations exactly where he wants them set; he needs us to think that the story he’ll tell us over the next seven episodes will conform to the narrative contours of dark comedy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13955549","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>He’s already tipped us off that the comedy in question will be dark indeed, via a framing device that opens the show: We see his character Donny Dunn filing a police report that he’s being stalked by a woman named Martha (Jessica Gunning).\u003c/p>\n\u003cp>Cut to six months earlier: Martha enters the pub where Donny tends bar. Everything that follows is meant to place us inside Donny’s head. As he tells us about her, we can’t help but see her as he does: A sad, fat, pitiable middle-aged woman who’s clearly lying about her life. She’s not the high-powered lawyer she says she is — if she were, surely she could afford to buy a drink. And why would she spend all those potentially billable hours bellied up at Donny’s bar whenever he’s working a shift? And why would she proceed to send him thousands of unhinged text messages and stalk him, his girlfriend, and his family?\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>Right, we think. We know what we’re in for: \u003cem>Baby Reindeer \u003c/em>is the story of one hapless young man getting cruelly stalked by a mentally ill woman, who, it turns out, has a history, and a criminal record, for doing so.\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/eafm1gB6SCM'\n title='//www.youtube.com/embed/eafm1gB6SCM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Moreover, it’s a true story. True-ish, anyway, as \u003cem>Baby Reindee\u003c/em>r is based on Gadd’s autobiographical one-man show.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13954225","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>But Gadd soon complicates our understanding of events. It turns out Donny is a struggling would-be comedian; we watch a series of his cringeworthy sets before sparse, stone-faced audiences. He seems depressed and friendless — his work colleagues at the bar are hostile louts; he’s living with his ex-girlfriend’s mother on the outskirts of London.\u003c/p>\n\u003cp>Plus there’s the nagging fact that while Donny may not actively \u003cem>encourage \u003c/em>Martha’s fawning attention, he is awfully passive about shutting down her determination that they could get together, even as she grows more insistent, and more threatening.\u003c/p>\n\u003cp>Also, as the cop asks him at the start of the first episode. Why did he let it all go on for six months before filing a formal complaint?\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\n\u003cfigure class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://media.npr.org/assets/img/2024/04/25/br_101_unit_00683_rt.jpg-br_101_unit_00683_rt-1--9d5299c1b3002fe7610a6ea4c77f371792b6bd3f.jpg?s=1200&c=75&f=jpeg\" alt=\"A smiling white woman sits at the edge of a pub bar.\" width=\"1200\" height=\"900\">\u003cfigcaption class=\"wp-caption-text\">Jessica Gunning as Martha.\u003c/figcaption>\u003c/figure>\n\u003c/figure>\n\u003ch3>The rug-pull\u003c/h3>\n\u003cp>The answer to that question is what \u003cem>Baby Reindeer \u003c/em>is truly about. It’s where the conventional and familiar trappings of dark comedy and psychological thriller fall away to reveal the show’s true, beating heart: Sexual abuse, and its lingering aftermath.\u003c/p>\n\u003cp>It isn’t until episode four that we learn that five years before Martha entered his life, Donny met a successful television writer named Darrien (Tom Goodman-Hill) who gave him career advice, promised to set him up with opportunities, and supplied him with drugs. During those sessions, while Donny was helpless to stop him, Darrien would sexually abuse him.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13954702","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>This, the series proceeds to argue — far too tidily — is the answer to everything. It’s why Donny became the depressed, self-loathing man we’ve come to know. It’s why his comedy career stalled. It’s why he’s since chosen to degrade himself by having meaningless sex with both men and women, doing more drugs, and by developing an interest in “extreme” pornography.\u003c/p>\n\u003cp>It’s also, of course — or so the show would have us believe — why he was so disarmed and flattered by the attention Martha gave him, which seems (compared to the drug-filled sexual cesspits he once frequented) pure and wholesome and, not for nothing, reassuringly straight. At one point Donny guiltily admits to us that, at his very lowest point, he even started to find Martha — imagine that! a \u003cem>fat \u003c/em>woman! — sexually arousing.\u003c/p>\n\u003cblockquote class=\"npr-pull-quote\">\n\u003ch2>The series repeatedly and clumsily conflates the horror of abuse with the simple fact of queer sexuality.\u003c/h2>\n\u003c/blockquote>\n\u003cp>It’s this aspect of \u003cem>Baby Reindeer\u003c/em> — Gadd/Donny’s ultimate willingness to confront his abuse and explore its aftereffects — which has earned the show its most fulsome praise from critics and audiences. But in practice, the series repeatedly and clumsily conflates the horror of abuse with the simple fact of queer sexuality. Purely for dramatic purposes, \u003cem>Baby Reindeer\u003c/em> implies that Donny’s sexuality conforms to the laws of cause (the abuse) and effect (queerness). Worse, it does so in a way that seems specifically designed to reassure those audiences who believe queerness is something that happens \u003cem>to \u003c/em>people, something that can be triggered from the outside.\u003c/p>\n\u003ch3>Catching queerness like a cold\u003c/h3>\n\u003cp>Let me be clear: \u003cem>Baby Reindeer\u003c/em> is not making any kind of broad sexual/political case that same-sex abuse leads its victims to experience same-sex desire. Neither is it saying that all putatively straight men who get sexually abused by other men will henceforth be attracted to trans women.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13953601","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>But it does want us to believe — in fact it entirely \u003cem>depends \u003c/em>upon us believing — that \u003cem>Donny\u003c/em>, for one, experienced same-sex desire only after his abuse — desire it goes out of its way to depict as filthy and degrading. It does, too, want us to believe that \u003cem>Donny \u003c/em>failed to make any romantic connections with women or men after his abuse — until he met Teri (Nava Mau) on a trans dating site.\u003c/p>\n\u003cp>Gadd himself identifies as bisexual, which makes it all the more puzzling and frustrating that, again and again, the series takes absurd pains to present Donny as someone who is not at all like the kinds of queer folk who (shudder!) willingly have sex with each other and (shock horror!) use recreational drugs and (gasp!) watch porn.\u003c/p>\n\u003cp>Rest assured, straight audiences: Donny’s queer sexuality was something forced upon him — a fact that his stoic father (Mark Lewis Jones) understands and underscores because, as he tearfully explains to his son, “I grew up in the Catholic Church.”\u003c/p>\n\u003cp>It’s a jaw-dropping scene, but not for the reason it wants to be. It’s meant as a moment of startling honesty and searing empathy between father and son.\u003c/p>\n\u003cp>It plays like a tasteless, homophobic joke.\u003c/p>\n\u003ch3>Sticking the dismount\u003c/h3>\n\u003cp>For all its queasy discomfort with, and prissy diffidence about queer sexuality, there is one thing \u003cem>Baby Reindee\u003c/em>r gets absolutely, hauntingly right: Its ending.\u003c/p>\n\u003cp>As the series concludes, Martha has been jailed for stalking Donny. In a thinner, less resonant series, our hero would take this as an unalloyed victory, as vindication. But smartly, Gadd shows us a Donny who has acknowledged his abuse but has only begun to effectively deal with it.\u003c/p>\n\u003cp>Donny, instead, wallows. He walks the streets, playing Martha’s tender/terrifying voicemails in his headphones. He sets out to confront his abuser, only to cave and accept a job working for him. He shambles through his life alone, until he enters a pub (\u003cem>Man walks into a bar\u003c/em>) and realizes he can’t pay for his drink. The handsome bartender comps him out of pity, just as Donny did to Martha in the first episode. The end.\u003c/p>\n\u003cp>… OK, that pity-drink callback at the very end is a bit on-the-nose, but the series’ refusal to afford Donny a clear, uncomplicated, once-and-for-all victory is a smart one. Had the series ended with a sense of triumph and finality, it would have been dramatically satisfying but emotionally dishonest. Human psychology is more complex than that, and the damage done by abuse more insidious.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13953497","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>When we leave him, Donny is still trapped by his past, because he hasn’t yet done the work he needs to do. He still believes he deserves to be trapped, defined, by what happened to him.\u003c/p>\n\u003cp>But the series plants the seeds for the change that we know is coming: When he’s alone in that room of his, he’s turning his experience into the one-man show that will become \u003cem>Baby Reindeer\u003c/em>. It’s that process of transmutation and creation that will ultimately allow him to process his abuse and turn it into something that engages with the wider world, and grant him the ability, finally, to heal.\u003c/p>\n\u003cp>Maybe, in the process, he will manage to move past finding other queer folk and fat people disgusting. \u003cem>Baby Reindeer\u003c/em> suggests that Richard Gadd hasn’t quite managed to do that, yet.\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>But I’m holding out hope for Donny.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956676/baby-reindeer-netflix-review-problematic-abuse-lgbt-queerness","authors":["92"],"categories":["arts_1","arts_75","arts_990"],"tags":["arts_3226","arts_3324","arts_769"],"affiliates":["arts_137"],"featImg":"arts_13956677","label":"arts_137"},"arts_13956128":{"type":"posts","id":"arts_13956128","meta":{"index":"posts_1591205157","site":"arts","id":"13956128","found":true},"guestAuthors":[],"slug":"best-mysteries-and-thriller-novels-spring-2024","title":"5 New Mysteries and Thrillers for Your Nightstand This Spring","publishDate":1713390986,"format":"standard","headTitle":"5 New Mysteries and Thrillers for Your Nightstand This Spring | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Welcome back, mystery and thriller devotees! These books will take you from murder in present-day Texas to cryptography in Cold War Berlin to an online community that might hold the solution to a missing-person case.\u003c/p>\n\u003cp>Happy reading!\u003c/p>\n\u003ch3>‘Listen for the Lie’ by Amy Tintera\u003c/h3>\n\u003cfigure id=\"attachment_13956153\" class=\"wp-caption aligncenter\" style=\"max-width: 834px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956153\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.42.17-PM.png\" alt=\"A red book cover illustrated with a winding aux cord.\" width=\"834\" height=\"1212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.42.17-PM.png 834w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.42.17-PM-800x1163.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.42.17-PM-160x233.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.42.17-PM-768x1116.png 768w\" sizes=\"(max-width: 834px) 100vw, 834px\">\u003cfigcaption class=\"wp-caption-text\">‘Listen for the Lie’ by Amy Tintera. \u003ccite>(Celadon Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Savannah Harper, the sweetheart of Plumpton, Texas, died from blows to her head. A few hours later, her best friend forever, Lucy Chase, was found wandering the town streets covered in blood. While Lucy was never formally charged with the murder, the community convicted her lock, stock and a full plate of barbecue. Five years later, Lucy has come home just as true-crime podcaster Ben Owens arrives to produce an episode of his show, \u003cem>Listen for the Lie.\u003c/em>\u003c/p>\n\u003cp>[aside postid='arts_13956050']As Ben encourages the tetchy, secretive Lucy to share her side of the story with him, she relaxes beneath his sunny, handsome gaze and starts to look at the truth. Unfortunately, truth doesn’t matter much to the residents of Plumpton, who long ago made up their minds about a young woman whose persona chafes against their ideas of femininity. Fortunately, by the time you meet the Plumptonites, you’ll have been mesmerized by Lucy’s hilarious, self-deprecating first-person narration. “It’s probably unfair to say that a podcast ruined my life,” she tells readers, and then, as she talks about making dinner during which she’ll break up with her clueless boyfriend: “Let this be a lesson to all the men out there who can’t handle conflict — man up and dump your girlfriend, or you might end up living with a suspected murder indefinitely.”\u003c/p>\n\u003cp>Podcast episodes interspersed between Lucy’s chapters form a clever way for Tintera (already a bestselling YA author; this is her debut for adults) to draw out the suspense. Revealing too much about the other characters might ruin that cleverness, but it’s important to note that even when the story has ended and the murderer found, there are secrets within secrets, the kind that women have long used to protect each other.\u003c/p>\n\u003ch3>‘Where You End’ by Abbott Kahler\u003c/h3>\n\u003cfigure id=\"attachment_13956154\" class=\"wp-caption aligncenter\" style=\"max-width: 832px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956154\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.44.04-PM.png\" alt=\"A book cover illustrated with winding bare tree branches and two rabbit masks.\" width=\"832\" height=\"1214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.44.04-PM.png 832w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.44.04-PM-800x1167.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.44.04-PM-160x233.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.44.04-PM-768x1121.png 768w\" sizes=\"(max-width: 832px) 100vw, 832px\">\u003cfigcaption class=\"wp-caption-text\">‘Where You End’ by Abbott Kahler. \u003ccite>(Henry Holt and Co.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Abbott Kahler’s debut centers on a young woman named Katherine “Kat” Bird, who has a near-death experience after her car collides with a deer, and wakes to near-total amnesia. She remembers her twin sister, Jude, who tries to fill in all of the blanks in Kat’s memory, but as Kat slowly recovers, she realizes Jude’s recounting of events contradict her own.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Did the sisters have an idyllic childhood, or were they raised in a cult? If the latter is true, why would Jude be trying to pretend it never happened? Kahler (who has written acclaimed nonfiction as Karen Abbott) constructs a thriller so perfectly paced that you actually will not be able to put it down. You’ll be longing at each step to see how much Kat remembers and how much Jude complicates the memories. Each clue (there are few pictures of the sisters together, for example) has a flip side, a structural technique that works particularly well since the book is set in 1970s Philadelphia, with all of that city’s grittiness, community, and culture.\u003c/p>\n\u003cp>Kahler based her novel on the real-life story of Alex and Marcus Lewis, 18-year-old British identical twins. In 1982, Alex awoke from a coma following a motorcycle accident and remembered nothing except his brother’s name and face; Marcus decided to use the opportunity to invent new lives for them both. Kahler expands on their situation by going deeper into the effects of trauma for women and girls, making \u003cem>Where You End\u003c/em> incredibly relevant, right up to the truly shocking ending.\u003c/p>\n\u003ch3>‘The Night of the Storm’ by Nishita Parekh\u003c/h3>\n\u003cfigure id=\"attachment_13956156\" class=\"wp-caption aligncenter\" style=\"max-width: 832px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956156\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.46.08-PM.png\" alt=\"A book cover depicting a large house surrounded by water with a storm raging overhead.\" width=\"832\" height=\"1214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.46.08-PM.png 832w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.46.08-PM-800x1167.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.46.08-PM-160x233.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.46.08-PM-768x1121.png 768w\" sizes=\"(max-width: 832px) 100vw, 832px\">\u003cfigcaption class=\"wp-caption-text\">‘The Night of the Storm’ by Nishita Parekh. \u003ccite>(Dutton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Answer to a question you didn’t ask: In the UK, the board game Clue is known as Cluedo, a portmanteau word for “clue” plus “ludo,” the Latin for “I play.” In Nishita Parekh’s debut, a locked-room mystery that toys with everyone’s memories of playing Clue, readers may want to keep that active verb in mind. Set in Houston among a group of upperclass suburban Desi friends, \u003cem>The Night of the Storm\u003c/em> puts family drama above anything resembling, say, \u003cem>Cape Fear\u003c/em>-style hijinks — but the word “storm” in the title can mean so many things.\u003c/p>\n\u003cp>[aside postid='arts_13955903']Protagonist Jia Shah, single mom to Ishaan, decides they’ll both shelter from Hurricane Harvey at her sister Seema’s large home in Sugar Land. Seema’s husband Vipul and some of his relatives make things more complicated for Jia, through both their busy presence and because Jia and Vipul have some sexual tension going on; one of the things that makes this book fascinating is the look at a second-generation immigrant family enjoying their new country while also feeling the pull of hereditary expectations.\u003c/p>\n\u003cp>If you’re looking for a thriller — and this book is labeled one — you’ve come to the wrong place. \u003cem>The Night of the Storm\u003c/em> resembles nothing so much as a Golden Age mystery, and if you appreciate those, you’ve come to the right place. Parekh has clearly read her Christie, Marsh, and Allingham; she also clearly relishes those authors and their attention to cohesion and convention. Come on in and shelter from this \u003cem>Storm\u003c/em> with a truly unreliable cast of characters.\u003c/p>\n\u003ch3>‘Rabbit Hole’ by Kate Brody\u003c/h3>\n\u003cfigure id=\"attachment_13956157\" class=\"wp-caption aligncenter\" style=\"max-width: 838px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956157\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.47.47-PM.png\" alt=\"A book cover depicting a woman's face partially obscured by a finger print. \" width=\"838\" height=\"1210\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.47.47-PM.png 838w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.47.47-PM-800x1155.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.47.47-PM-160x231.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.47.47-PM-768x1109.png 768w\" sizes=\"(max-width: 838px) 100vw, 838px\">\u003cfigcaption class=\"wp-caption-text\">‘Rabbit Hole’ by Kate Brody. \u003ccite>(Soho Crime)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A decade ago, Teddy Angstrom’s older sister Angie disappeared at age 18. When their father chooses suicide on the anniversary of Angie’s death, the now 26-year-old Teddy leaves the private school in Maine where she teaches English for home to sort out family matters with her grieving mother. Teddy discovers Mark Angstrom had grown obsessed with Reddit boards about true crime, some of them specifically about Angie’s case.\u003c/p>\n\u003cp>[aside postid='arts_13955214']Her initial look at the discussions soon turns into an obsession equaling her father’s, one that will pull her into the orbit of 19-year-old Mickey, a local college student with multiple tattoos and perhaps multiple motives for the assistance she gives Teddy. The weird friendship these women create reflects the darkness into which Teddy descends, continuing her addiction to the internet as she develops an addiction to alcohol, and accidentally outing herself as Angie’s sister to the various members of the Reddit boards.\u003c/p>\n\u003cp>Brody wisely builds the suspense around Teddy’s dissolution and paranoia, rather than focusing on the details of Angie’s fate, creating an atmosphere so suffocating and panicky that readers will feel the effects of loss, grief, and confusion as surely as if they were inside Teddy’s very smart and once better-adjusted mind. Teddy’s longing not just for her sister’s survival but for their ability to share life as 20-somethings marks her more indelibly than Mickey’s body ink.\u003c/p>\n\u003ch3>‘The Berlin Letters’ by Katherine Reay\u003c/h3>\n\u003cfigure id=\"attachment_13956158\" class=\"wp-caption aligncenter\" style=\"max-width: 820px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956158\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.49.15-PM.png\" alt=\"A book cover depicting a woman dressed in conservative 1980s-era clothing stands, arms folded in front of a small yellow car and a wall of graffiti.\" width=\"820\" height=\"1212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.49.15-PM.png 820w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.49.15-PM-800x1182.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.49.15-PM-160x236.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.49.15-PM-768x1135.png 768w\" sizes=\"(max-width: 820px) 100vw, 820px\">\u003cfigcaption class=\"wp-caption-text\">‘The Berlin Letters’ by Katherine Reay. \u003ccite>(Harper Muse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Brilliant cryptographer Luisa Voekler, whose talent was nurtured by her grandfather’s frequent code-based scavenger hunts, wants to move up in the CIA, but finds her career sidelined in the late 1980s as she translates World War II documents. One day she recognizes a tiny symbol that will lead her down a dangerous path. Her discovery involves her father, Haris, who remains in the East Berlin his family left in 1961 as the East German government put up a wall dividing the city.\u003c/p>\n\u003cp>[aside postid='arts_13955156']Reay has written a number of novels based on Brontë and Austen characters, as well as a couple of lighthearted looks at women’s friendships in Illinois, but in 2021 she turned to darker territory, setting books about spycraft in London, Moscow — and now Berlin and Washington, D.C. The cover of \u003cem>The Berlin Letters\u003c/em> announces both its relatively recent time period, with the figure of a young woman dressed in contemporary clothing, yet also nods to the singularity of modern Berlin, with a backdrop of the Wall covered in graffiti and the trunk of an iconic East German Trabant or “Trabi” auto (known for being constructed from lightweight resin).\u003c/p>\n\u003cp>The author knows East and West Berlin inside out, discussing details like the houses on Bernauer Strasse that allowed inhabitants, for a time, to easily defect simply by walking out of their front doors. However, those details never overwhelm a fast-paced story told by father and daughter from their different vantage points, as Luisa learns the truth of her past, and both stories reach the shocking, history-making night when The Berlin Wall fell on Nov. 9, 1989.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Bethanne Patrick is a freelance writer and critic who tweets \u003c/em>\u003ca href=\"https://twitter.com/thebookmaven\">\u003cem>@TheBookMaven\u003c/em>\u003c/a>\u003cem> and hosts the podcast Missing Pages.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=5+new+mysteries+and+thrillers+for+your+nightstand+this+spring&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"These thrilling new books will take you from murder in present-day Texas to cryptography in Cold War Berlin.","status":"publish","parent":0,"modified":1713390986,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":20,"wordCount":1583},"headData":{"title":"Best New Mystery and Thriller Novels for Spring 2024 | KQED","description":"These thrilling new books will take you from murder in present-day Texas to cryptography in Cold War Berlin.","ogTitle":"5 New Mysteries and Thrillers for Your Nightstand This Spring","ogDescription":"","ogImgId":"","twTitle":"5 New Mysteries and Thrillers for Your Nightstand This Spring","twDescription":"","twImgId":"","socialTitle":"Best New Mystery and Thriller Novels for Spring 2024%%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"5 New Mysteries and Thrillers for Your Nightstand This Spring","datePublished":"2024-04-17T21:56:26.000Z","dateModified":"2024-04-17T21:56:26.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Bethanne Patrick","nprImageAgency":"NPR","nprStoryId":"1239716585","nprApiLink":"http://api.npr.org/query?id=1239716585&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2024/04/17/1239716585/5-new-mysteries-and-thrillers-spring-2024-reading-list-recommendations?ft=nprml&f=1239716585","nprRetrievedStory":"1","nprPubDate":"Wed, 17 Apr 2024 11:29:00 -0400","nprStoryDate":"Wed, 17 Apr 2024 10:49:00 -0400","nprLastModifiedDate":"Wed, 17 Apr 2024 11:29:14 -0400","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13956128/best-mysteries-and-thriller-novels-spring-2024","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Welcome back, mystery and thriller devotees! These books will take you from murder in present-day Texas to cryptography in Cold War Berlin to an online community that might hold the solution to a missing-person case.\u003c/p>\n\u003cp>Happy reading!\u003c/p>\n\u003ch3>‘Listen for the Lie’ by Amy Tintera\u003c/h3>\n\u003cfigure id=\"attachment_13956153\" class=\"wp-caption aligncenter\" style=\"max-width: 834px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956153\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.42.17-PM.png\" alt=\"A red book cover illustrated with a winding aux cord.\" width=\"834\" height=\"1212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.42.17-PM.png 834w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.42.17-PM-800x1163.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.42.17-PM-160x233.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.42.17-PM-768x1116.png 768w\" sizes=\"(max-width: 834px) 100vw, 834px\">\u003cfigcaption class=\"wp-caption-text\">‘Listen for the Lie’ by Amy Tintera. \u003ccite>(Celadon Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Savannah Harper, the sweetheart of Plumpton, Texas, died from blows to her head. A few hours later, her best friend forever, Lucy Chase, was found wandering the town streets covered in blood. While Lucy was never formally charged with the murder, the community convicted her lock, stock and a full plate of barbecue. Five years later, Lucy has come home just as true-crime podcaster Ben Owens arrives to produce an episode of his show, \u003cem>Listen for the Lie.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13956050","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>As Ben encourages the tetchy, secretive Lucy to share her side of the story with him, she relaxes beneath his sunny, handsome gaze and starts to look at the truth. Unfortunately, truth doesn’t matter much to the residents of Plumpton, who long ago made up their minds about a young woman whose persona chafes against their ideas of femininity. Fortunately, by the time you meet the Plumptonites, you’ll have been mesmerized by Lucy’s hilarious, self-deprecating first-person narration. “It’s probably unfair to say that a podcast ruined my life,” she tells readers, and then, as she talks about making dinner during which she’ll break up with her clueless boyfriend: “Let this be a lesson to all the men out there who can’t handle conflict — man up and dump your girlfriend, or you might end up living with a suspected murder indefinitely.”\u003c/p>\n\u003cp>Podcast episodes interspersed between Lucy’s chapters form a clever way for Tintera (already a bestselling YA author; this is her debut for adults) to draw out the suspense. Revealing too much about the other characters might ruin that cleverness, but it’s important to note that even when the story has ended and the murderer found, there are secrets within secrets, the kind that women have long used to protect each other.\u003c/p>\n\u003ch3>‘Where You End’ by Abbott Kahler\u003c/h3>\n\u003cfigure id=\"attachment_13956154\" class=\"wp-caption aligncenter\" style=\"max-width: 832px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956154\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.44.04-PM.png\" alt=\"A book cover illustrated with winding bare tree branches and two rabbit masks.\" width=\"832\" height=\"1214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.44.04-PM.png 832w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.44.04-PM-800x1167.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.44.04-PM-160x233.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.44.04-PM-768x1121.png 768w\" sizes=\"(max-width: 832px) 100vw, 832px\">\u003cfigcaption class=\"wp-caption-text\">‘Where You End’ by Abbott Kahler. \u003ccite>(Henry Holt and Co.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Abbott Kahler’s debut centers on a young woman named Katherine “Kat” Bird, who has a near-death experience after her car collides with a deer, and wakes to near-total amnesia. She remembers her twin sister, Jude, who tries to fill in all of the blanks in Kat’s memory, but as Kat slowly recovers, she realizes Jude’s recounting of events contradict her own.\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>Did the sisters have an idyllic childhood, or were they raised in a cult? If the latter is true, why would Jude be trying to pretend it never happened? Kahler (who has written acclaimed nonfiction as Karen Abbott) constructs a thriller so perfectly paced that you actually will not be able to put it down. You’ll be longing at each step to see how much Kat remembers and how much Jude complicates the memories. Each clue (there are few pictures of the sisters together, for example) has a flip side, a structural technique that works particularly well since the book is set in 1970s Philadelphia, with all of that city’s grittiness, community, and culture.\u003c/p>\n\u003cp>Kahler based her novel on the real-life story of Alex and Marcus Lewis, 18-year-old British identical twins. In 1982, Alex awoke from a coma following a motorcycle accident and remembered nothing except his brother’s name and face; Marcus decided to use the opportunity to invent new lives for them both. Kahler expands on their situation by going deeper into the effects of trauma for women and girls, making \u003cem>Where You End\u003c/em> incredibly relevant, right up to the truly shocking ending.\u003c/p>\n\u003ch3>‘The Night of the Storm’ by Nishita Parekh\u003c/h3>\n\u003cfigure id=\"attachment_13956156\" class=\"wp-caption aligncenter\" style=\"max-width: 832px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956156\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.46.08-PM.png\" alt=\"A book cover depicting a large house surrounded by water with a storm raging overhead.\" width=\"832\" height=\"1214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.46.08-PM.png 832w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.46.08-PM-800x1167.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.46.08-PM-160x233.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.46.08-PM-768x1121.png 768w\" sizes=\"(max-width: 832px) 100vw, 832px\">\u003cfigcaption class=\"wp-caption-text\">‘The Night of the Storm’ by Nishita Parekh. \u003ccite>(Dutton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Answer to a question you didn’t ask: In the UK, the board game Clue is known as Cluedo, a portmanteau word for “clue” plus “ludo,” the Latin for “I play.” In Nishita Parekh’s debut, a locked-room mystery that toys with everyone’s memories of playing Clue, readers may want to keep that active verb in mind. Set in Houston among a group of upperclass suburban Desi friends, \u003cem>The Night of the Storm\u003c/em> puts family drama above anything resembling, say, \u003cem>Cape Fear\u003c/em>-style hijinks — but the word “storm” in the title can mean so many things.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13955903","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Protagonist Jia Shah, single mom to Ishaan, decides they’ll both shelter from Hurricane Harvey at her sister Seema’s large home in Sugar Land. Seema’s husband Vipul and some of his relatives make things more complicated for Jia, through both their busy presence and because Jia and Vipul have some sexual tension going on; one of the things that makes this book fascinating is the look at a second-generation immigrant family enjoying their new country while also feeling the pull of hereditary expectations.\u003c/p>\n\u003cp>If you’re looking for a thriller — and this book is labeled one — you’ve come to the wrong place. \u003cem>The Night of the Storm\u003c/em> resembles nothing so much as a Golden Age mystery, and if you appreciate those, you’ve come to the right place. Parekh has clearly read her Christie, Marsh, and Allingham; she also clearly relishes those authors and their attention to cohesion and convention. Come on in and shelter from this \u003cem>Storm\u003c/em> with a truly unreliable cast of characters.\u003c/p>\n\u003ch3>‘Rabbit Hole’ by Kate Brody\u003c/h3>\n\u003cfigure id=\"attachment_13956157\" class=\"wp-caption aligncenter\" style=\"max-width: 838px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956157\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.47.47-PM.png\" alt=\"A book cover depicting a woman's face partially obscured by a finger print. \" width=\"838\" height=\"1210\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.47.47-PM.png 838w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.47.47-PM-800x1155.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.47.47-PM-160x231.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.47.47-PM-768x1109.png 768w\" sizes=\"(max-width: 838px) 100vw, 838px\">\u003cfigcaption class=\"wp-caption-text\">‘Rabbit Hole’ by Kate Brody. \u003ccite>(Soho Crime)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A decade ago, Teddy Angstrom’s older sister Angie disappeared at age 18. When their father chooses suicide on the anniversary of Angie’s death, the now 26-year-old Teddy leaves the private school in Maine where she teaches English for home to sort out family matters with her grieving mother. Teddy discovers Mark Angstrom had grown obsessed with Reddit boards about true crime, some of them specifically about Angie’s case.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13955214","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Her initial look at the discussions soon turns into an obsession equaling her father’s, one that will pull her into the orbit of 19-year-old Mickey, a local college student with multiple tattoos and perhaps multiple motives for the assistance she gives Teddy. The weird friendship these women create reflects the darkness into which Teddy descends, continuing her addiction to the internet as she develops an addiction to alcohol, and accidentally outing herself as Angie’s sister to the various members of the Reddit boards.\u003c/p>\n\u003cp>Brody wisely builds the suspense around Teddy’s dissolution and paranoia, rather than focusing on the details of Angie’s fate, creating an atmosphere so suffocating and panicky that readers will feel the effects of loss, grief, and confusion as surely as if they were inside Teddy’s very smart and once better-adjusted mind. Teddy’s longing not just for her sister’s survival but for their ability to share life as 20-somethings marks her more indelibly than Mickey’s body ink.\u003c/p>\n\u003ch3>‘The Berlin Letters’ by Katherine Reay\u003c/h3>\n\u003cfigure id=\"attachment_13956158\" class=\"wp-caption aligncenter\" style=\"max-width: 820px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956158\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.49.15-PM.png\" alt=\"A book cover depicting a woman dressed in conservative 1980s-era clothing stands, arms folded in front of a small yellow car and a wall of graffiti.\" width=\"820\" height=\"1212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.49.15-PM.png 820w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.49.15-PM-800x1182.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.49.15-PM-160x236.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-17-at-2.49.15-PM-768x1135.png 768w\" sizes=\"(max-width: 820px) 100vw, 820px\">\u003cfigcaption class=\"wp-caption-text\">‘The Berlin Letters’ by Katherine Reay. \u003ccite>(Harper Muse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Brilliant cryptographer Luisa Voekler, whose talent was nurtured by her grandfather’s frequent code-based scavenger hunts, wants to move up in the CIA, but finds her career sidelined in the late 1980s as she translates World War II documents. One day she recognizes a tiny symbol that will lead her down a dangerous path. Her discovery involves her father, Haris, who remains in the East Berlin his family left in 1961 as the East German government put up a wall dividing the city.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13955156","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Reay has written a number of novels based on Brontë and Austen characters, as well as a couple of lighthearted looks at women’s friendships in Illinois, but in 2021 she turned to darker territory, setting books about spycraft in London, Moscow — and now Berlin and Washington, D.C. The cover of \u003cem>The Berlin Letters\u003c/em> announces both its relatively recent time period, with the figure of a young woman dressed in contemporary clothing, yet also nods to the singularity of modern Berlin, with a backdrop of the Wall covered in graffiti and the trunk of an iconic East German Trabant or “Trabi” auto (known for being constructed from lightweight resin).\u003c/p>\n\u003cp>The author knows East and West Berlin inside out, discussing details like the houses on Bernauer Strasse that allowed inhabitants, for a time, to easily defect simply by walking out of their front doors. However, those details never overwhelm a fast-paced story told by father and daughter from their different vantage points, as Luisa learns the truth of her past, and both stories reach the shocking, history-making night when The Berlin Wall fell on Nov. 9, 1989.\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>Bethanne Patrick is a freelance writer and critic who tweets \u003c/em>\u003ca href=\"https://twitter.com/thebookmaven\">\u003cem>@TheBookMaven\u003c/em>\u003c/a>\u003cem> and hosts the podcast Missing Pages.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=5+new+mysteries+and+thrillers+for+your+nightstand+this+spring&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956128/best-mysteries-and-thriller-novels-spring-2024","authors":["byline_arts_13956128"],"programs":["arts_140"],"categories":["arts_1","arts_73","arts_835"],"tags":["arts_5221","arts_769","arts_585","arts_11718"],"affiliates":["arts_137"],"featImg":"arts_13956129","label":"arts_140"},"arts_13956575":{"type":"posts","id":"arts_13956575","meta":{"index":"posts_1591205157","site":"arts","id":"13956575","found":true},"guestAuthors":[],"slug":"sfmoma-workers-open-letter-palestinians-gaza-pacbi","title":"SFMOMA Workers Urge the Museum to Support Palestinians in an Open Letter","publishDate":1713983603,"format":"standard","headTitle":"SFMOMA Workers Urge the Museum to Support Palestinians in an Open Letter | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>On Wednesday morning, a group of workers at the San Francisco Museum of Modern Art (SFMOMA) published \u003ca href=\"https://dearsfmoma.com/\">an open letter\u003c/a> to museum leadership, urging them to take a public stance in solidarity with Palestinians and join a boycott of Israeli institutions.\u003c/p>\n\u003cp>“We write as San Francisco Museum of Modern Art employees, in the absence of any statement from our institution’s leadership, to affirm our solidarity with the Palestinian people as they confront decades of violent oppression and apartheid and to condemn Israel’s devastating and ongoing siege of Gaza,” opens the letter addressed to Director Chris Bedford, the board of trustees and the executive committee.\u003c/p>\n\u003cp>The letter cites SFMOMA’s previous statements on diversity, equity and inclusion; in 2021, the museum published a statement that reads “museums and cultural organizations are not (and shout not be) neutral.” Arguing that SFMOMA leadership’s silence on the humanitarian crisis in Gaza undermines their stated values, the employees wrote, “We believe the museum is losing credibility and relevance as a result.”\u003c/p>\n\u003cp>The letter asks SFMOMA to adopt four commitments: give a platform to Palestinian voices in commissions, collaborations and exhibitions, and vow not to censor pro-Palestinian work; create space for internal dialogue; call for an immediate and permanent ceasefire; and join the \u003ca href=\"https://bdsmovement.net/pacbi\">Palestinian Campaign for the Academic and Cultural Boycott of Israel\u003c/a> (PACBI).\u003c/p>\n\u003cp>PACBI is part of the Boycott, Divestment, Sanctions movement, which calls for a boycott of Israeli institutions until its government ends its siege and occupation of Gaza and the West Bank, gives equal rights to ethnically Palestinian citizens of Israel and allows Palestinian refugees to return to their homelands. The SFMOMA workers’ letter underscores that PACBI is not a boycott of individuals based on their identity, and that the workers also stand against antisemitism.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>KQED spoke with an SFMOMA worker who contributed to the letter, who asked that their name be withheld out of retaliation concerns. “We have been seeing unprecedented levels of censorship and cancellation across the art world,” the employee said. “We’ve seen shows of Palestinian artists canceled. We’ve seen shows and talks and panels of those supporting Palestinian resistance canceled. This quashes the opportunity for public to hear a diversity of perspectives, and I think it’s the duty of cultural workers to question why that is happening and then push back against it.”\u003c/p>\n\u003cp>SFMOMA’s director of communications did not respond to KQED’s requests for comment as of publication time.\u003c/p>\n\u003cp>SFMOMA workers are joining an international wave of artists and arts workers protesting in solidarity with Palestinians. In New York, Museum of Modern Art workers sent a similar letter to their leadership in February, as did those at the Met and the Brooklyn Museum. [aside postid='arts_13955613,arts_13954119']\u003c/p>\n\u003cp>Earlier this month, a block away from SFMOMA at the Contemporary Jewish Museum, a group of \u003ca href=\"https://www.kqed.org/arts/13955613/pro-palestinian-jewish-artists-withdraw-from-contemporary-jewish-museum-exhibit\">pro-Palestinian Jewish artists pulled out of a group exhibition\u003c/a> in protest after museum leaders declined to join PACBI and meet other demands. Yerba Buena Center for the Arts, across the street from SFMOMA, has been \u003ca href=\"https://www.kqed.org/arts/13954119/an-embattled-ybca-to-reopen-amid-censorship-accusations-ceos-resignation\">embroiled in censorship accusations\u003c/a> ever since the museum shut down for a month following a \u003ca href=\"https://www.kqed.org/arts/13952460/artists-deface-work-ybca-pro-palestine-protest\">February pro-Palestinian demonstration\u003c/a>, during which artists added protest messages to their exhibited works.\u003c/p>\n\u003cp>While most large arts institutions in the Bay Area and nationwide have been hesitant to make statements on the humanitarian crisis Gaza, several smaller organizations have \u003ca href=\"https://docs.google.com/document/d/1VZAto1GFIWTYvyrxsXymfvQpmADtHAH_RwsSc5JXNk4/edit\">vowed to join PACBI\u003c/a>, including experimental music venue The Lab and art space Galería de la Raza in San Francisco, and drag festival Oaklash and art center Eastside Arts Alliance in Oakland.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As of publication time, nearly 200 people have signed the SFMOMA workers’ letter, including artists, museum patrons and 50 current employees.\u003c/p>\n\n","blocks":[],"excerpt":"The letter calls on the museum to join an academic and cultural boycott of Israeli institutions. ","status":"publish","parent":0,"modified":1714002413,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":642},"headData":{"title":"SFMOMA Workers Urge Museum to Support Palestinians in Letter | KQED","description":"The letter calls on the museum to join an academic and cultural boycott of Israeli institutions. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","socialTitle":"SFMOMA Workers Urge Museum to Support Palestinians in Letter %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"SFMOMA Workers Urge the Museum to Support Palestinians in an Open Letter","datePublished":"2024-04-24T18:33:23.000Z","dateModified":"2024-04-24T23:46:53.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13956575","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13956575/sfmoma-workers-open-letter-palestinians-gaza-pacbi","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Wednesday morning, a group of workers at the San Francisco Museum of Modern Art (SFMOMA) published \u003ca href=\"https://dearsfmoma.com/\">an open letter\u003c/a> to museum leadership, urging them to take a public stance in solidarity with Palestinians and join a boycott of Israeli institutions.\u003c/p>\n\u003cp>“We write as San Francisco Museum of Modern Art employees, in the absence of any statement from our institution’s leadership, to affirm our solidarity with the Palestinian people as they confront decades of violent oppression and apartheid and to condemn Israel’s devastating and ongoing siege of Gaza,” opens the letter addressed to Director Chris Bedford, the board of trustees and the executive committee.\u003c/p>\n\u003cp>The letter cites SFMOMA’s previous statements on diversity, equity and inclusion; in 2021, the museum published a statement that reads “museums and cultural organizations are not (and shout not be) neutral.” Arguing that SFMOMA leadership’s silence on the humanitarian crisis in Gaza undermines their stated values, the employees wrote, “We believe the museum is losing credibility and relevance as a result.”\u003c/p>\n\u003cp>The letter asks SFMOMA to adopt four commitments: give a platform to Palestinian voices in commissions, collaborations and exhibitions, and vow not to censor pro-Palestinian work; create space for internal dialogue; call for an immediate and permanent ceasefire; and join the \u003ca href=\"https://bdsmovement.net/pacbi\">Palestinian Campaign for the Academic and Cultural Boycott of Israel\u003c/a> (PACBI).\u003c/p>\n\u003cp>PACBI is part of the Boycott, Divestment, Sanctions movement, which calls for a boycott of Israeli institutions until its government ends its siege and occupation of Gaza and the West Bank, gives equal rights to ethnically Palestinian citizens of Israel and allows Palestinian refugees to return to their homelands. The SFMOMA workers’ letter underscores that PACBI is not a boycott of individuals based on their identity, and that the workers also stand against antisemitism.\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>KQED spoke with an SFMOMA worker who contributed to the letter, who asked that their name be withheld out of retaliation concerns. “We have been seeing unprecedented levels of censorship and cancellation across the art world,” the employee said. “We’ve seen shows of Palestinian artists canceled. We’ve seen shows and talks and panels of those supporting Palestinian resistance canceled. This quashes the opportunity for public to hear a diversity of perspectives, and I think it’s the duty of cultural workers to question why that is happening and then push back against it.”\u003c/p>\n\u003cp>SFMOMA’s director of communications did not respond to KQED’s requests for comment as of publication time.\u003c/p>\n\u003cp>SFMOMA workers are joining an international wave of artists and arts workers protesting in solidarity with Palestinians. In New York, Museum of Modern Art workers sent a similar letter to their leadership in February, as did those at the Met and the Brooklyn Museum. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13955613,arts_13954119","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Earlier this month, a block away from SFMOMA at the Contemporary Jewish Museum, a group of \u003ca href=\"https://www.kqed.org/arts/13955613/pro-palestinian-jewish-artists-withdraw-from-contemporary-jewish-museum-exhibit\">pro-Palestinian Jewish artists pulled out of a group exhibition\u003c/a> in protest after museum leaders declined to join PACBI and meet other demands. Yerba Buena Center for the Arts, across the street from SFMOMA, has been \u003ca href=\"https://www.kqed.org/arts/13954119/an-embattled-ybca-to-reopen-amid-censorship-accusations-ceos-resignation\">embroiled in censorship accusations\u003c/a> ever since the museum shut down for a month following a \u003ca href=\"https://www.kqed.org/arts/13952460/artists-deface-work-ybca-pro-palestine-protest\">February pro-Palestinian demonstration\u003c/a>, during which artists added protest messages to their exhibited works.\u003c/p>\n\u003cp>While most large arts institutions in the Bay Area and nationwide have been hesitant to make statements on the humanitarian crisis Gaza, several smaller organizations have \u003ca href=\"https://docs.google.com/document/d/1VZAto1GFIWTYvyrxsXymfvQpmADtHAH_RwsSc5JXNk4/edit\">vowed to join PACBI\u003c/a>, including experimental music venue The Lab and art space Galería de la Raza in San Francisco, and drag festival Oaklash and art center Eastside Arts Alliance in Oakland.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As of publication time, nearly 200 people have signed the SFMOMA workers’ letter, including artists, museum patrons and 50 current employees.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956575/sfmoma-workers-open-letter-palestinians-gaza-pacbi","authors":["11387"],"categories":["arts_1","arts_235","arts_70"],"tags":["arts_10278","arts_10422","arts_8838","arts_1381"],"featImg":"arts_13956649","label":"arts"},"arts_13956615":{"type":"posts","id":"arts_13956615","meta":{"index":"posts_1591205157","site":"arts","id":"13956615","found":true},"guestAuthors":[],"slug":"east-bay-street-photographers-want-you-to-take-notice","title":"East Bay Street Photographers Want You to Take ‘Notice’","publishDate":1714072236,"format":"standard","headTitle":"East Bay Street Photographers Want You to Take ‘Notice’ | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>When photographers come together to show their work, the stories flow.\u003c/p>\n\u003cp>That’s sure to be the case at the Oakland Photo Workshop on Friday, May 3, as \u003ca href=\"https://www.instagram.com/camerasandcoffeeclub/\">the Oakland Street Photography Collective \u003c/a>and the \u003ca href=\"https://www.instagram.com/eastbayphotocollective/\">East Bay Photo Collective\u003c/a> host “NOTICE.” The event will feature work from top-tier Bay Area street photographers from the Oakland Street Photography Collective, and is curated by pablo circa and Demandre Ward (who are also members of the Oakland Street Photography Collective).\u003c/p>\n\u003cp>In addition to celebrating the visual art mounted on the walls of the community gallery space in Oakland’s Chinatown, the event will see the group releasing a new zine and partying to the sounds of a DJ set from \u003ca href=\"https://www.instagram.com/ovrkast/\" target=\"_blank\" rel=\"noopener\">OVRKAST\u003c/a>.\u003c/p>\n\u003cp>A social media post describing the show explains, “Through the lens of talented photographers, ‘NOTICE’ prompts us to reconsider our perspectives and appreciate the intricate details that often elude our attention.”\u003c/p>\n\u003cfigure id=\"attachment_13956624\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13956624 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EB-34-800x800.jpg\" alt=\"A person in a bucket hat and dress shirt hold up a printed photo of themselves. \" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EB-34-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EB-34-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EB-34-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EB-34-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EB-34-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EB-34-2048x2048.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EB-34-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An attendee at an East Bay Photo Collective event called “Swaptastic,” holds up a printed portrait of themselves. \u003ccite>(Malcolm Wallace)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On display that evening will be the artwork of photographers\u003ca href=\"https://www.instagram.com/rough_thesis/\" target=\"_blank\" rel=\"noopener\">\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/a>\u003ca href=\"https://www.instagram.com/pablocirca/\" target=\"_blank\" rel=\"noopener\">pablo circa\u003c/a>, \u003ca href=\"https://www.instagram.com/ruffdraft/\" target=\"_blank\" rel=\"noopener\">Brandon Ruffin\u003c/a>, \u003ca href=\"https://www.instagram.com/ariel_mason_/\" target=\"_blank\" rel=\"noopener\">Ariel Mason\u003c/a>, \u003ca href=\"https://www.instagram.com/bradleyfowl/\" target=\"_blank\" rel=\"noopener\">Bradley Fowl\u003c/a>, \u003ca href=\"https://www.instagram.com/elbooi/\" target=\"_blank\" rel=\"noopener\">Elvin Catley\u003c/a> \u003ca href=\"https://www.instagram.com/tareweezy/\" target=\"_blank\" rel=\"noopener\">Tare Sang\u003c/a>, \u003ca href=\"https://www.instagram.com/rudimarr/\" target=\"_blank\" rel=\"noopener\">Rudi Tcruz\u003c/a>, \u003ca href=\"https://www.instagram.com/dre.wick/\" target=\"_blank\" rel=\"noopener\">Demondre Ward \u003c/a>and \u003ca href=\"https://www.instagram.com/00hsh00t/\" target=\"_blank\" rel=\"noopener\">Kristian Salum\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/rough_thesis/\" target=\"_blank\" rel=\"noopener\">\u003cspan style=\"font-weight: 400\">Najee Tobin\u003c/span>\u003c/a>, whose art will also be showing, is part of the East Bay Photo Collective’s gallery team. A Vallejo-raised artist who focuses on portrait photography with elements of fine art, Tobin says the group’s work is an important part of the landscape for local photographers.\u003c/p>\n\u003cfigure id=\"attachment_13956623\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13956623 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-141-800x533.jpg\" alt=\"The five members of the East Bay Photo Collective pose for a photograph. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-141-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-141-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-141-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-141-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-141-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-141-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-141-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The East Bay Photo Collective (left to right: Jenny Sampson, Anita Gay, Najee Tobin, Jyoti Liggin, and Vince Donavan ). \u003ccite>(Malcolm Wallace)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“\u003cspan style=\"font-weight: 400\">It’s an easygoing, supportive space where you’re allowed to experiment,” Tobin says of the collective, pointing out the frequent barriers to entry — financial or otherwise — when it comes to doing photography in academia or the world of fine art. ” They just want to see the work, that’s what’s important to me.”\u003c/span>\u003c/p>\n\u003cp>The East Bay Photo Collective hosts workshops on specific photography topics throughout the year. The group also holds an annual gear sale, where cameras and accessories are donated, cleaned up and sold for a low price to aspiring photographers.\u003c/p>\n\u003cfigure id=\"attachment_13956622\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13956622 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-24-800x533.jpg\" alt=\"a black and white photo of a woman standing in a gallery looking at framed images mounted on a wall. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-24-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-24-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-24-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-24-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-24-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-24-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-24-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Aja Cooper, daughter of the late photographer Raymond Cooper, takes a look at her dad’s work. \u003ccite>(Malcolm Wallace)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Earlier this month the collective held a closing reception for an exhibition that featured photos from the archives of Raymond Cooper, the late Oakland photographer whose images of the Town during the ’70s and ’80s were \u003ca href=\"https://www.kqed.org/arts/13953013/raymond-cooper-oakland-photography-1970s-east-bay-photo-collective\" target=\"_blank\" rel=\"noopener\">rescued from a trash can in 2021\u003c/a>.\u003c/p>\n\u003cp>“I see a lot of my friends and fellow photographers in his archives,” says Tobin, reflecting on the event and Cooper’s work. “It was nice to see somebody celebrated for doing what we do.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘NOTICE,’ a show highlighting the work of the Oakland Street Photography Collective, takes place on Friday, May 3, from 6 p.m. to 9 p.m. at the Oakland Photo Workshop (312 8th Street, Oakland).\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"With a new show, a collective of Oakland's top-tier lens artists invites viewers to see beauty in the mundane.","status":"publish","parent":0,"modified":1714151007,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":530},"headData":{"title":"East Bay Street Photographers Want You to Take ‘Notice’ | KQED","description":"With a new show, a collective of Oakland's top-tier lens artists invites viewers to see beauty in the mundane.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"East Bay Street Photographers Want You to Take ‘Notice’","datePublished":"2024-04-25T19:10:36.000Z","dateModified":"2024-04-26T17:03:27.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprStoryId":"kqed-13956615","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13956615/east-bay-street-photographers-want-you-to-take-notice","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>When photographers come together to show their work, the stories flow.\u003c/p>\n\u003cp>That’s sure to be the case at the Oakland Photo Workshop on Friday, May 3, as \u003ca href=\"https://www.instagram.com/camerasandcoffeeclub/\">the Oakland Street Photography Collective \u003c/a>and the \u003ca href=\"https://www.instagram.com/eastbayphotocollective/\">East Bay Photo Collective\u003c/a> host “NOTICE.” The event will feature work from top-tier Bay Area street photographers from the Oakland Street Photography Collective, and is curated by pablo circa and Demandre Ward (who are also members of the Oakland Street Photography Collective).\u003c/p>\n\u003cp>In addition to celebrating the visual art mounted on the walls of the community gallery space in Oakland’s Chinatown, the event will see the group releasing a new zine and partying to the sounds of a DJ set from \u003ca href=\"https://www.instagram.com/ovrkast/\" target=\"_blank\" rel=\"noopener\">OVRKAST\u003c/a>.\u003c/p>\n\u003cp>A social media post describing the show explains, “Through the lens of talented photographers, ‘NOTICE’ prompts us to reconsider our perspectives and appreciate the intricate details that often elude our attention.”\u003c/p>\n\u003cfigure id=\"attachment_13956624\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13956624 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EB-34-800x800.jpg\" alt=\"A person in a bucket hat and dress shirt hold up a printed photo of themselves. \" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EB-34-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EB-34-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EB-34-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EB-34-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EB-34-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EB-34-2048x2048.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EB-34-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An attendee at an East Bay Photo Collective event called “Swaptastic,” holds up a printed portrait of themselves. \u003ccite>(Malcolm Wallace)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On display that evening will be the artwork of photographers\u003ca href=\"https://www.instagram.com/rough_thesis/\" target=\"_blank\" rel=\"noopener\">\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/a>\u003ca href=\"https://www.instagram.com/pablocirca/\" target=\"_blank\" rel=\"noopener\">pablo circa\u003c/a>, \u003ca href=\"https://www.instagram.com/ruffdraft/\" target=\"_blank\" rel=\"noopener\">Brandon Ruffin\u003c/a>, \u003ca href=\"https://www.instagram.com/ariel_mason_/\" target=\"_blank\" rel=\"noopener\">Ariel Mason\u003c/a>, \u003ca href=\"https://www.instagram.com/bradleyfowl/\" target=\"_blank\" rel=\"noopener\">Bradley Fowl\u003c/a>, \u003ca href=\"https://www.instagram.com/elbooi/\" target=\"_blank\" rel=\"noopener\">Elvin Catley\u003c/a> \u003ca href=\"https://www.instagram.com/tareweezy/\" target=\"_blank\" rel=\"noopener\">Tare Sang\u003c/a>, \u003ca href=\"https://www.instagram.com/rudimarr/\" target=\"_blank\" rel=\"noopener\">Rudi Tcruz\u003c/a>, \u003ca href=\"https://www.instagram.com/dre.wick/\" target=\"_blank\" rel=\"noopener\">Demondre Ward \u003c/a>and \u003ca href=\"https://www.instagram.com/00hsh00t/\" target=\"_blank\" rel=\"noopener\">Kristian Salum\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/rough_thesis/\" target=\"_blank\" rel=\"noopener\">\u003cspan style=\"font-weight: 400\">Najee Tobin\u003c/span>\u003c/a>, whose art will also be showing, is part of the East Bay Photo Collective’s gallery team. A Vallejo-raised artist who focuses on portrait photography with elements of fine art, Tobin says the group’s work is an important part of the landscape for local photographers.\u003c/p>\n\u003cfigure id=\"attachment_13956623\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13956623 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-141-800x533.jpg\" alt=\"The five members of the East Bay Photo Collective pose for a photograph. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-141-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-141-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-141-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-141-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-141-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-141-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-141-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The East Bay Photo Collective (left to right: Jenny Sampson, Anita Gay, Najee Tobin, Jyoti Liggin, and Vince Donavan ). \u003ccite>(Malcolm Wallace)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“\u003cspan style=\"font-weight: 400\">It’s an easygoing, supportive space where you’re allowed to experiment,” Tobin says of the collective, pointing out the frequent barriers to entry — financial or otherwise — when it comes to doing photography in academia or the world of fine art. ” They just want to see the work, that’s what’s important to me.”\u003c/span>\u003c/p>\n\u003cp>The East Bay Photo Collective hosts workshops on specific photography topics throughout the year. The group also holds an annual gear sale, where cameras and accessories are donated, cleaned up and sold for a low price to aspiring photographers.\u003c/p>\n\u003cfigure id=\"attachment_13956622\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13956622 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-24-800x533.jpg\" alt=\"a black and white photo of a woman standing in a gallery looking at framed images mounted on a wall. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-24-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-24-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-24-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-24-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-24-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-24-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/EBCO-FEB-24-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Aja Cooper, daughter of the late photographer Raymond Cooper, takes a look at her dad’s work. \u003ccite>(Malcolm Wallace)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Earlier this month the collective held a closing reception for an exhibition that featured photos from the archives of Raymond Cooper, the late Oakland photographer whose images of the Town during the ’70s and ’80s were \u003ca href=\"https://www.kqed.org/arts/13953013/raymond-cooper-oakland-photography-1970s-east-bay-photo-collective\" target=\"_blank\" rel=\"noopener\">rescued from a trash can in 2021\u003c/a>.\u003c/p>\n\u003cp>“I see a lot of my friends and fellow photographers in his archives,” says Tobin, reflecting on the event and Cooper’s work. “It was nice to see somebody celebrated for doing what we do.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘NOTICE,’ a show highlighting the work of the Oakland Street Photography Collective, takes place on Friday, May 3, from 6 p.m. to 9 p.m. at the Oakland Photo Workshop (312 8th Street, Oakland).\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956615/east-bay-street-photographers-want-you-to-take-notice","authors":["11491"],"programs":["arts_140"],"categories":["arts_1","arts_835","arts_70"],"tags":["arts_820","arts_11374","arts_8167","arts_10278","arts_1143","arts_822","arts_585"],"featImg":"arts_13956621","label":"arts_140"},"arts_13956246":{"type":"posts","id":"arts_13956246","meta":{"index":"posts_1591205157","site":"arts","id":"13956246","found":true},"guestAuthors":[],"slug":"the-stud-san-francisco-lgbtq-bar-reopening","title":"The Stud, SF's Oldest Queer Bar, Gears Up for a Grand Reopening","publishDate":1713551661,"format":"audio","headTitle":"The Stud, SF’s Oldest Queer Bar, Gears Up for a Grand Reopening | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>When \u003ca href=\"https://www.studsf.com/\">the Stud\u003c/a> closed its doors at the onset of the pandemic in 2020, its worker-owner collective vowed to one day return. After all, the legendary LGBTQ+ bar had been around in various incarnations since 1966, nurturing the weird, alternative and experimental pockets of queer performance in San Francisco ever since.\u003c/p>\n\u003cp>The Stud’s official reopening at its new South of Market location (1123-1125 Folsom Street) finally arrives this Saturday, April 20, with a \u003ca href=\"https://www.eventbrite.com/e/stud-time-machine-tickets-883890850327\">Stud Time Machine\u003c/a> party celebrating its different eras. After a blessing from the Sisters of Perpetual Indulgence, festivities kick off at 6 p.m. with a 1960s cowboy-themed DJ set and performance. Each hour of the party will be dedicated to a different decade (“The Disco Era,” “The Club Kid Era”), culminating with a look into the future at midnight. Among the entertainers are original disco DJ Steve Fabus, who’s been spinning since the ’70s; drag diva (and fashion designer to the drag stars) Glamamore, performing an homage to the late \u003ca href=\"https://www.kqed.org/arts/13929572/heklina-castro-memorial\">Heklina\u003c/a>’s beloved party T-Shack; and multi-hyphenate artist Honey Mahogany, a Stud co-owner deeply involved in San Francisco politics.\u003c/p>\n\u003cp>As the Stud gears up for its grand reopening, Mahogany spoke with KQED’s Adhiti Bandlamudi about what lies ahead in this new iteration of San Francisco’s oldest queer bar.\u003c/p>\n\u003cfigure id=\"attachment_13915269\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13915269\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56925_024_KQED_SFTransMarch_06242022-qut.jpg\" alt=\"\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56925_024_KQED_SFTransMarch_06242022-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56925_024_KQED_SFTransMarch_06242022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56925_024_KQED_SFTransMarch_06242022-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56925_024_KQED_SFTransMarch_06242022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56925_024_KQED_SFTransMarch_06242022-qut-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56925_024_KQED_SFTransMarch_06242022-qut-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Honey Mahogany speaks during a rally after the Trans March in San Francisco on June 24, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Adhiti Bandlamudi:\u003c/strong> The Stud has such a rich history, and the theme of tomorrow’s opening night party reflects that. Can you tell us more about that?\u003c/p>\n\u003cp>\u003cstrong>Honey Mahogany:\u003c/strong> The Stud first opened in 1966. It’s been the living room for so many people, not just in the neighborhood, but across the country. During the ’60s, it really started off as a leather bar, and then really became more of a Western bar. But it quickly evolved into a place where everyone felt welcome — whether it be women, queers, hair fairies or trans people. So many different groups and communities feel welcome at the Stud.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>My favorite story of the Stud is that during the ’60s … Huey Newton, who was one of the leaders of the Black Panther Party, made this incredible speech where he talked about building unity between the women’s movement and the LGBTQ movement. One of the first places that the LGBTQ Liberation Front and the Black Panther Party actually met was at the Stud.\u003c/p>\n\u003cp>\u003cstrong>The Stud has faced several closures in the past. And every time that idea became more of a reality, it sounds like community members who really care about the bar came together to keep it alive. In 2016, when the previous owner was going to retire, you and other artists, DJs and performers got together and started the Stud Collective. As I understand it, it’s one of the first co-op nightclubs in the country. How has this collective model made a difference as you get ready to open the state again?\u003c/strong>\u003c/p>\n\u003cp>It was sort of, I don’t want to say an act of desperation, but so many LGBTQ nightlife venues were closing all across the country, and especially here in San Francisco. LGBTQ venues were being priced out. Certainly, that was the case with the Stud, where the previous owner was just like, “I can’t afford to pay triple what I was paying in rent. So I can’t do this anymore.” And he really made a callout to the community, hoping that someone would come and save the Stud.\u003c/p>\n\u003cp>The Stud has always been kind of a dive bar \u003cspan style=\"font-weight: 400\">— \u003c/span>more of a community space than a big moneymaker. So a bunch of us who could not have afforded to buy the bar on our own \u003cspan style=\"font-weight: 400\">— \u003c/span>a group of 17 \u003cspan style=\"font-weight: 400\">—\u003c/span> worked to build the collective, set up a system of rules, come up with a plan for how we were going to save the Stud, and we were successful.\u003c/p>\n\u003cp>I won’t say that it was easy. It was lots of long nights, lots of arguments, lots of personalities and ideas. But ultimately, I do think that having collective ownership of a space like the Stud is really important because it ensures that the space remains open.\u003c/p>\n\u003cfigure id=\"attachment_13880908\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13880908\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/First-Stud-gay-pride-float-.jpg\" alt=\"\" width=\"720\" height=\"518\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/First-Stud-gay-pride-float-.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/First-Stud-gay-pride-float--160x115.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">The Stud’s first Pride float in 1974. \u003ccite>(Courtesy of The Stud)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>I’m curious to understand more about that journey, especially because of COVID and the aftereffects of it. What has that journey been like?\u003c/strong>\u003c/p>\n\u003cp>COVID was a real bummer.\u003c/p>\n\u003cp>\u003cstrong>To say the least. \u003c/strong>[aside postid='arts_13936556']\u003c/p>\n\u003cp>We actually shut down relatively early, because we didn’t know what was going to happen or how soon we were going to open up. We also knew that we couldn’t afford to keep going. Actually, we did not go completely dark. We very quickly hopped online, hosting drag shows and DJ parties on the weekends, so people could safely enjoy performance art and drag and music from their own homes.\u003c/p>\n\u003cp>\u003cstrong>There’s also been some fundraising that’s been going on. \u003ca href=\"https://givebutter.com/c/Stud2024\">The crowdfunding goal\u003c/a> is $500,000, and last I checked, like $74,000 had been donated. And people are still donating.\u003c/strong>\u003c/p>\n\u003cp>The crowdfunding is just one part of where we’ve been raising money. We’ve been raising money through other spaces as well — selling some assets and things like that. And so right now we’re just above $425,000 that we’ve been able to pull together. So that leaves about $75,000 left that we have to raise. And we are really excited, because it’s enabled us to get this far.\u003c/p>\n\u003cfigure id=\"attachment_13880907\" class=\"wp-caption aligncenter\" style=\"max-width: 655px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13880907\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/The-Stud-1991-photo-by-Melissa-Hawkins.jpg\" alt=\"A black-and-white photo of a drag queen nun and two mustached men partying.\" width=\"655\" height=\"434\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/The-Stud-1991-photo-by-Melissa-Hawkins.jpg 655w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/The-Stud-1991-photo-by-Melissa-Hawkins-160x106.jpg 160w\" sizes=\"(max-width: 655px) 100vw, 655px\">\u003cfigcaption class=\"wp-caption-text\">Partygoers at the Stud, including a Sister of Perpetual Indulgence, in 1991. \u003ccite>(Melissa Hawkins)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But that $75,000 is going to be really key into seeing the longevity of the Stud, and also to really make the Stud what it used to be, which was not just a dance bar or a dance space, but also a place where there were epic, life-changing performances.\u003c/p>\n\u003cp>The space that we’ve taken over now is so cool, but it is not a performance space. We’ve got two separate bar areas and dance floors. But we do not have a stage. We do not have a dressing room. We do not have an area for the performers to be able to use the restroom and get changed and all of that stuff. So we want to take out the industrial kitchen that takes up a quarter of the bar currently, convert that into dressing rooms and bathrooms for the performers, and then also build out a stage so that we can bring back those epic Stud drag shows.\u003c/p>\n\u003cp>One of the ways in which we are incentivizing people to help us get to that $500,000 goal is we have the Stud’s opening night party this Saturday. We released tickets on Monday and, within six minutes, all sold out. There will be some tickets at the door. But folks are definitely planning on getting there early. [aside postid='arts_13953497']\u003c/p>\n\u003cp>\u003cstrong>The new Stud won’t just be a nightclub, right? There are plans to include a school that will teach the art of drag. Can you tell me more about that?\u003c/strong>\u003c/p>\n\u003cp>We are planning on opening the drag school. It’s going to be a collaboration between the Stud and CounterPulse. It’s going to be a bit of an interesting model because a lot of the classes will probably be off-site. But we are definitely going to train people in the art of drag, help them get their starts, provide them with mentors, bring specialists in — costuming, makeup, hair and performance and dance — and really give them the tools that they need to be successful.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The Stud is located at 1123-1125 Folsom Street. \u003ca href=\"https://www.eventbrite.com/e/stud-time-machine-tickets-883890850327\">The Stud Time Machine\u003c/a> reopening party begins at 5:30 p.m. on April 20. \u003ca href=\"https://www.instagram.com/studsf\">Follow the Stud on Instagram\u003c/a> for updates on business hours and future events.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The historic bar's new SoMa location debuts with a time machine-themed party celebrating its different eras.","status":"publish","parent":0,"modified":1713559167,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":24,"wordCount":1384},"headData":{"title":"The Stud, SF's Oldest Queer Bar, Gears Up for a Grand Reopening | KQED","description":"The historic bar's new SoMa location debuts with a time machine-themed party celebrating its different eras.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Stud, SF's Oldest Queer Bar, Gears Up for a Grand Reopening","datePublished":"2024-04-19T18:34:21.000Z","dateModified":"2024-04-19T20:39:27.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-41c5-bcaf-aaef00f5a073/7fc79c25-862e-45d6-a298-b157011425d9/audio.mp3","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13956246/the-stud-san-francisco-lgbtq-bar-reopening","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>When \u003ca href=\"https://www.studsf.com/\">the Stud\u003c/a> closed its doors at the onset of the pandemic in 2020, its worker-owner collective vowed to one day return. After all, the legendary LGBTQ+ bar had been around in various incarnations since 1966, nurturing the weird, alternative and experimental pockets of queer performance in San Francisco ever since.\u003c/p>\n\u003cp>The Stud’s official reopening at its new South of Market location (1123-1125 Folsom Street) finally arrives this Saturday, April 20, with a \u003ca href=\"https://www.eventbrite.com/e/stud-time-machine-tickets-883890850327\">Stud Time Machine\u003c/a> party celebrating its different eras. After a blessing from the Sisters of Perpetual Indulgence, festivities kick off at 6 p.m. with a 1960s cowboy-themed DJ set and performance. Each hour of the party will be dedicated to a different decade (“The Disco Era,” “The Club Kid Era”), culminating with a look into the future at midnight. Among the entertainers are original disco DJ Steve Fabus, who’s been spinning since the ’70s; drag diva (and fashion designer to the drag stars) Glamamore, performing an homage to the late \u003ca href=\"https://www.kqed.org/arts/13929572/heklina-castro-memorial\">Heklina\u003c/a>’s beloved party T-Shack; and multi-hyphenate artist Honey Mahogany, a Stud co-owner deeply involved in San Francisco politics.\u003c/p>\n\u003cp>As the Stud gears up for its grand reopening, Mahogany spoke with KQED’s Adhiti Bandlamudi about what lies ahead in this new iteration of San Francisco’s oldest queer bar.\u003c/p>\n\u003cfigure id=\"attachment_13915269\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13915269\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56925_024_KQED_SFTransMarch_06242022-qut.jpg\" alt=\"\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56925_024_KQED_SFTransMarch_06242022-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56925_024_KQED_SFTransMarch_06242022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56925_024_KQED_SFTransMarch_06242022-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56925_024_KQED_SFTransMarch_06242022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56925_024_KQED_SFTransMarch_06242022-qut-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/RS56925_024_KQED_SFTransMarch_06242022-qut-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Honey Mahogany speaks during a rally after the Trans March in San Francisco on June 24, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Adhiti Bandlamudi:\u003c/strong> The Stud has such a rich history, and the theme of tomorrow’s opening night party reflects that. Can you tell us more about that?\u003c/p>\n\u003cp>\u003cstrong>Honey Mahogany:\u003c/strong> The Stud first opened in 1966. It’s been the living room for so many people, not just in the neighborhood, but across the country. During the ’60s, it really started off as a leather bar, and then really became more of a Western bar. But it quickly evolved into a place where everyone felt welcome — whether it be women, queers, hair fairies or trans people. So many different groups and communities feel welcome at the Stud.\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>My favorite story of the Stud is that during the ’60s … Huey Newton, who was one of the leaders of the Black Panther Party, made this incredible speech where he talked about building unity between the women’s movement and the LGBTQ movement. One of the first places that the LGBTQ Liberation Front and the Black Panther Party actually met was at the Stud.\u003c/p>\n\u003cp>\u003cstrong>The Stud has faced several closures in the past. And every time that idea became more of a reality, it sounds like community members who really care about the bar came together to keep it alive. In 2016, when the previous owner was going to retire, you and other artists, DJs and performers got together and started the Stud Collective. As I understand it, it’s one of the first co-op nightclubs in the country. How has this collective model made a difference as you get ready to open the state again?\u003c/strong>\u003c/p>\n\u003cp>It was sort of, I don’t want to say an act of desperation, but so many LGBTQ nightlife venues were closing all across the country, and especially here in San Francisco. LGBTQ venues were being priced out. Certainly, that was the case with the Stud, where the previous owner was just like, “I can’t afford to pay triple what I was paying in rent. So I can’t do this anymore.” And he really made a callout to the community, hoping that someone would come and save the Stud.\u003c/p>\n\u003cp>The Stud has always been kind of a dive bar \u003cspan style=\"font-weight: 400\">— \u003c/span>more of a community space than a big moneymaker. So a bunch of us who could not have afforded to buy the bar on our own \u003cspan style=\"font-weight: 400\">— \u003c/span>a group of 17 \u003cspan style=\"font-weight: 400\">—\u003c/span> worked to build the collective, set up a system of rules, come up with a plan for how we were going to save the Stud, and we were successful.\u003c/p>\n\u003cp>I won’t say that it was easy. It was lots of long nights, lots of arguments, lots of personalities and ideas. But ultimately, I do think that having collective ownership of a space like the Stud is really important because it ensures that the space remains open.\u003c/p>\n\u003cfigure id=\"attachment_13880908\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13880908\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/First-Stud-gay-pride-float-.jpg\" alt=\"\" width=\"720\" height=\"518\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/First-Stud-gay-pride-float-.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/First-Stud-gay-pride-float--160x115.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">The Stud’s first Pride float in 1974. \u003ccite>(Courtesy of The Stud)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>I’m curious to understand more about that journey, especially because of COVID and the aftereffects of it. What has that journey been like?\u003c/strong>\u003c/p>\n\u003cp>COVID was a real bummer.\u003c/p>\n\u003cp>\u003cstrong>To say the least. \u003c/strong>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13936556","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>We actually shut down relatively early, because we didn’t know what was going to happen or how soon we were going to open up. We also knew that we couldn’t afford to keep going. Actually, we did not go completely dark. We very quickly hopped online, hosting drag shows and DJ parties on the weekends, so people could safely enjoy performance art and drag and music from their own homes.\u003c/p>\n\u003cp>\u003cstrong>There’s also been some fundraising that’s been going on. \u003ca href=\"https://givebutter.com/c/Stud2024\">The crowdfunding goal\u003c/a> is $500,000, and last I checked, like $74,000 had been donated. And people are still donating.\u003c/strong>\u003c/p>\n\u003cp>The crowdfunding is just one part of where we’ve been raising money. We’ve been raising money through other spaces as well — selling some assets and things like that. And so right now we’re just above $425,000 that we’ve been able to pull together. So that leaves about $75,000 left that we have to raise. And we are really excited, because it’s enabled us to get this far.\u003c/p>\n\u003cfigure id=\"attachment_13880907\" class=\"wp-caption aligncenter\" style=\"max-width: 655px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13880907\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/The-Stud-1991-photo-by-Melissa-Hawkins.jpg\" alt=\"A black-and-white photo of a drag queen nun and two mustached men partying.\" width=\"655\" height=\"434\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/The-Stud-1991-photo-by-Melissa-Hawkins.jpg 655w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/The-Stud-1991-photo-by-Melissa-Hawkins-160x106.jpg 160w\" sizes=\"(max-width: 655px) 100vw, 655px\">\u003cfigcaption class=\"wp-caption-text\">Partygoers at the Stud, including a Sister of Perpetual Indulgence, in 1991. \u003ccite>(Melissa Hawkins)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But that $75,000 is going to be really key into seeing the longevity of the Stud, and also to really make the Stud what it used to be, which was not just a dance bar or a dance space, but also a place where there were epic, life-changing performances.\u003c/p>\n\u003cp>The space that we’ve taken over now is so cool, but it is not a performance space. We’ve got two separate bar areas and dance floors. But we do not have a stage. We do not have a dressing room. We do not have an area for the performers to be able to use the restroom and get changed and all of that stuff. So we want to take out the industrial kitchen that takes up a quarter of the bar currently, convert that into dressing rooms and bathrooms for the performers, and then also build out a stage so that we can bring back those epic Stud drag shows.\u003c/p>\n\u003cp>One of the ways in which we are incentivizing people to help us get to that $500,000 goal is we have the Stud’s opening night party this Saturday. We released tickets on Monday and, within six minutes, all sold out. There will be some tickets at the door. But folks are definitely planning on getting there early. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13953497","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>The new Stud won’t just be a nightclub, right? There are plans to include a school that will teach the art of drag. Can you tell me more about that?\u003c/strong>\u003c/p>\n\u003cp>We are planning on opening the drag school. It’s going to be a collaboration between the Stud and CounterPulse. It’s going to be a bit of an interesting model because a lot of the classes will probably be off-site. But we are definitely going to train people in the art of drag, help them get their starts, provide them with mentors, bring specialists in — costuming, makeup, hair and performance and dance — and really give them the tools that they need to be successful.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The Stud is located at 1123-1125 Folsom Street. \u003ca href=\"https://www.eventbrite.com/e/stud-time-machine-tickets-883890850327\">The Stud Time Machine\u003c/a> reopening party begins at 5:30 p.m. on April 20. \u003ca href=\"https://www.instagram.com/studsf\">Follow the Stud on Instagram\u003c/a> for updates on business hours and future events.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956246/the-stud-san-francisco-lgbtq-bar-reopening","authors":["11387","11672"],"categories":["arts_1","arts_235"],"tags":["arts_10278","arts_3226","arts_5351","arts_1146"],"featImg":"arts_13934323","label":"arts"},"arts_13956017":{"type":"posts","id":"arts_13956017","meta":{"index":"posts_1591205157","site":"arts","id":"13956017","found":true},"guestAuthors":[],"slug":"poc-food-festival-san-francisco-berkeley","title":"A New Bay Area Food Festival Celebrates Chefs of Color and Diasporic Unity","publishDate":1714149075,"format":"standard","headTitle":"A New Bay Area Food Festival Celebrates Chefs of Color and Diasporic Unity | KQED","labelTerm":{},"content":"\u003cp>You’re at a food and wine festival in the Bay Area. But instead of the usual Chardonnay and chicken pairing, you’re drinking arak — an anise seed–based Palestinian spirit — and eating hearty Ethiopian sambussas in a space that is designated for diasporic, cross-communal celebration.\u003c/p>\n\u003cp>You might sip on \u003ca href=\"https://www.instagram.com/drinkkace/\">a Filipino and Taiwanese tea\u003c/a> founded by a group of local college students while enjoying bites from \u003ca href=\"https://www.kqed.org/event/1610\">Chef Nelson German — the Dominican savant behind Oakland’s alaMar and Sobre Mesa\u003c/a>. And since true nourishment requires more than just food and beverages, you can sneak off for a CBD sound bath, or keep your energy balanced at an R&B Soul Lounge, before returning for the afterparty.\u003c/p>\n\u003cp>That’s a snippet of the vision that San Francisco event organizer Gina Mariko Rosales has in mind for the first-ever \u003ca href=\"https://www.pocfoodandwine.com/\">POC Food and Wine Festival\u003c/a>.\u003c/p>\n\u003cp>“We want people to know up front that it’s a diverse space, and you’re welcome here,” Rosales says. “We’re already battling in the wine space. It doesn’t feel comfortable or safe for some people, and I knew I needed to create and name it so people would feel it’s a space for them. This is a celebration of the global majority. You gotta have big balls to do this shit. It’s not an easy feat.”\u003c/p>\n\u003cp>Having co-founded UNDISCOVERED SF’s Creative Night Market in SOMA Pilipinas, and with nearly a decade of experience working as an event specialist with Google, Rosales believes she has the savvy and background to execute such an ambitious three-day festival.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I had a huge desire to build a multicultural space to come together and meet each other, share resources, create collaborations that didn’t exist and expand our reach and make it bigger than any one cultural group. We need a space to come together,” she continues.\u003c/p>\n\u003cfigure id=\"attachment_13956309\" class=\"wp-caption alignnone\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956309\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ginamariko-pocfoodandwine-3.jpg\" alt=\"A woman in a red jacket stands before a lavish spread of drinks, appetizers and flowers.\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ginamariko-pocfoodandwine-3.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ginamariko-pocfoodandwine-3-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ginamariko-pocfoodandwine-3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ginamariko-pocfoodandwine-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ginamariko-pocfoodandwine-3-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">The festival is the brainchild of San Francisco event planner Gina Mariko Rosales. \u003ccite>(Melissa De Mata)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In all, the bodacious festival will include seven events happening across two venues in Berkeley and San Francisco from Thursday, May 2, through Sunday, May 5 (with Friday, May 3, as an off-day). The inaugural festivities will comprise a who’s who of Bay Area foodmakers and small business owners of color, all gathered at one intentional table.\u003c/p>\n\u003cp>The festival will kick off with a “Palestinian Family Meal” featuring one of the Bay Area’s most notable Palestinian chefs in Reem Assil (of \u003ca href=\"https://www.instagram.com/reemscalifornia/\">Reem’s\u003c/a>). Assil’s dishes — an array of mezzes, flatbreads, sweets and more served for large group enjoyment — will be paired with\u003ca href=\"https://www.terahwineco.com/\"> Terah Wine Co.\u003c/a> and Terra Sancta, a local winemaker and an importer of Middle Eastern wines and arak, respectively.\u003c/p>\n\u003cp>The opening night dinner underscores a mindful awareness to serve more than just good food. Rosales believes it’s also an opportunity to empower, uplift and educate around the various, complex politics that different Bay Area groups — often working in solidarity — must combat.\u003c/p>\n\u003cfigure id=\"attachment_13956598\" class=\"wp-caption alignleft\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956598\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Alanna-Hale_ShishBarak_LambDumplings_021.jpg\" alt=\"A bowl of Palestinian lamb dumplings in yogurt sauce, presented in a pale yellow bowl.\" width=\"1920\" height=\"2259\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Alanna-Hale_ShishBarak_LambDumplings_021.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Alanna-Hale_ShishBarak_LambDumplings_021-800x941.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Alanna-Hale_ShishBarak_LambDumplings_021-1020x1200.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Alanna-Hale_ShishBarak_LambDumplings_021-160x188.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Alanna-Hale_ShishBarak_LambDumplings_021-768x904.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Alanna-Hale_ShishBarak_LambDumplings_021-1305x1536.jpg 1305w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Alanna-Hale_ShishBarak_LambDumplings_021-1741x2048.jpg 1741w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">For the festival’s Saturday main event, Reem’s will serve shish barak — lamb dumplings in yogurt sauce. \u003ccite>(Courtesy of Alanna Hale)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Food is an entryway to culture,” Rosales says. “Everyone wants good food. That’s how you get people in, and then it’s up to you to teach a lesson.”\u003c/p>\n\u003cp>Other festival highlights will include Saturday’s “Main Dish,” a palate-friendly carousel of curated food-and-wine pairings from 14 participating chefs. Featured dishes include \u003ca href=\"https://www.instagram.com/cheftudavidphu\">Chef Tu David Phu\u003c/a>’s banh khot (a rich Vietnamese pancake) with caviar and velarde truffle, \u003ca href=\"https://www.instagram.com/tacossincero\">Tacos Sincero\u003c/a>’s charred sweet potato tostada with lime aioli, and salsa verde, and \u003ca href=\"https://www.instagram.com/tartsdefeybesse/\">Tarts de Feybesse\u003c/a>’s iÎle flottante — floating meringue in a custardy creme anglaise, infused with flavors from the Philippines.\u003c/p>\n\u003cp>The concept is to expose festival goers with as many diverse foodmakers as possible from the Bay Area’s impressive scene.\u003c/p>\n\u003cp>“Putting Ethiopia and the greater continent of Africa on the culinary map has always been our mission,” a representative for one participant, Oakland’s \u003ca href=\"https://www.instagram.com/cafecolucci/\">Cafe Colucci\u003c/a>, told KQED via email. “This is an opportunity to show our greater Bay Area community the power and importance of our diverse food environment.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13954899,arts_13956178,arts_13929494']\u003c/span>A “Brown Is Beautiful” afterparty and a “Closing Family Meal” with \u003ca href=\"https://www.instagram.com/bigbadwolfsf/?hl=en\">Big Bad Wolf\u003c/a> — a popular cannabis-infused pop-up from first-generation Korean American chef Haeji Chun — will close out the festivities.\u003c/p>\n\u003cp>Think of that \u003ca href=\"https://www.youtube.com/watch?v=aQ1aEaRyR5A\">T.W.D.Y song, “Player’s Holiday”\u003c/a> — but add in lentil dips, old-world vino, DJs, marketplace vendors, diasporic snacks, CBD goods and botanicals distributed for and by people of color in an effort to heal and connect.\u003c/p>\n\u003cp>“The heart of what we want to get at with this festival is sharing culture. But this is also about Brown and Black joy,” says Rosales. “We need and deserve spaces where we are taken care of. We deserve nice things. We deserve beautiful experiences. We don’t always have to be struggling and hustling.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.pocfoodandwine.com/events/\">The POC Food and Wine Festival\u003c/a> will take place from Thursday, May 2, through Sunday, May 5, at \u003ca href=\"https://www.fouronenine.com/\">Four One Nine\u003c/a> (419 10th St.) in San Francisco and \u003ca href=\"https://cielcreativespace.com/\">Ciel Creative Space\u003c/a> (935 Carleton St.) in Berkeley. \u003ca href=\"https://www.pocfoodandwine.com/tickets/\">Sliding-scale ticket options\u003c/a> are available. Attendees can select single events, entire days, the complete weekend package or the VIP package, depending on their budgets.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The first-ever 'POC Food and Wine Festival' features an array of foodmakers, winemakers and merchants of color.","status":"publish","parent":0,"modified":1714168261,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":19,"wordCount":967},"headData":{"title":"A New Bay Area Food Festival Celebrates Chefs of Color and Diasporic Unity | KQED","description":"The first-ever 'POC Food and Wine Festival' features an array of foodmakers, winemakers and merchants of color.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"A New Bay Area Food Festival Celebrates Chefs of Color and Diasporic Unity","datePublished":"2024-04-26T16:31:15.000Z","dateModified":"2024-04-26T21:51:01.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Food","sourceUrl":"https://www.kqed.org/food","sticky":false,"nprStoryId":"kqed-13956017","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13956017/poc-food-festival-san-francisco-berkeley","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>You’re at a food and wine festival in the Bay Area. But instead of the usual Chardonnay and chicken pairing, you’re drinking arak — an anise seed–based Palestinian spirit — and eating hearty Ethiopian sambussas in a space that is designated for diasporic, cross-communal celebration.\u003c/p>\n\u003cp>You might sip on \u003ca href=\"https://www.instagram.com/drinkkace/\">a Filipino and Taiwanese tea\u003c/a> founded by a group of local college students while enjoying bites from \u003ca href=\"https://www.kqed.org/event/1610\">Chef Nelson German — the Dominican savant behind Oakland’s alaMar and Sobre Mesa\u003c/a>. And since true nourishment requires more than just food and beverages, you can sneak off for a CBD sound bath, or keep your energy balanced at an R&B Soul Lounge, before returning for the afterparty.\u003c/p>\n\u003cp>That’s a snippet of the vision that San Francisco event organizer Gina Mariko Rosales has in mind for the first-ever \u003ca href=\"https://www.pocfoodandwine.com/\">POC Food and Wine Festival\u003c/a>.\u003c/p>\n\u003cp>“We want people to know up front that it’s a diverse space, and you’re welcome here,” Rosales says. “We’re already battling in the wine space. It doesn’t feel comfortable or safe for some people, and I knew I needed to create and name it so people would feel it’s a space for them. This is a celebration of the global majority. You gotta have big balls to do this shit. It’s not an easy feat.”\u003c/p>\n\u003cp>Having co-founded UNDISCOVERED SF’s Creative Night Market in SOMA Pilipinas, and with nearly a decade of experience working as an event specialist with Google, Rosales believes she has the savvy and background to execute such an ambitious three-day festival.\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 had a huge desire to build a multicultural space to come together and meet each other, share resources, create collaborations that didn’t exist and expand our reach and make it bigger than any one cultural group. We need a space to come together,” she continues.\u003c/p>\n\u003cfigure id=\"attachment_13956309\" class=\"wp-caption alignnone\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956309\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ginamariko-pocfoodandwine-3.jpg\" alt=\"A woman in a red jacket stands before a lavish spread of drinks, appetizers and flowers.\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ginamariko-pocfoodandwine-3.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ginamariko-pocfoodandwine-3-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ginamariko-pocfoodandwine-3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ginamariko-pocfoodandwine-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/ginamariko-pocfoodandwine-3-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">The festival is the brainchild of San Francisco event planner Gina Mariko Rosales. \u003ccite>(Melissa De Mata)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In all, the bodacious festival will include seven events happening across two venues in Berkeley and San Francisco from Thursday, May 2, through Sunday, May 5 (with Friday, May 3, as an off-day). The inaugural festivities will comprise a who’s who of Bay Area foodmakers and small business owners of color, all gathered at one intentional table.\u003c/p>\n\u003cp>The festival will kick off with a “Palestinian Family Meal” featuring one of the Bay Area’s most notable Palestinian chefs in Reem Assil (of \u003ca href=\"https://www.instagram.com/reemscalifornia/\">Reem’s\u003c/a>). Assil’s dishes — an array of mezzes, flatbreads, sweets and more served for large group enjoyment — will be paired with\u003ca href=\"https://www.terahwineco.com/\"> Terah Wine Co.\u003c/a> and Terra Sancta, a local winemaker and an importer of Middle Eastern wines and arak, respectively.\u003c/p>\n\u003cp>The opening night dinner underscores a mindful awareness to serve more than just good food. Rosales believes it’s also an opportunity to empower, uplift and educate around the various, complex politics that different Bay Area groups — often working in solidarity — must combat.\u003c/p>\n\u003cfigure id=\"attachment_13956598\" class=\"wp-caption alignleft\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956598\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Alanna-Hale_ShishBarak_LambDumplings_021.jpg\" alt=\"A bowl of Palestinian lamb dumplings in yogurt sauce, presented in a pale yellow bowl.\" width=\"1920\" height=\"2259\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Alanna-Hale_ShishBarak_LambDumplings_021.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Alanna-Hale_ShishBarak_LambDumplings_021-800x941.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Alanna-Hale_ShishBarak_LambDumplings_021-1020x1200.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Alanna-Hale_ShishBarak_LambDumplings_021-160x188.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Alanna-Hale_ShishBarak_LambDumplings_021-768x904.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Alanna-Hale_ShishBarak_LambDumplings_021-1305x1536.jpg 1305w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Alanna-Hale_ShishBarak_LambDumplings_021-1741x2048.jpg 1741w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">For the festival’s Saturday main event, Reem’s will serve shish barak — lamb dumplings in yogurt sauce. \u003ccite>(Courtesy of Alanna Hale)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Food is an entryway to culture,” Rosales says. “Everyone wants good food. That’s how you get people in, and then it’s up to you to teach a lesson.”\u003c/p>\n\u003cp>Other festival highlights will include Saturday’s “Main Dish,” a palate-friendly carousel of curated food-and-wine pairings from 14 participating chefs. Featured dishes include \u003ca href=\"https://www.instagram.com/cheftudavidphu\">Chef Tu David Phu\u003c/a>’s banh khot (a rich Vietnamese pancake) with caviar and velarde truffle, \u003ca href=\"https://www.instagram.com/tacossincero\">Tacos Sincero\u003c/a>’s charred sweet potato tostada with lime aioli, and salsa verde, and \u003ca href=\"https://www.instagram.com/tartsdefeybesse/\">Tarts de Feybesse\u003c/a>’s iÎle flottante — floating meringue in a custardy creme anglaise, infused with flavors from the Philippines.\u003c/p>\n\u003cp>The concept is to expose festival goers with as many diverse foodmakers as possible from the Bay Area’s impressive scene.\u003c/p>\n\u003cp>“Putting Ethiopia and the greater continent of Africa on the culinary map has always been our mission,” a representative for one participant, Oakland’s \u003ca href=\"https://www.instagram.com/cafecolucci/\">Cafe Colucci\u003c/a>, told KQED via email. “This is an opportunity to show our greater Bay Area community the power and importance of our diverse food environment.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13954899,arts_13956178,arts_13929494","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/span>A “Brown Is Beautiful” afterparty and a “Closing Family Meal” with \u003ca href=\"https://www.instagram.com/bigbadwolfsf/?hl=en\">Big Bad Wolf\u003c/a> — a popular cannabis-infused pop-up from first-generation Korean American chef Haeji Chun — will close out the festivities.\u003c/p>\n\u003cp>Think of that \u003ca href=\"https://www.youtube.com/watch?v=aQ1aEaRyR5A\">T.W.D.Y song, “Player’s Holiday”\u003c/a> — but add in lentil dips, old-world vino, DJs, marketplace vendors, diasporic snacks, CBD goods and botanicals distributed for and by people of color in an effort to heal and connect.\u003c/p>\n\u003cp>“The heart of what we want to get at with this festival is sharing culture. But this is also about Brown and Black joy,” says Rosales. “We need and deserve spaces where we are taken care of. We deserve nice things. We deserve beautiful experiences. We don’t always have to be struggling and hustling.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.pocfoodandwine.com/events/\">The POC Food and Wine Festival\u003c/a> will take place from Thursday, May 2, through Sunday, May 5, at \u003ca href=\"https://www.fouronenine.com/\">Four One Nine\u003c/a> (419 10th St.) in San Francisco and \u003ca href=\"https://cielcreativespace.com/\">Ciel Creative Space\u003c/a> (935 Carleton St.) in Berkeley. \u003ca href=\"https://www.pocfoodandwine.com/tickets/\">Sliding-scale ticket options\u003c/a> are available. Attendees can select single events, entire days, the complete weekend package or the VIP package, depending on their budgets.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956017/poc-food-festival-san-francisco-berkeley","authors":["11748"],"programs":["arts_140"],"categories":["arts_1","arts_835","arts_12276"],"tags":["arts_2438","arts_4672","arts_1270","arts_21727","arts_10278","arts_22068","arts_2855","arts_1297","arts_1720","arts_14985","arts_21682","arts_1146","arts_585"],"featImg":"arts_13956601","label":"source_arts_13956017"},"arts_13956667":{"type":"posts","id":"arts_13956667","meta":{"index":"posts_1591205157","site":"arts","id":"13956667","found":true},"guestAuthors":[],"slug":"weinstein-overturned-conviction-me-too-misogyny-commentary","title":"On Weinstein, Cosby, OJ Simpson and America’s Systemic Misogyny Problem","publishDate":1714086455,"format":"standard","headTitle":"On Weinstein, Cosby, OJ Simpson and America’s Systemic Misogyny Problem | KQED","labelTerm":{},"content":"\u003cp>America does not care about women.\u003c/p>\n\u003cp>There. I said it. I say it a lot, actually. At least once a week for the last 29 years to be precise.\u003c/p>\n\u003cp>I know the exact date of the first time I said it — Oct. 3, 1995 — because that was the day that O.J. Simpson was acquitted of murdering his ex-wife Nicole Brown Simpson and her friend Ron Goldman. O.J. was acquitted by a jury despite a mountain of DNA evidence against him and an extremely long, well-documented history of his abuse of Nicole. The images of her battered face and the sound of her shaking voice telling a 911 dispatcher “He’s going to beat the shit out of me” have been living rent-free in my head ever since. \u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13882786\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final.jpg\" alt=\"\" width=\"180\" height=\"198\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final.jpg 180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final-160x176.jpg 160w\" sizes=\"(max-width: 180px) 100vw, 180px\">\u003c/p>\n\u003cp>I was in my teens when the O.J. verdict happened. \u003ca href=\"https://vawnet.org/material/marital-rape-new-research-and-directions#:~:text=On%20July%205%2C%201993%2C%20marital,rape%20prosecution%20granted%20to%20husbands.\">Raping your spouse had only been declared illegal\u003c/a> in America two years earlier. At the time, I hoped that — if women banded together and worked hard enough — things would change in my lifetime.\u003c/p>\n\u003cp>Well, I’m middle-aged now. And nothing has changed at all.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“America does not care about women” were the first words I uttered this morning, this time prompted by the news that New York’s highest court just overturned Harvey Weinstein’s 2020 rape conviction. The ruling was based on the fact that “testimony of uncharged, alleged prior sexual acts against persons other than the complainants” was included in his original trial. That the inclusion of those witnesses — also known as “\u003ca href=\"https://www.npr.org/2020/01/29/800938076/how-the-molineux-rule-permits-certain-witnesses-in-the-harvey-weinstein-trial\">Molineux witnesses\u003c/a>” or “prior bad act witnesses” — has been perfectly legal in New York for well over a century appears to have been deemed irrelevant by four out of the seven judges on the New York Court of Appeals.\u003c/p>\n\u003cp>(Writing for the majority, Judge Jenny Rivera asserted that “The remedy for these egregious errors is a new trial.” Rivera, incidentally, was appointed to the court in 2013 by \u003ca href=\"https://www.politico.com/news/2024/01/26/cuomo-sexual-harassment-doj-00138140#:~:text=The%20justice%20department%20found%20Cuomo,harassed%2C%E2%80%9D%20the%20DOJ%20concluded.\">Andrew Cuomo, who has been accused of sexual harassment by 13 women\u003c/a>.)\u003c/p>\n\u003cp>[aside postid='arts_13934462']The fact that the vast majority of Harvey Weinstein’s accusers — more than 80 of them — were prevented from taking legal action against him in 2020 because of unjustly short statutes of limitations doesn’t matter either. Because America doesn’t care about women.\u003c/p>\n\u003cp>In truth, even on the morning of his 2020 conviction, I still found myself uttering those words. Because while Weinstein was convicted of third-degree rape and first-degree criminal sexual act, those were only two of the five charges that he had faced. The wave of relief that followed his two convictions was powerful enough to obscure the fact that he was found not guilty on three other charges.\u003c/p>\n\u003cp>Weinstein was found not guilty of first-degree rape, defined in the state of New York as “engag[ing] in sexual intercourse with another person by forcible compulsion.” This, despite Jessica Mann’s harrowing testimony that, “The more I fought, the angrier he got.” He was also found not guilty of two counts of predatory sexual assault. Annabella Sciorra appeared in court specifically in support of those charges, testifying that she was raped by Weinstein after he forced his way into her apartment. “I was punching, I was kicking him, I was trying to take him away from me,” she said. But still, he was found not guilty.\u003c/p>\n\u003cp>Weinstein’s case, from the jump, reflected just how hard it is for women to get justice in this country. But we already knew, just as we had known in 1995, America does not care about women.\u003c/p>\n\u003cp>[aside postid='arts_13908728']We knew it in 2021, after \u003ca href=\"https://apnews.com/article/bill-cosby-conviction-overturned-5c073fb64bc5df4d7b99ee7fadddbe5a\">Bill Cosby was released\u003c/a> from prison on a technicality. Specifically, Pennsylvania’s highest court decided it wasn’t fair that the prosecutor who brought the case against Cosby had a predecessor who had promised to not charge the comedian. That was apparently too much for the court. The idea that 60 women who’d been living with untold trauma and interrupted careers would receive no justice after sharing their harrowing (and very credible) stories about Cosby with the whole world? Meh. Who cares about that?\u003c/p>\n\u003cp>Justice, when it comes to women, sometimes feels almost impossible to come by in any court in the land. In 2004, Robert Blake was acquitted of murdering his wife Bonny Bakley, despite two separate witnesses testifying that Blake had attempted to hire them to kill her. Blake, like O.J. Simpson, was later found liable for the wrongful death of his wife in a $30 million civil trial; Blake handled this by declaring bankruptcy in 2006. Hell, if O.J. Simpson could get away with not paying the Brown and Goldman families, why should Blake cough up? Even in the wake of Simpson’s death, \u003ca href=\"https://www.hollywoodreporter.com/news/general-news/oj-simpsons-lawyer-reverses-statement-civil-judgement-goldman-family-1235874717/\">those handling his estate are fighting\u003c/a> to ensure those families will never see a penny.\u003c/p>\n\u003cp>In America’s so-called justice system, history repeats itself. We know the outcomes before they land: In 2018, we knew Brett Kavanaugh would make it onto the Supreme Court despite \u003ca href=\"https://www.npr.org/2024/03/19/1239378828/for-christine-blasey-ford-the-fallout-of-the-kavanaugh-hearing-is-ongoing\">Christine Blasey Ford’s testimony against him\u003c/a>. We knew because we’d already watched Clarence Thomas succeed after \u003ca href=\"https://www.npr.org/2021/09/28/1040911313/anita-hill-belonging-sexual-harassment-conversation\">Anita Hill testified against him\u003c/a> in 1991.\u003c/p>\n\u003cp>[aside postid='arts_13918217']We knew Donald Trump would be the Republican nominee in 2024, because the fact that he confessed on recorded audio to “grab[bing]” women “by the pussy” did not impact his election chances in 2016.\u003c/p>\n\u003cp>Was anyone really surprised when Ted Kennedy’s nephew William Kennedy Smith was found \u003ca href=\"https://www.vanityfair.com/magazine/1992/03/dunne199203\">not guilty of raping Patricia Bowman\u003c/a>? Despite the fact that his defense attorney married one of the jurors shortly after the trial? It’s impossible to feign shock once you remember that, in 1969, Uncle Ted got off with a two-month suspended sentence for driving Mary Jo Kopechne off a bridge, leaving her there to drown and then failing to report the accident for another 11 hours.\u003c/p>\n\u003cp>After the seismic #MeToo movement, despite the many conversations about cultural shifts and cancellations, the only two high-profile abusers punished in a court of law were Bill Cosby and Harvey Weinstein. Now one is free and the other is working on it. And while Weinstein is still serving the 16-year sentence for rape and sexual assault imposed by his 2023 trial in Los Angeles, it’s impossible to feel any confidence in the system at this point.\u003c/p>\n\u003cp>“Today’s decision reinforces what we already know,” Anita Hill said after this morning’s news broke. “We have seen a lack of progress in addressing the power imbalances that allow abuse to occur and that sexual assault continues to be a pervasive problem.”\u003c/p>\n\u003cp>Founder of #MeToo Tarana Burke managed — somehow — to strike a more optimistic note. “Because the brave women in this case broke their silence, millions and millions and millions of others found the strength to come forward and do the same. That will always be the victory. This doesn’t change that. And the people who abuse their power and privilege to violate and harm others will always be the villain. This doesn’t change that.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The other thing that hasn’t changed? America does not care about women.\u003c/p>\n\n","blocks":[],"excerpt":"Harvey Weinstein's overturned conviction makes it hard to have faith in the legal process, writes Rae Alexandra. ","status":"publish","parent":0,"modified":1714087262,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":22,"wordCount":1267},"headData":{"title":"Weinstein, Cosby, Simpson and America’s Misogyny Problem | KQED","description":"Harvey Weinstein's overturned conviction makes it hard to have faith in the legal process, writes Rae Alexandra. ","ogTitle":"On Weinstein, Cosby, OJ Simpson and America’s Systemic Misogyny Problem","ogDescription":"","ogImgId":"","twTitle":"On Weinstein, Cosby, OJ Simpson and America’s Systemic Misogyny Problem","twDescription":"","twImgId":"","socialTitle":"Weinstein, Cosby, Simpson and America’s Misogyny Problem %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"On Weinstein, Cosby, OJ Simpson and America’s Systemic Misogyny Problem","datePublished":"2024-04-25T23:07:35.000Z","dateModified":"2024-04-25T23:21:02.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Commentary ","sticky":false,"nprStoryId":"kqed-13956667","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13956667/weinstein-overturned-conviction-me-too-misogyny-commentary","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>America does not care about women.\u003c/p>\n\u003cp>There. I said it. I say it a lot, actually. At least once a week for the last 29 years to be precise.\u003c/p>\n\u003cp>I know the exact date of the first time I said it — Oct. 3, 1995 — because that was the day that O.J. Simpson was acquitted of murdering his ex-wife Nicole Brown Simpson and her friend Ron Goldman. O.J. was acquitted by a jury despite a mountain of DNA evidence against him and an extremely long, well-documented history of his abuse of Nicole. The images of her battered face and the sound of her shaking voice telling a 911 dispatcher “He’s going to beat the shit out of me” have been living rent-free in my head ever since. \u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13882786\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final.jpg\" alt=\"\" width=\"180\" height=\"198\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final.jpg 180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final-160x176.jpg 160w\" sizes=\"(max-width: 180px) 100vw, 180px\">\u003c/p>\n\u003cp>I was in my teens when the O.J. verdict happened. \u003ca href=\"https://vawnet.org/material/marital-rape-new-research-and-directions#:~:text=On%20July%205%2C%201993%2C%20marital,rape%20prosecution%20granted%20to%20husbands.\">Raping your spouse had only been declared illegal\u003c/a> in America two years earlier. At the time, I hoped that — if women banded together and worked hard enough — things would change in my lifetime.\u003c/p>\n\u003cp>Well, I’m middle-aged now. And nothing has changed at all.\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>“America does not care about women” were the first words I uttered this morning, this time prompted by the news that New York’s highest court just overturned Harvey Weinstein’s 2020 rape conviction. The ruling was based on the fact that “testimony of uncharged, alleged prior sexual acts against persons other than the complainants” was included in his original trial. That the inclusion of those witnesses — also known as “\u003ca href=\"https://www.npr.org/2020/01/29/800938076/how-the-molineux-rule-permits-certain-witnesses-in-the-harvey-weinstein-trial\">Molineux witnesses\u003c/a>” or “prior bad act witnesses” — has been perfectly legal in New York for well over a century appears to have been deemed irrelevant by four out of the seven judges on the New York Court of Appeals.\u003c/p>\n\u003cp>(Writing for the majority, Judge Jenny Rivera asserted that “The remedy for these egregious errors is a new trial.” Rivera, incidentally, was appointed to the court in 2013 by \u003ca href=\"https://www.politico.com/news/2024/01/26/cuomo-sexual-harassment-doj-00138140#:~:text=The%20justice%20department%20found%20Cuomo,harassed%2C%E2%80%9D%20the%20DOJ%20concluded.\">Andrew Cuomo, who has been accused of sexual harassment by 13 women\u003c/a>.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13934462","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The fact that the vast majority of Harvey Weinstein’s accusers — more than 80 of them — were prevented from taking legal action against him in 2020 because of unjustly short statutes of limitations doesn’t matter either. Because America doesn’t care about women.\u003c/p>\n\u003cp>In truth, even on the morning of his 2020 conviction, I still found myself uttering those words. Because while Weinstein was convicted of third-degree rape and first-degree criminal sexual act, those were only two of the five charges that he had faced. The wave of relief that followed his two convictions was powerful enough to obscure the fact that he was found not guilty on three other charges.\u003c/p>\n\u003cp>Weinstein was found not guilty of first-degree rape, defined in the state of New York as “engag[ing] in sexual intercourse with another person by forcible compulsion.” This, despite Jessica Mann’s harrowing testimony that, “The more I fought, the angrier he got.” He was also found not guilty of two counts of predatory sexual assault. Annabella Sciorra appeared in court specifically in support of those charges, testifying that she was raped by Weinstein after he forced his way into her apartment. “I was punching, I was kicking him, I was trying to take him away from me,” she said. But still, he was found not guilty.\u003c/p>\n\u003cp>Weinstein’s case, from the jump, reflected just how hard it is for women to get justice in this country. But we already knew, just as we had known in 1995, America does not care about women.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13908728","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>We knew it in 2021, after \u003ca href=\"https://apnews.com/article/bill-cosby-conviction-overturned-5c073fb64bc5df4d7b99ee7fadddbe5a\">Bill Cosby was released\u003c/a> from prison on a technicality. Specifically, Pennsylvania’s highest court decided it wasn’t fair that the prosecutor who brought the case against Cosby had a predecessor who had promised to not charge the comedian. That was apparently too much for the court. The idea that 60 women who’d been living with untold trauma and interrupted careers would receive no justice after sharing their harrowing (and very credible) stories about Cosby with the whole world? Meh. Who cares about that?\u003c/p>\n\u003cp>Justice, when it comes to women, sometimes feels almost impossible to come by in any court in the land. In 2004, Robert Blake was acquitted of murdering his wife Bonny Bakley, despite two separate witnesses testifying that Blake had attempted to hire them to kill her. Blake, like O.J. Simpson, was later found liable for the wrongful death of his wife in a $30 million civil trial; Blake handled this by declaring bankruptcy in 2006. Hell, if O.J. Simpson could get away with not paying the Brown and Goldman families, why should Blake cough up? Even in the wake of Simpson’s death, \u003ca href=\"https://www.hollywoodreporter.com/news/general-news/oj-simpsons-lawyer-reverses-statement-civil-judgement-goldman-family-1235874717/\">those handling his estate are fighting\u003c/a> to ensure those families will never see a penny.\u003c/p>\n\u003cp>In America’s so-called justice system, history repeats itself. We know the outcomes before they land: In 2018, we knew Brett Kavanaugh would make it onto the Supreme Court despite \u003ca href=\"https://www.npr.org/2024/03/19/1239378828/for-christine-blasey-ford-the-fallout-of-the-kavanaugh-hearing-is-ongoing\">Christine Blasey Ford’s testimony against him\u003c/a>. We knew because we’d already watched Clarence Thomas succeed after \u003ca href=\"https://www.npr.org/2021/09/28/1040911313/anita-hill-belonging-sexual-harassment-conversation\">Anita Hill testified against him\u003c/a> in 1991.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13918217","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>We knew Donald Trump would be the Republican nominee in 2024, because the fact that he confessed on recorded audio to “grab[bing]” women “by the pussy” did not impact his election chances in 2016.\u003c/p>\n\u003cp>Was anyone really surprised when Ted Kennedy’s nephew William Kennedy Smith was found \u003ca href=\"https://www.vanityfair.com/magazine/1992/03/dunne199203\">not guilty of raping Patricia Bowman\u003c/a>? Despite the fact that his defense attorney married one of the jurors shortly after the trial? It’s impossible to feign shock once you remember that, in 1969, Uncle Ted got off with a two-month suspended sentence for driving Mary Jo Kopechne off a bridge, leaving her there to drown and then failing to report the accident for another 11 hours.\u003c/p>\n\u003cp>After the seismic #MeToo movement, despite the many conversations about cultural shifts and cancellations, the only two high-profile abusers punished in a court of law were Bill Cosby and Harvey Weinstein. Now one is free and the other is working on it. And while Weinstein is still serving the 16-year sentence for rape and sexual assault imposed by his 2023 trial in Los Angeles, it’s impossible to feel any confidence in the system at this point.\u003c/p>\n\u003cp>“Today’s decision reinforces what we already know,” Anita Hill said after this morning’s news broke. “We have seen a lack of progress in addressing the power imbalances that allow abuse to occur and that sexual assault continues to be a pervasive problem.”\u003c/p>\n\u003cp>Founder of #MeToo Tarana Burke managed — somehow — to strike a more optimistic note. “Because the brave women in this case broke their silence, millions and millions and millions of others found the strength to come forward and do the same. That will always be the victory. This doesn’t change that. And the people who abuse their power and privilege to violate and harm others will always be the villain. This doesn’t change that.”\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>The other thing that hasn’t changed? America does not care about women.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956667/weinstein-overturned-conviction-me-too-misogyny-commentary","authors":["11242"],"categories":["arts_1","arts_2303"],"tags":["arts_2798","arts_16989","arts_1873","arts_2767","arts_2777","arts_7580"],"featImg":"arts_13956685","label":"source_arts_13956667"},"arts_13956388":{"type":"posts","id":"arts_13956388","meta":{"index":"posts_1591205157","site":"arts","id":"13956388","found":true},"guestAuthors":[],"slug":"nic-feliciano-is-blessed-with-the-curse-of-an-overactive-creative-mind","title":"nic feliciano Is Blessed With The ‘Curse of an Overactive Creative Mind’","publishDate":1714039226,"format":"audio","headTitle":"nic feliciano Is Blessed With The ‘Curse of an Overactive Creative Mind’ | KQED","labelTerm":{"term":8720,"site":"arts"},"content":"\u003cp>\u003ca href=\"#episode-transcript\">\u003ci>View the full episode transcript.\u003c/i>\u003c/a>\u003c/p>\n\u003cp>nic feliciano will find a way to creatively express herself, no matter what.\u003c/p>\n\u003cp>feliciano (who also goes by \u003ca href=\"https://www.instagram.com/cocomachetz/\" target=\"_blank\" rel=\"noopener\">Coco Machete\u003c/a>) contains multitudes. She’s a fashionista who currently resides in Berkeley, but was born in the Philippines and spent her teenage years in Southern California. After moving to the East Bay for school two decades ago, she’s grown into a playwright, chef, thespian and — as she says — “a master of fun.” She’s also a former MC and member of the Bay Area-based hip-hop group \u003ca href=\"https://hottuboakland.bandcamp.com/album/3-the-hard-way\">HOTTUB\u003c/a>, which made Miami Bass–inspired rap songs from roughly 2006 to 2013.\u003c/p>\n\u003cp>When it comes to her work, there are two important things to understand: first, she incorporates her Filipina identity into everything she creates. Second, her “work” isn’t really work at all.\u003c/p>\n\u003cfigure id=\"attachment_13956529\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13956529 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/coco-machete-2-800x1207.jpg\" alt=\"A woman poses in a squat stance with her left hand holding her chin. She wears neon green clogs, black tights and a zebra print skirt. In the background are shelves holding recycled water jugs and plastic pots.\" width=\"800\" height=\"1207\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/coco-machete-2-800x1207.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/coco-machete-2-1020x1538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/coco-machete-2-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/coco-machete-2-768x1158.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/coco-machete-2-1018x1536.jpg 1018w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/coco-machete-2-1358x2048.jpg 1358w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/coco-machete-2-1920x2896.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/coco-machete-2-scaled.jpg 1697w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">nic feliciano is a writer, performer and cook based in Berkeley by way of the Philippines. \u003ccite>(Kate Buenconsejo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>feliciano proudly maintains flexible daytime employment to pay her bills, while letting her creative juices flow during the evening hours. This separation allows her to stay inspired, penning funny sketches that she performs as a part of her \u003ca href=\"https://www.instagram.com/grannycartgangstas?utm_source=ig_web_button_share_sheet&igsh=ZDNlZDc0MzIxNw==\">Grannycart Gangstas\u003c/a> act at \u003ca href=\"https://www.bindlestiffstudio.org/\" target=\"_blank\" rel=\"noopener\">Blindlestiff Studio\u003c/a> in San Francisco.\u003c/p>\n\u003cp>feliciano’s creations go beyond the stage. She’s currently writing a comic book in which she gives a modern spin on the mythological creature from Filipino folklore, the Manananggal. The storyline sheds light on the exploitation that workers in the Philippines face working as contractors for Big Tech.\u003c/p>\n\u003cp>This week, we talk about how the Bay Area has assisted feliciano’s artistic endeavors, from rapping over bass-heavy hip-hop beats in the early 2000s to forging a “creative family of misfit Filipino kids who didn’t follow the path.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC8148943076\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">This is a computer-generated transcript. While our team has reviewed it, there may be errors.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw, Host:\u003c/b>\u003cspan style=\"font-weight: 400\"> Hey what’s up Rightnowish listeners. I’m your host, Pendarvis Harshaw. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For this episode, we hear from cook, slash writer, slash actor, slash musician and all around funny person, nic feliciano, who goes by the moniker Coco Machete. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At age 10, nic, along with her mother and sister, left the Philippines and settled in Orange County. Itching to find like-minded folks, nic eventually left SoCal and moved to Berkeley for community college… and she’s been here ever since. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As y’all may know, juggling day jobs and side gigs to pay the bills comes with the territory of being an artist in the Bay. But for nic, she’s not pressed to let how she pays the rent define her.\u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano, Guest: \u003c/b>\u003cspan style=\"font-weight: 400\">The true art and what I do is just kind of like surviving. Like my mom to me is an artist because of- she’s never picked up a paintbrush in her life. But like, the way she moves through life and the way she like, makes shit happen and the way she like, figures this out over that or whatever. Like, damn, that’s like such art to me!\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Rightnowish producer Marisol Medina-Cadena and I dive into the splendor that is nic’s mind, and discuss how she honors Filipino brilliance in all that she does. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That and more right after this. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Ad break]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">When we spoke on the phone a while ago, you said something that just really crystallized your creative practice for me. You said you were in your “expansive era.” I feel like that expression really speaks volumes about where you’re at with your relationship to artmaking. So what does your expansive area look like? \u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003cspan style=\"font-weight: 400\">It’s more of just a consciousness whenever I can… if I try- if I have a moment to like meditate on something, it’s just asking for guidance in terms of like how I- how this experience can make me a little bit more expansive and a little bit more able to hold more empathy, more love. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">If I forget to remind myself that I’m in that space right now, it’s very easy for everything to knock it down, and feel tired and unaligned. And so I’m kind of using that as a way to stay the course and create some stamina… trying to come from as much love as I can in these crazy times because it’s harder and harder. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Laughs]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">I know that you have a day job outside of your creative practice. And maybe there’s overlap but they’re not really contingent on each other. How do you structure your life in a way that you have the passion and the desire to still make art outside of, like what pays your bills? \u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003cspan style=\"font-weight: 400\">I always like, kind of gave myself a hard time about that and been like, what’s wrong with you? Like, why wouldn’t you want to go all in on your art and like, really be about it, live it or whatnot? And I think that for me, not depending on it financially has always sustained it. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I think I just am one of those people who were blessed or cursed with an overactive creative mind that is constantly feeling the need to like express and release or whatever. But I realized that every time it got to a point where it was time to take it serious, or even like the idea of living off of my art, or like any of that, I feel like — personally, like it kind of kills it a little bit and it doesn’t feel super aligned. I’m not super inspired by it. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So it’s just about like finding work that’s not going to keep me there, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> like beyond the hours that I need to be. And my brain doesn’t get going until the nighttime anyway. So like, I take advantage of like whatever time, you know, I have outside of that.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And so, I’m grateful, I feel grateful that my day jobs haven’t completely, like, overshadowed my my creative work. You know, how I pay my bills is kind of like the smallest part of my identity. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> It’s just… no to careers and no to making art a career either, I don’t know. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Balance. It sounds like balance. And also making sure that you work within what’s best for you. You said your night hours, you know, being at home. You know yourself. \u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003cspan style=\"font-weight: 400\">I’m trying you know, it’s the journey. It’s part of the ride! \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Laughs]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Diving into your artistic endeavors. You’re on the cusp of finishing your first comic book, so I hear. And it’s a sci-fi thriller based on Filipino folklore?\u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, gosh!\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Please tell me about the inspiration for this. \u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003cspan style=\"font-weight: 400\">This has been in the works for quite a while. Inspired by a PBS documentary called The Cleaners, which was about a third party company in the Philippines that was being hired by, like, the Googles, the Facebooks, all that kind of stuff. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Basically, when something gets flagged on any of these platforms, they’re going to these workers — oftentimes, you know, in the Global South: Philippines, India, and a human is processing these images and they’re deciding whether to delete or to keep. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003cspan style=\"font-weight: 400\">They’re getting PTSD. They’re like processing 8,000 images a day, you know, just like constant, just the worst images you can imagine!\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">One of my favorite folkloric creatures in Filipino folklore is this creature called the manananggal. And it’s oftentimes a femme creature. They stay in the trees, they’re kind of vampiric or what have you. And their top half comes off, and that’s what goes flying around at night looking for food, primarily victims or whatnot. They’re known to suck the life through belly buttons.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Typically, it’s represented as a scary thing that, you know, growing up, if you didn’t, like, go to sleep right away, they’d be like, “oh, the Manananggal is going to come get you.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As I’ve like, gotten older and whatnot, I’m just like, well, like, what if it actually was like a creature that, like, went out and did stuff for justice, you know what I mean? I just, like, made up all this stuff in my head. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So anyway, I wrote this short one act play that was from the perspective of this Manananggalgal who didn’t realize they were a Manananggal until they were exploited super hard at work. They snap. And they go and kill, like, all the CEOs. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Thank god Bindlestiff Studios, shout out to Bindlestiff Studios over there in the SOMA, 6th and Howard. The only place for Filipino and Filippinx performing arts, like, they put this play up. It’s pretty ridiculous, but I’m obsessed with this world, like… it’s kind of like the prequel to this piece that I wrote. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And so I feel like — comic book, that’s a good way to kind of… not so much lighten it, but like not make it so realistic. The fact that it’s not the real thing, I think feels sort of liberating to tell the story in the way that it is in my head, without it being too, like, real. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And I’m really excited about it, and it’s taken a while, but I’m glad we’ve taken our time because I’ve been collaborating with this incredible illustrator Corpser. Shout out Corpser from Bulacan, in the Philippines. He and I have been going back and forth and he’s illustrated the whole thing and he snapped on the illustration. Neither of us had done this before, but oh man, like, with his vision and my crazy, gross world building. It’s nasty and I can’t wait to share it. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">You’ve spoken a lot about Bindlestiff, can you tell us what drew you to that space? \u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003cspan style=\"font-weight: 400\">So it’s just my mom, my sister and I here in the U.S., everybody else is back in Manila.\u003c/span>\u003cb> \u003c/b>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Sound design: birds chirping]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I have like 25 cousins back home that I when I’m there, like everyone’s around and just kind of really missing like that sense of home, or what have you.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And so this thing happens to me every time I go back and forth where my reality gets really shook up. Like, I can’t tell what’s real. I feel a lot of guilt of living here and not being a part of what my family back home has to go through to survive, you know what I mean? It’s very- our lives are very different, and jumping back and forth is kind of a challenging thing for me. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And so I remember being on the bus on my way home from work, and I saw that Bindlestiff- I was in their mailing list somehow, and I saw that they were auditioning for Tagalog speaking actors.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And I was like, “Oh, maybe… that’s scary, I don’t know.” And then a month later, I see it again. And so I was like, “Okay, they’re still looking. Obviously it’s been a month. Like, maybe this is a sign I should just go and just do it.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">By the grace of God, I somehow still remember, like the Tagalog Pledge of Allegiance from school! \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Giggles]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> I pulled up and I did the best pledge of allegiance with feelings that I could like a fool, and sang my little song, and I guess they were down because they called me back! \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">From that point on, I’ve never said no to anything Bindlestiff-related again. It’s just 30 years, volunteer-run. Beyond just the theater space, the amount of work that they do in the SOMA neighborhood, like over the pandemic, their artistic director, Irene, ran a program where a bunch of, like, actors were volunteering- everyone, like, delivering groceries to the elders around there.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s put so much purpose to my art. I’ve had to reverse engineer my, even my own knowledge of, like, Philippine history and pre-colonial history. Like, I wouldn’t have probably learned that there, but coming here and being around other people in diaspora and learning about how other cultures have looked inward to be able to, like, get through our experiences out here — I feel like, in some sense, we owe it to really center like those who are still living in the land and the and the realities that they face every day and support their art. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I feel like Bindlestiff does a really good job doing that. Like, they’re in direct communication with the community here and always trying to, like, bridge that- that ocean, you know, those thousands and thousands of miles ya know? So it feels good. I’m so grateful to have found them and create a- like a creative family of misfit Filipino kids who didn’t follow the path. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">You’re a part of a crew called Granny Cart Gangstas. What does that entail?\u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003cspan style=\"font-weight: 400\">So, Granny Cart Gangstas is an open-door \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> comedy troupe — mostly Asian American, femme, multi-gender folks — who have been around for ten years, thank you very much. We just celebrated our ten-year anniversary last year. Basically, yeah, we- we’re a sketch comedy troupe. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Our two founders, Aureen and Ava, came up with the name because they’re always riding around with their granny cart, getting on the bus with it, you know, like as you see all around town. People move when it’s time to roll the granny cart full of laundry or groceries or whatever. It’s like, okay! So that’s kind of what inspired the name. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We do 2 to 3 week shows once a year at Bindlestiff. We all write all our own material. And we- when it’s time to put it up. Oh, man. It’s a hoot. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Video Clip, Granny Cart Gangstas: \u003c/b>\u003cspan style=\"font-weight: 400\">Good evening. I am Lauren Goodman, and welcome to \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Quarantine Now\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. Our top story is about the “Adobo Hoes,” a retired roller derby squad. They are leading the way in roller skating security escort tactics. Now being adopted around the San Francisco Bay Area to protect Asian American seniors. The community at large is now reporting feeling more confident and more secure with the hoes working the streets.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Before you got into theater, you were part of a group called HOTTUB…\u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003cspan style=\"font-weight: 400\">Oh my gosh.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, we’re going there. You were involved in Oakland’s underground music scene — a lot of warehouse parties. Tell me about that music and how that era really shaped your perspective on life today? \u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003ci>\u003cspan style=\"font-weight: 400\">[Exhales breath]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> That era was wild, number one. Proved to be unsustainable. It started mid-2000s, like 2006 and we’re pretty active all the way to 2013. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">There was so much reaction to, kind of like now, like to what was going on there. That was, like, the tail end of the, kind of like, Bush era. Oh my gosh, Occupy- like the Occupy Movement. So there was a lot of just like tension, especially in the East Bay, where the, the, the trickle of like what was going on in San Francisco hadn’t quite made it over there, but you could still start to feel it. And there was just a real sort of tension there. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And I think out of that came just a very confrontational time, I would say. There wasn’t a lot of, like, femme acts at the time when we were, when, when we were performing. And so it’s three girls to the front, you know, it was, like, rough! \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">In that vein of like being you said confrontational, loud, using your voice to claim space on stage. Sonically, what did your set sound like? \u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003cspan style=\"font-weight: 400\">My gosh, a battle. Like our producers Jaysonic, Funky Finger Mark. We would bring out an MPC drum machine and a ASR ten sampler keyboard. Those were like our two things. They didn’t have, like, didn’t use laptops, nothing. And these are, like, really textured, heavy sounds that are going straight into sound systems. And then three girl MC chanting banshees like wild women. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music: “Shoot the Lights Out” by HOTTUB]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Looking at my Casio it’s about that time\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">I’m ’bout to pick it up stat on my hustle and grind\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">I got nothin in my pocket but motha-fuckin’ fuck it\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">I can get a fat loan if you can co-sign it\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">But who cares!\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">I ain’t tripin’ I ain’t tryin to trick for the man\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Just to get a couple grand in my hand…\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003cspan style=\"font-weight: 400\">The original concept of HOTTUB was, was going to be like Tagalog-Miami bass-type stuff. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I was always represent- you know, representing my, my shit. And so when I would write raps in Tagalog, lucky for us, we’re here in the Bay area with hella Filipinos. So every so often, like someone would be like “Yo!!!!” you know, and really like kind of recognizing. And that’s always, like, such a gift. But even though it feels like screaming in the void, like I- it just, feels great! \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Shoot the lights out shoot the lights out!\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Shoot the lights out shoot the lights out, oh!!\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Shoot the lights out shoot the lights out!\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Shoot the lights out shoot the lights out, whoa!!\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cb>nic feliciano: \u003c/b>I’m so glad that I was able to come up creatively during that time because it never felt like there was so much to lose, because it was already coming from nothing. It was like so beyond DIY, you know, like… There was no fear in what we wanted to say. And we could just confront, like, every issue- You know, creating like this, like safe space for like, femme energy to kind of aggressively take over! \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music: “M.A.N.B.I.T.C.H” by HOTTUB]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Don’t disrespect\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">You gotta come correct\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">I’m tired of your nasty-ass…\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cb>nic feliciano: \u003c/b>It really was so empowering to- to be doing this with two of my best friends, you know, Jen and Amber shout out. Just making the most noise and just trying to, like, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Yells]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> get it out! \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Definitely formative. And it, it it it gave me the guts to do things that are creative and to actually allow yourself to express, like, some of the stuff that’s going on in, in our minds takes so much guts. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m so grateful for that time in my life. And I’m also so grateful that I’ve recovered. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Laughs] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> It’s out. It’s done. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">M. A. N. B. I. T. C. H.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">We know what it is,\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">It’s written all over your face!\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Just hearing you talk, there’s like this throughline between the comic book, the band HOTTUB, the work you do with Bindlestiff, of like centering Filipino culture. Is there like a thesis or like mission statement behind that, or is that just who you are? \u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano:\u003c/b>\u003cspan style=\"font-weight: 400\"> I think about this all the time. I think it’s just who I’ve always been. The very first day of school, of American school, ten years old, Orange County of all places. It was just so clear that I was not… of here. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">There’s so many times that my creative mind and like this idea of trying to reconcile, you know, my- my existence here to home. Like I still think Philippines is home. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I was five years old when the Philippine Revolution happened. So in 1986, the Filipino people banded together, got the support of the military, and ousted Ferdinand Marcos, who was dictator for like, the last 26 years or whatever. And so I kind of feel like I’m a kid of revolution. Like, I understand that there is… that people can really get together and like, do something great, like, I believe in it, I seen it happen with my own eyes. And I feel like coming here, there’s always just been this sense of, like, refusing to be erased. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> The last question that we have for you is: being in your expansive era now, and all the personal values you have for yourself. What do you need from, like, the art scene or your peers or art spaces to do the kind of work you want to do? \u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003cspan style=\"font-weight: 400\">Watching how — especially here in the Bay Area — watching how artists come together to like, really fight for what they believe in, and really, like, put their necks on the line and really support certain movements, like it’s fired up right now. And I think that, you know, what we can all do for each other is provide ways that we can build our stamina, because I really think that’s what we’re gonna need. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And the more of that we use our art as leverage and as power, and the more that we understand how powerful we are together… I think that’s probably my greatest ask for myself and our community. It’s like, figure out ways to build stamina because we’re really gonna need it for the long haul.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Credits music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Big thank you nic feliciano for dropping by the KQED stu’ to talk about the important things and for making us laugh through it all. You can find her on instagram @cocomachetez. That’s spelled c-o-c-o-m-a-c-h-e-t-e-z. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">From May 16th through June 1st, nic will be taking part in an original production at Bindlestiff Studios called Dark Heart. Be sure to check that out. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This episode was hosted by me, Pendarvis Harshaw. Marisol Medina-Cadena produced this episode. Chris Hambrick held it down for edits on this one. Christopher Beale engineered this joint. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The music you heard was courtesy of HOTTUB and Audio Network.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Rightnowish team is also supported by Jen Chien, Ugur Dursun, Holly Kernan, Cesar Saldaña and Katie Sprenger. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Thank you all for listening! For longtime fans of the show, y’all know how we roll. But if you’re new here, welcome! We’re glad to have you, it’s our honor to introduce you to Bay Area culture keepers and change makers you may not have the privilege of knowing… yet. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So, if you enjoy what we’re doing at Rightnowish, please share the podcast with a friend or a coworker. Subscribe and rate the podcast on whatever platform you choose. Every little action goes a long way. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Ok, y’all be easy! \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Rightnowish is a KQED production.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Peace.\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"The fashionista, playwright, chef, thespian and 'master of fun' discusses her many artistic endeavors.","status":"publish","parent":0,"modified":1714070065,"stats":{"hasAudio":true,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":118,"wordCount":4185},"headData":{"title":"nic feliciano Is Blessed With The ‘Curse of an Overactive Creative Mind’ | KQED","description":"nic feliciano (who also goes by Coco Machete) contains multitudes. She's a fashionista who currently resides in the East Bay, but was born in the Philippines and raised in Southern California. After moving to Berkeley for school two decades ago, she's grown into a playwright, comedian, chef and thespian. She's also a former MC and member of the Bay Area-based hip-hop group, HOTTUB, which made Miami-boom bass inspired rap songs from about 2006 to 2013.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","socialDescription":"nic feliciano (who also goes by Coco Machete) contains multitudes. She's a fashionista who currently resides in the East Bay, but was born in the Philippines and raised in Southern California. After moving to Berkeley for school two decades ago, she's grown into a playwright, comedian, chef and thespian. She's also a former MC and member of the Bay Area-based hip-hop group, HOTTUB, which made Miami-boom bass inspired rap songs from about 2006 to 2013.","schema":{"@context":"http://schema.org","@type":"Article","headline":"nic feliciano Is Blessed With The ‘Curse of an Overactive Creative Mind’","datePublished":"2024-04-25T10:00:26.000Z","dateModified":"2024-04-25T18:34:25.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://www.podtrac.com/pts/redirect.mp3/chrt.fm/track/G6C7C3/traffic.megaphone.fm/KQINC8148943076.mp3?updated=1714006490","sticky":false,"nprStoryId":"kqed-13956388","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13956388/nic-feliciano-is-blessed-with-the-curse-of-an-overactive-creative-mind","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"#episode-transcript\">\u003ci>View the full episode transcript.\u003c/i>\u003c/a>\u003c/p>\n\u003cp>nic feliciano will find a way to creatively express herself, no matter what.\u003c/p>\n\u003cp>feliciano (who also goes by \u003ca href=\"https://www.instagram.com/cocomachetz/\" target=\"_blank\" rel=\"noopener\">Coco Machete\u003c/a>) contains multitudes. She’s a fashionista who currently resides in Berkeley, but was born in the Philippines and spent her teenage years in Southern California. After moving to the East Bay for school two decades ago, she’s grown into a playwright, chef, thespian and — as she says — “a master of fun.” She’s also a former MC and member of the Bay Area-based hip-hop group \u003ca href=\"https://hottuboakland.bandcamp.com/album/3-the-hard-way\">HOTTUB\u003c/a>, which made Miami Bass–inspired rap songs from roughly 2006 to 2013.\u003c/p>\n\u003cp>When it comes to her work, there are two important things to understand: first, she incorporates her Filipina identity into everything she creates. Second, her “work” isn’t really work at all.\u003c/p>\n\u003cfigure id=\"attachment_13956529\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13956529 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/coco-machete-2-800x1207.jpg\" alt=\"A woman poses in a squat stance with her left hand holding her chin. She wears neon green clogs, black tights and a zebra print skirt. In the background are shelves holding recycled water jugs and plastic pots.\" width=\"800\" height=\"1207\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/coco-machete-2-800x1207.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/coco-machete-2-1020x1538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/coco-machete-2-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/coco-machete-2-768x1158.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/coco-machete-2-1018x1536.jpg 1018w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/coco-machete-2-1358x2048.jpg 1358w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/coco-machete-2-1920x2896.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/coco-machete-2-scaled.jpg 1697w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">nic feliciano is a writer, performer and cook based in Berkeley by way of the Philippines. \u003ccite>(Kate Buenconsejo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>feliciano proudly maintains flexible daytime employment to pay her bills, while letting her creative juices flow during the evening hours. This separation allows her to stay inspired, penning funny sketches that she performs as a part of her \u003ca href=\"https://www.instagram.com/grannycartgangstas?utm_source=ig_web_button_share_sheet&igsh=ZDNlZDc0MzIxNw==\">Grannycart Gangstas\u003c/a> act at \u003ca href=\"https://www.bindlestiffstudio.org/\" target=\"_blank\" rel=\"noopener\">Blindlestiff Studio\u003c/a> in San Francisco.\u003c/p>\n\u003cp>feliciano’s creations go beyond the stage. She’s currently writing a comic book in which she gives a modern spin on the mythological creature from Filipino folklore, the Manananggal. The storyline sheds light on the exploitation that workers in the Philippines face working as contractors for Big Tech.\u003c/p>\n\u003cp>This week, we talk about how the Bay Area has assisted feliciano’s artistic endeavors, from rapping over bass-heavy hip-hop beats in the early 2000s to forging a “creative family of misfit Filipino kids who didn’t follow the path.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC8148943076\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">This is a computer-generated transcript. While our team has reviewed it, there may be errors.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw, Host:\u003c/b>\u003cspan style=\"font-weight: 400\"> Hey what’s up Rightnowish listeners. I’m your host, Pendarvis Harshaw. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For this episode, we hear from cook, slash writer, slash actor, slash musician and all around funny person, nic feliciano, who goes by the moniker Coco Machete. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At age 10, nic, along with her mother and sister, left the Philippines and settled in Orange County. Itching to find like-minded folks, nic eventually left SoCal and moved to Berkeley for community college… and she’s been here ever since. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As y’all may know, juggling day jobs and side gigs to pay the bills comes with the territory of being an artist in the Bay. But for nic, she’s not pressed to let how she pays the rent define her.\u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano, Guest: \u003c/b>\u003cspan style=\"font-weight: 400\">The true art and what I do is just kind of like surviving. Like my mom to me is an artist because of- she’s never picked up a paintbrush in her life. But like, the way she moves through life and the way she like, makes shit happen and the way she like, figures this out over that or whatever. Like, damn, that’s like such art to me!\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Rightnowish producer Marisol Medina-Cadena and I dive into the splendor that is nic’s mind, and discuss how she honors Filipino brilliance in all that she does. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That and more right after this. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Ad break]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">When we spoke on the phone a while ago, you said something that just really crystallized your creative practice for me. You said you were in your “expansive era.” I feel like that expression really speaks volumes about where you’re at with your relationship to artmaking. So what does your expansive area look like? \u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003cspan style=\"font-weight: 400\">It’s more of just a consciousness whenever I can… if I try- if I have a moment to like meditate on something, it’s just asking for guidance in terms of like how I- how this experience can make me a little bit more expansive and a little bit more able to hold more empathy, more love. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">If I forget to remind myself that I’m in that space right now, it’s very easy for everything to knock it down, and feel tired and unaligned. And so I’m kind of using that as a way to stay the course and create some stamina… trying to come from as much love as I can in these crazy times because it’s harder and harder. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Laughs]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">I know that you have a day job outside of your creative practice. And maybe there’s overlap but they’re not really contingent on each other. How do you structure your life in a way that you have the passion and the desire to still make art outside of, like what pays your bills? \u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003cspan style=\"font-weight: 400\">I always like, kind of gave myself a hard time about that and been like, what’s wrong with you? Like, why wouldn’t you want to go all in on your art and like, really be about it, live it or whatnot? And I think that for me, not depending on it financially has always sustained it. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I think I just am one of those people who were blessed or cursed with an overactive creative mind that is constantly feeling the need to like express and release or whatever. But I realized that every time it got to a point where it was time to take it serious, or even like the idea of living off of my art, or like any of that, I feel like — personally, like it kind of kills it a little bit and it doesn’t feel super aligned. I’m not super inspired by it. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So it’s just about like finding work that’s not going to keep me there, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> like beyond the hours that I need to be. And my brain doesn’t get going until the nighttime anyway. So like, I take advantage of like whatever time, you know, I have outside of that.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And so, I’m grateful, I feel grateful that my day jobs haven’t completely, like, overshadowed my my creative work. You know, how I pay my bills is kind of like the smallest part of my identity. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> It’s just… no to careers and no to making art a career either, I don’t know. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Balance. It sounds like balance. And also making sure that you work within what’s best for you. You said your night hours, you know, being at home. You know yourself. \u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003cspan style=\"font-weight: 400\">I’m trying you know, it’s the journey. It’s part of the ride! \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Laughs]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Diving into your artistic endeavors. You’re on the cusp of finishing your first comic book, so I hear. And it’s a sci-fi thriller based on Filipino folklore?\u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, gosh!\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Please tell me about the inspiration for this. \u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003cspan style=\"font-weight: 400\">This has been in the works for quite a while. Inspired by a PBS documentary called The Cleaners, which was about a third party company in the Philippines that was being hired by, like, the Googles, the Facebooks, all that kind of stuff. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Basically, when something gets flagged on any of these platforms, they’re going to these workers — oftentimes, you know, in the Global South: Philippines, India, and a human is processing these images and they’re deciding whether to delete or to keep. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003cspan style=\"font-weight: 400\">They’re getting PTSD. They’re like processing 8,000 images a day, you know, just like constant, just the worst images you can imagine!\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">One of my favorite folkloric creatures in Filipino folklore is this creature called the manananggal. And it’s oftentimes a femme creature. They stay in the trees, they’re kind of vampiric or what have you. And their top half comes off, and that’s what goes flying around at night looking for food, primarily victims or whatnot. They’re known to suck the life through belly buttons.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Typically, it’s represented as a scary thing that, you know, growing up, if you didn’t, like, go to sleep right away, they’d be like, “oh, the Manananggal is going to come get you.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As I’ve like, gotten older and whatnot, I’m just like, well, like, what if it actually was like a creature that, like, went out and did stuff for justice, you know what I mean? I just, like, made up all this stuff in my head. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So anyway, I wrote this short one act play that was from the perspective of this Manananggalgal who didn’t realize they were a Manananggal until they were exploited super hard at work. They snap. And they go and kill, like, all the CEOs. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Thank god Bindlestiff Studios, shout out to Bindlestiff Studios over there in the SOMA, 6th and Howard. The only place for Filipino and Filippinx performing arts, like, they put this play up. It’s pretty ridiculous, but I’m obsessed with this world, like… it’s kind of like the prequel to this piece that I wrote. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And so I feel like — comic book, that’s a good way to kind of… not so much lighten it, but like not make it so realistic. The fact that it’s not the real thing, I think feels sort of liberating to tell the story in the way that it is in my head, without it being too, like, real. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And I’m really excited about it, and it’s taken a while, but I’m glad we’ve taken our time because I’ve been collaborating with this incredible illustrator Corpser. Shout out Corpser from Bulacan, in the Philippines. He and I have been going back and forth and he’s illustrated the whole thing and he snapped on the illustration. Neither of us had done this before, but oh man, like, with his vision and my crazy, gross world building. It’s nasty and I can’t wait to share it. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">You’ve spoken a lot about Bindlestiff, can you tell us what drew you to that space? \u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003cspan style=\"font-weight: 400\">So it’s just my mom, my sister and I here in the U.S., everybody else is back in Manila.\u003c/span>\u003cb> \u003c/b>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Sound design: birds chirping]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I have like 25 cousins back home that I when I’m there, like everyone’s around and just kind of really missing like that sense of home, or what have you.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And so this thing happens to me every time I go back and forth where my reality gets really shook up. Like, I can’t tell what’s real. I feel a lot of guilt of living here and not being a part of what my family back home has to go through to survive, you know what I mean? It’s very- our lives are very different, and jumping back and forth is kind of a challenging thing for me. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And so I remember being on the bus on my way home from work, and I saw that Bindlestiff- I was in their mailing list somehow, and I saw that they were auditioning for Tagalog speaking actors.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And I was like, “Oh, maybe… that’s scary, I don’t know.” And then a month later, I see it again. And so I was like, “Okay, they’re still looking. Obviously it’s been a month. Like, maybe this is a sign I should just go and just do it.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">By the grace of God, I somehow still remember, like the Tagalog Pledge of Allegiance from school! \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Giggles]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> I pulled up and I did the best pledge of allegiance with feelings that I could like a fool, and sang my little song, and I guess they were down because they called me back! \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">From that point on, I’ve never said no to anything Bindlestiff-related again. It’s just 30 years, volunteer-run. Beyond just the theater space, the amount of work that they do in the SOMA neighborhood, like over the pandemic, their artistic director, Irene, ran a program where a bunch of, like, actors were volunteering- everyone, like, delivering groceries to the elders around there.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s put so much purpose to my art. I’ve had to reverse engineer my, even my own knowledge of, like, Philippine history and pre-colonial history. Like, I wouldn’t have probably learned that there, but coming here and being around other people in diaspora and learning about how other cultures have looked inward to be able to, like, get through our experiences out here — I feel like, in some sense, we owe it to really center like those who are still living in the land and the and the realities that they face every day and support their art. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I feel like Bindlestiff does a really good job doing that. Like, they’re in direct communication with the community here and always trying to, like, bridge that- that ocean, you know, those thousands and thousands of miles ya know? So it feels good. I’m so grateful to have found them and create a- like a creative family of misfit Filipino kids who didn’t follow the path. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">You’re a part of a crew called Granny Cart Gangstas. What does that entail?\u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003cspan style=\"font-weight: 400\">So, Granny Cart Gangstas is an open-door \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> comedy troupe — mostly Asian American, femme, multi-gender folks — who have been around for ten years, thank you very much. We just celebrated our ten-year anniversary last year. Basically, yeah, we- we’re a sketch comedy troupe. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Our two founders, Aureen and Ava, came up with the name because they’re always riding around with their granny cart, getting on the bus with it, you know, like as you see all around town. People move when it’s time to roll the granny cart full of laundry or groceries or whatever. It’s like, okay! So that’s kind of what inspired the name. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We do 2 to 3 week shows once a year at Bindlestiff. We all write all our own material. And we- when it’s time to put it up. Oh, man. It’s a hoot. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Video Clip, Granny Cart Gangstas: \u003c/b>\u003cspan style=\"font-weight: 400\">Good evening. I am Lauren Goodman, and welcome to \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Quarantine Now\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. Our top story is about the “Adobo Hoes,” a retired roller derby squad. They are leading the way in roller skating security escort tactics. Now being adopted around the San Francisco Bay Area to protect Asian American seniors. The community at large is now reporting feeling more confident and more secure with the hoes working the streets.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Before you got into theater, you were part of a group called HOTTUB…\u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003cspan style=\"font-weight: 400\">Oh my gosh.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, we’re going there. You were involved in Oakland’s underground music scene — a lot of warehouse parties. Tell me about that music and how that era really shaped your perspective on life today? \u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003ci>\u003cspan style=\"font-weight: 400\">[Exhales breath]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> That era was wild, number one. Proved to be unsustainable. It started mid-2000s, like 2006 and we’re pretty active all the way to 2013. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">There was so much reaction to, kind of like now, like to what was going on there. That was, like, the tail end of the, kind of like, Bush era. Oh my gosh, Occupy- like the Occupy Movement. So there was a lot of just like tension, especially in the East Bay, where the, the, the trickle of like what was going on in San Francisco hadn’t quite made it over there, but you could still start to feel it. And there was just a real sort of tension there. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And I think out of that came just a very confrontational time, I would say. There wasn’t a lot of, like, femme acts at the time when we were, when, when we were performing. And so it’s three girls to the front, you know, it was, like, rough! \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">In that vein of like being you said confrontational, loud, using your voice to claim space on stage. Sonically, what did your set sound like? \u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003cspan style=\"font-weight: 400\">My gosh, a battle. Like our producers Jaysonic, Funky Finger Mark. We would bring out an MPC drum machine and a ASR ten sampler keyboard. Those were like our two things. They didn’t have, like, didn’t use laptops, nothing. And these are, like, really textured, heavy sounds that are going straight into sound systems. And then three girl MC chanting banshees like wild women. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music: “Shoot the Lights Out” by HOTTUB]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Looking at my Casio it’s about that time\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">I’m ’bout to pick it up stat on my hustle and grind\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">I got nothin in my pocket but motha-fuckin’ fuck it\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">I can get a fat loan if you can co-sign it\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">But who cares!\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">I ain’t tripin’ I ain’t tryin to trick for the man\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Just to get a couple grand in my hand…\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003cspan style=\"font-weight: 400\">The original concept of HOTTUB was, was going to be like Tagalog-Miami bass-type stuff. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I was always represent- you know, representing my, my shit. And so when I would write raps in Tagalog, lucky for us, we’re here in the Bay area with hella Filipinos. So every so often, like someone would be like “Yo!!!!” you know, and really like kind of recognizing. And that’s always, like, such a gift. But even though it feels like screaming in the void, like I- it just, feels great! \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Shoot the lights out shoot the lights out!\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Shoot the lights out shoot the lights out, oh!!\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Shoot the lights out shoot the lights out!\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Shoot the lights out shoot the lights out, whoa!!\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cb>nic feliciano: \u003c/b>I’m so glad that I was able to come up creatively during that time because it never felt like there was so much to lose, because it was already coming from nothing. It was like so beyond DIY, you know, like… There was no fear in what we wanted to say. And we could just confront, like, every issue- You know, creating like this, like safe space for like, femme energy to kind of aggressively take over! \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music: “M.A.N.B.I.T.C.H” by HOTTUB]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Don’t disrespect\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">You gotta come correct\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">I’m tired of your nasty-ass…\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cb>nic feliciano: \u003c/b>It really was so empowering to- to be doing this with two of my best friends, you know, Jen and Amber shout out. Just making the most noise and just trying to, like, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Yells]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> get it out! \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Definitely formative. And it, it it it gave me the guts to do things that are creative and to actually allow yourself to express, like, some of the stuff that’s going on in, in our minds takes so much guts. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m so grateful for that time in my life. And I’m also so grateful that I’ve recovered. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Laughs] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> It’s out. It’s done. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">M. A. N. B. I. T. C. H.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">We know what it is,\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">It’s written all over your face!\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Just hearing you talk, there’s like this throughline between the comic book, the band HOTTUB, the work you do with Bindlestiff, of like centering Filipino culture. Is there like a thesis or like mission statement behind that, or is that just who you are? \u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano:\u003c/b>\u003cspan style=\"font-weight: 400\"> I think about this all the time. I think it’s just who I’ve always been. The very first day of school, of American school, ten years old, Orange County of all places. It was just so clear that I was not… of here. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">There’s so many times that my creative mind and like this idea of trying to reconcile, you know, my- my existence here to home. Like I still think Philippines is home. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I was five years old when the Philippine Revolution happened. So in 1986, the Filipino people banded together, got the support of the military, and ousted Ferdinand Marcos, who was dictator for like, the last 26 years or whatever. And so I kind of feel like I’m a kid of revolution. Like, I understand that there is… that people can really get together and like, do something great, like, I believe in it, I seen it happen with my own eyes. And I feel like coming here, there’s always just been this sense of, like, refusing to be erased. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> The last question that we have for you is: being in your expansive era now, and all the personal values you have for yourself. What do you need from, like, the art scene or your peers or art spaces to do the kind of work you want to do? \u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003cspan style=\"font-weight: 400\">Watching how — especially here in the Bay Area — watching how artists come together to like, really fight for what they believe in, and really, like, put their necks on the line and really support certain movements, like it’s fired up right now. And I think that, you know, what we can all do for each other is provide ways that we can build our stamina, because I really think that’s what we’re gonna need. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And the more of that we use our art as leverage and as power, and the more that we understand how powerful we are together… I think that’s probably my greatest ask for myself and our community. It’s like, figure out ways to build stamina because we’re really gonna need it for the long haul.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Credits music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Big thank you nic feliciano for dropping by the KQED stu’ to talk about the important things and for making us laugh through it all. You can find her on instagram @cocomachetez. That’s spelled c-o-c-o-m-a-c-h-e-t-e-z. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">From May 16th through June 1st, nic will be taking part in an original production at Bindlestiff Studios called Dark Heart. Be sure to check that out. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This episode was hosted by me, Pendarvis Harshaw. Marisol Medina-Cadena produced this episode. Chris Hambrick held it down for edits on this one. Christopher Beale engineered this joint. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The music you heard was courtesy of HOTTUB and Audio Network.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Rightnowish team is also supported by Jen Chien, Ugur Dursun, Holly Kernan, Cesar Saldaña and Katie Sprenger. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Thank you all for listening! For longtime fans of the show, y’all know how we roll. But if you’re new here, welcome! We’re glad to have you, it’s our honor to introduce you to Bay Area culture keepers and change makers you may not have the privilege of knowing… yet. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So, if you enjoy what we’re doing at Rightnowish, please share the podcast with a friend or a coworker. Subscribe and rate the podcast on whatever platform you choose. Every little action goes a long way. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Ok, y’all be easy! \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Rightnowish is a KQED production.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Peace.\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\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>\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/13956388/nic-feliciano-is-blessed-with-the-curse-of-an-overactive-creative-mind","authors":["11491","11528"],"programs":["arts_8720"],"categories":["arts_1","arts_73","arts_968","arts_835","arts_69","arts_1003"],"tags":["arts_820","arts_549","arts_7584","arts_1942","arts_10278","arts_2855","arts_831","arts_1072"],"featImg":"arts_13956394","label":"arts_8720"},"arts_13951471":{"type":"posts","id":"arts_13951471","meta":{"index":"posts_1591205157","site":"arts","id":"13951471","found":true},"guestAuthors":[],"slug":"2024-grammy-awards-red-carpet-fashion","title":"Red Carpet Looks From the 2024 Grammy Awards","publishDate":1707104629,"format":"aside","headTitle":"Red Carpet Looks From the 2024 Grammy Awards | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>The 66th annual Grammy Award show is in full swing. Trevor Noah is hosting for his fourth consecutive year at Crypto.com Arena in Los Angeles, CA. Some big names are attending including SZA, who has nine nominations for her album \u003cem>SOS\u003c/em>, as well as Victoria Monét, Phoebe Bridgers, Taylor Swift and more.\u003c/p>\n\u003cp>A number of artists will perform live during the show. Joni Mitchell, a nominee tonight and a nine Grammy award winner, will be performing at the show tonight for the first time. Her live album \u003cem>Joni Mitchell in Newport\u003c/em> is up for best folk album.\u003c/p>\n\u003cp>Here are some of the most memorable looks of the night.\u003c/p>\n\u003cfigure id=\"attachment_13951526\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951526\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986539539-scaled.jpg\" alt=\"A white woman in a high cut white flowing gown and long black gloves.\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986539539-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986539539-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986539539-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986539539-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986539539-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986539539-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986539539-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986539539-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift. \u003ccite>(Jeff Kravitz/ FilmMagic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951473\" class=\"wp-caption aligncenter\" style=\"max-width: 1710px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951473\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986096056_custom-8a8fa8595ffc8e48f7ea2f45bb2f3b34187dbd2c-scaled.jpg\" alt=\"A Black man in a green suit and a Black woman in a tight rose gold gown stand on the red carpet. The woman is holding a small child.\" width=\"1710\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986096056_custom-8a8fa8595ffc8e48f7ea2f45bb2f3b34187dbd2c-scaled.jpg 1710w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986096056_custom-8a8fa8595ffc8e48f7ea2f45bb2f3b34187dbd2c-800x1198.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986096056_custom-8a8fa8595ffc8e48f7ea2f45bb2f3b34187dbd2c-1020x1527.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986096056_custom-8a8fa8595ffc8e48f7ea2f45bb2f3b34187dbd2c-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986096056_custom-8a8fa8595ffc8e48f7ea2f45bb2f3b34187dbd2c-768x1150.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986096056_custom-8a8fa8595ffc8e48f7ea2f45bb2f3b34187dbd2c-1026x1536.jpg 1026w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986096056_custom-8a8fa8595ffc8e48f7ea2f45bb2f3b34187dbd2c-1368x2048.jpg 1368w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986096056_custom-8a8fa8595ffc8e48f7ea2f45bb2f3b34187dbd2c-1920x2874.jpg 1920w\" sizes=\"(max-width: 1710px) 100vw, 1710px\">\u003cfigcaption class=\"wp-caption-text\">John Gaines, Victoria Monét, and Hazel Monét Gaines. \u003ccite>(Kayla Oaddams/ WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951502\" class=\"wp-caption aligncenter\" style=\"max-width: 864px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951502\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.33.54-PM.png\" alt=\"A Black woman strikes a pose in a plunging PVC and silver gown.\" width=\"864\" height=\"1316\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.33.54-PM.png 864w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.33.54-PM-800x1219.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.33.54-PM-160x244.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.33.54-PM-768x1170.png 768w\" sizes=\"(max-width: 864px) 100vw, 864px\">\u003cfigcaption class=\"wp-caption-text\">Janelle Monae. \u003ccite>(Matt Winkelmeyer/Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951503\" class=\"wp-caption aligncenter\" style=\"max-width: 862px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951503\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.35.36-PM.png\" alt=\"A tattooed woman stands in a sheer skin toned gown in the red carpet. She is looking over her shoulder.\" width=\"862\" height=\"1326\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.35.36-PM.png 862w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.35.36-PM-800x1231.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.35.36-PM-160x246.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.35.36-PM-768x1181.png 768w\" sizes=\"(max-width: 862px) 100vw, 862px\">\u003cfigcaption class=\"wp-caption-text\">Doja Cat. \u003ccite>(Jordan Strauss/ Invision/ AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951504\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951504\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986476579-scaled.jpg\" alt=\"A woman with cascading dark hair stands on the red carpet wearing a tight white gown.\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986476579-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986476579-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986476579-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986476579-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986476579-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986476579-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986476579-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986476579-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Olivia Rodrigo. \u003ccite>(Kayla Oaddams/ WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951505\" class=\"wp-caption aligncenter\" style=\"max-width: 860px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951505\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.40.39-PM.png\" alt=\"A woman with big hair stands on the red carpet in a gold sheer gown.\" width=\"860\" height=\"1298\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.40.39-PM.png 860w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.40.39-PM-800x1207.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.40.39-PM-160x241.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.40.39-PM-768x1159.png 768w\" sizes=\"(max-width: 860px) 100vw, 860px\">\u003cfigcaption class=\"wp-caption-text\">Miley Cyrus. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951476\" class=\"wp-caption aligncenter\" style=\"max-width: 1818px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951476\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986261016_custom-de7f432d40b105e7f9ae46f72d1ac98c20d9157f-scaled.jpg\" alt=\"A slender blond woman in a black and silver dress and a bald man in black suit and sunglasses stand on the red carpet with two young girls in black dresses.\" width=\"1818\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986261016_custom-de7f432d40b105e7f9ae46f72d1ac98c20d9157f-scaled.jpg 1818w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986261016_custom-de7f432d40b105e7f9ae46f72d1ac98c20d9157f-800x1126.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986261016_custom-de7f432d40b105e7f9ae46f72d1ac98c20d9157f-1020x1436.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986261016_custom-de7f432d40b105e7f9ae46f72d1ac98c20d9157f-160x225.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986261016_custom-de7f432d40b105e7f9ae46f72d1ac98c20d9157f-768x1081.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986261016_custom-de7f432d40b105e7f9ae46f72d1ac98c20d9157f-1091x1536.jpg 1091w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986261016_custom-de7f432d40b105e7f9ae46f72d1ac98c20d9157f-1455x2048.jpg 1455w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986261016_custom-de7f432d40b105e7f9ae46f72d1ac98c20d9157f-1920x2703.jpg 1920w\" sizes=\"(max-width: 1818px) 100vw, 1818px\">\u003cfigcaption class=\"wp-caption-text\">Alexis Roderick, Billy Joel, Della Joel and Remy Joel \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951506\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951506\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986204941-scaled.jpg\" alt=\"A young woman with red and black hair stands on the red carpet wearing oversized black pants and a bomber jacket.\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986204941-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986204941-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986204941-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986204941-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986204941-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986204941-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986204941-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986204941-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Billie Eilish. \u003ccite>(Kayla Oaddams/ WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951507\" class=\"wp-caption aligncenter\" style=\"max-width: 866px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951507\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.48.15-PM.png\" alt=\"A smiling Black woman wearing a plunging silver gown.\" width=\"866\" height=\"1228\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.48.15-PM.png 866w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.48.15-PM-800x1134.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.48.15-PM-160x227.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.48.15-PM-768x1089.png 768w\" sizes=\"(max-width: 866px) 100vw, 866px\">\u003cfigcaption class=\"wp-caption-text\">Coco Jones. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951478\" class=\"wp-caption aligncenter\" style=\"max-width: 1871px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951478\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986154109_custom-a5e323e0f2eef6e01f49dc39891204f7865a53ae-scaled.jpg\" alt=\"A woman with long red hair wearing a plunging silver and sheer dress.\" width=\"1871\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986154109_custom-a5e323e0f2eef6e01f49dc39891204f7865a53ae-scaled.jpg 1871w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986154109_custom-a5e323e0f2eef6e01f49dc39891204f7865a53ae-800x1094.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986154109_custom-a5e323e0f2eef6e01f49dc39891204f7865a53ae-1020x1395.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986154109_custom-a5e323e0f2eef6e01f49dc39891204f7865a53ae-160x219.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986154109_custom-a5e323e0f2eef6e01f49dc39891204f7865a53ae-768x1051.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986154109_custom-a5e323e0f2eef6e01f49dc39891204f7865a53ae-1123x1536.jpg 1123w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986154109_custom-a5e323e0f2eef6e01f49dc39891204f7865a53ae-1497x2048.jpg 1497w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986154109_custom-a5e323e0f2eef6e01f49dc39891204f7865a53ae-1920x2627.jpg 1920w\" sizes=\"(max-width: 1871px) 100vw, 1871px\">\u003cfigcaption class=\"wp-caption-text\">Dua Lipa. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951508\" class=\"wp-caption aligncenter\" style=\"max-width: 862px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951508\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.52.14-PM.png\" alt=\"A smiling man in an all black tudedo.\" width=\"862\" height=\"1284\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.52.14-PM.png 862w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.52.14-PM-800x1192.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.52.14-PM-160x238.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.52.14-PM-768x1144.png 768w\" sizes=\"(max-width: 862px) 100vw, 862px\">\u003cfigcaption class=\"wp-caption-text\">Noah Kahan. \u003ccite>(Matt Winkelmeyer/Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951509\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951509\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986036640-scaled.jpg\" alt=\"Three young women in matching white suits and red ties.\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986036640-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986036640-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986036640-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986036640-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986036640-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986036640-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986036640-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986036640-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Phoebe Bridgers, Lucy Dacus, and Julien Baker of Boygenius. \u003ccite>(Kayla Oaddams/ WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951480\" class=\"wp-caption aligncenter\" style=\"max-width: 1804px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951480\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986285428_custom-ebc16f62530f5626c4fba70e74a43148ed58e753-scaled.jpg\" alt=\"A man in an embroidered suit and a woman in a shiny pale blue gown.\" width=\"1804\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986285428_custom-ebc16f62530f5626c4fba70e74a43148ed58e753-scaled.jpg 1804w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986285428_custom-ebc16f62530f5626c4fba70e74a43148ed58e753-800x1135.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986285428_custom-ebc16f62530f5626c4fba70e74a43148ed58e753-1020x1448.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986285428_custom-ebc16f62530f5626c4fba70e74a43148ed58e753-160x227.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986285428_custom-ebc16f62530f5626c4fba70e74a43148ed58e753-768x1090.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986285428_custom-ebc16f62530f5626c4fba70e74a43148ed58e753-1082x1536.jpg 1082w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986285428_custom-ebc16f62530f5626c4fba70e74a43148ed58e753-1443x2048.jpg 1443w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986285428_custom-ebc16f62530f5626c4fba70e74a43148ed58e753-1920x2725.jpg 1920w\" sizes=\"(max-width: 1804px) 100vw, 1804px\">\u003cfigcaption class=\"wp-caption-text\">Peso Pluma and Nicki Nicole. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951510\" class=\"wp-caption aligncenter\" style=\"max-width: 864px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951510\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.57.45-PM.png\" alt=\"A young white women stands smiling in a cropped corset and black skirt.\" width=\"864\" height=\"1326\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.57.45-PM.png 864w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.57.45-PM-800x1228.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.57.45-PM-160x246.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.57.45-PM-768x1179.png 768w\" sizes=\"(max-width: 864px) 100vw, 864px\">\u003cfigcaption class=\"wp-caption-text\">Gracie Abrams. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951511\" class=\"wp-caption aligncenter\" style=\"max-width: 860px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951511\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.59.58-PM.png\" alt=\"A man in a brown elaborately patterned suit stands with a woman in a high cut silver gown.\" width=\"860\" height=\"1218\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.59.58-PM.png 860w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.59.58-PM-800x1133.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.59.58-PM-160x227.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.59.58-PM-768x1088.png 768w\" sizes=\"(max-width: 860px) 100vw, 860px\">\u003cfigcaption class=\"wp-caption-text\">Calvin Harris and Vick Hope. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951512\" class=\"wp-caption aligncenter\" style=\"max-width: 864px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951512\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.02.17-PM.png\" alt=\"A woman with long brown hair poses in a sheer, very frilled skirt and pink top.\" width=\"864\" height=\"1170\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.02.17-PM.png 864w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.02.17-PM-800x1083.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.02.17-PM-160x217.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.02.17-PM-768x1040.png 768w\" sizes=\"(max-width: 864px) 100vw, 864px\">\u003cfigcaption class=\"wp-caption-text\">Paty Cantu. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951484\" class=\"wp-caption aligncenter\" style=\"max-width: 1684px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951484\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986219918_custom-a8b9e169b7e6df7e8e2b421f4ff3460ac3cc7cbd-scaled.jpg\" alt=\"A man in a neon yellow suit and a woman in a lilac fitted gown.\" width=\"1684\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986219918_custom-a8b9e169b7e6df7e8e2b421f4ff3460ac3cc7cbd-scaled.jpg 1684w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986219918_custom-a8b9e169b7e6df7e8e2b421f4ff3460ac3cc7cbd-800x1216.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986219918_custom-a8b9e169b7e6df7e8e2b421f4ff3460ac3cc7cbd-1020x1551.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986219918_custom-a8b9e169b7e6df7e8e2b421f4ff3460ac3cc7cbd-160x243.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986219918_custom-a8b9e169b7e6df7e8e2b421f4ff3460ac3cc7cbd-768x1167.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986219918_custom-a8b9e169b7e6df7e8e2b421f4ff3460ac3cc7cbd-1010x1536.jpg 1010w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986219918_custom-a8b9e169b7e6df7e8e2b421f4ff3460ac3cc7cbd-1347x2048.jpg 1347w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986219918_custom-a8b9e169b7e6df7e8e2b421f4ff3460ac3cc7cbd-1920x2919.jpg 1920w\" sizes=\"(max-width: 1684px) 100vw, 1684px\">\u003cfigcaption class=\"wp-caption-text\">Michael Trotter Jr. and Tanya Trotter. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951513\" class=\"wp-caption aligncenter\" style=\"max-width: 860px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951513\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.05.54-PM.png\" alt=\"A man in a patchwork suit.\" width=\"860\" height=\"1294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.05.54-PM.png 860w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.05.54-PM-800x1204.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.05.54-PM-160x241.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.05.54-PM-768x1156.png 768w\" sizes=\"(max-width: 860px) 100vw, 860px\">\u003cfigcaption class=\"wp-caption-text\">Ed Sheeran. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951486\" class=\"wp-caption aligncenter\" style=\"max-width: 1690px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951486\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986220436_custom-37a30414683ff4ae216933a6548d857329336365.jpg\" alt=\"A striking woman in a white gown with oversized collar.\" width=\"1690\" height=\"2452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986220436_custom-37a30414683ff4ae216933a6548d857329336365.jpg 1690w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986220436_custom-37a30414683ff4ae216933a6548d857329336365-800x1161.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986220436_custom-37a30414683ff4ae216933a6548d857329336365-1020x1480.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986220436_custom-37a30414683ff4ae216933a6548d857329336365-160x232.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986220436_custom-37a30414683ff4ae216933a6548d857329336365-768x1114.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986220436_custom-37a30414683ff4ae216933a6548d857329336365-1059x1536.jpg 1059w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986220436_custom-37a30414683ff4ae216933a6548d857329336365-1412x2048.jpg 1412w\" sizes=\"(max-width: 1690px) 100vw, 1690px\">\u003cfigcaption class=\"wp-caption-text\">Kat Graham. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951514\" class=\"wp-caption aligncenter\" style=\"max-width: 864px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951514\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.08.22-PM.png\" alt=\"A Black woman with a lip piercing and cropped hair stands in a silver and black gown.\" width=\"864\" height=\"1194\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.08.22-PM.png 864w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.08.22-PM-800x1106.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.08.22-PM-160x221.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.08.22-PM-768x1061.png 768w\" sizes=\"(max-width: 864px) 100vw, 864px\">\u003cfigcaption class=\"wp-caption-text\">Fantasia Barrino. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951515\" class=\"wp-caption aligncenter\" style=\"max-width: 862px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951515\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.10.10-PM.png\" alt=\"Two Black men wearing sunglasses and oversized shirts and pants stand side by side. One of them has a small boy at his side.\" width=\"862\" height=\"1216\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.10.10-PM.png 862w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.10.10-PM-800x1129.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.10.10-PM-160x226.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.10.10-PM-768x1083.png 768w\" sizes=\"(max-width: 862px) 100vw, 862px\">\u003cfigcaption class=\"wp-caption-text\">Big Hit and Hit-Boy. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951516\" class=\"wp-caption aligncenter\" style=\"max-width: 864px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951516\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.12.10-PM.png\" alt=\"A Black man wearing a shiny black Versace suit and sunglasses.\" width=\"864\" height=\"1178\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.12.10-PM.png 864w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.12.10-PM-800x1091.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.12.10-PM-160x218.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.12.10-PM-768x1047.png 768w\" sizes=\"(max-width: 864px) 100vw, 864px\">\u003cfigcaption class=\"wp-caption-text\">Babyface. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951517\" class=\"wp-caption aligncenter\" style=\"max-width: 862px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951517\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.14.02-PM.png\" alt=\"A woman in a beige hat and cascading multicolor dress.\" width=\"862\" height=\"1238\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.14.02-PM.png 862w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.14.02-PM-800x1149.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.14.02-PM-160x230.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.14.02-PM-768x1103.png 768w\" sizes=\"(max-width: 862px) 100vw, 862px\">\u003cfigcaption class=\"wp-caption-text\">Lauren Daigle. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951491\" class=\"wp-caption aligncenter\" style=\"max-width: 1688px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951491\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986063826_custom-c2661e793822b239b81cd2bf4587beddec235084-scaled.jpg\" alt=\"A man wearing a black suit with very long sleeves.\" width=\"1688\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986063826_custom-c2661e793822b239b81cd2bf4587beddec235084-scaled.jpg 1688w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986063826_custom-c2661e793822b239b81cd2bf4587beddec235084-800x1213.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986063826_custom-c2661e793822b239b81cd2bf4587beddec235084-1020x1547.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986063826_custom-c2661e793822b239b81cd2bf4587beddec235084-160x243.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986063826_custom-c2661e793822b239b81cd2bf4587beddec235084-768x1165.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986063826_custom-c2661e793822b239b81cd2bf4587beddec235084-1013x1536.jpg 1013w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986063826_custom-c2661e793822b239b81cd2bf4587beddec235084-1350x2048.jpg 1350w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986063826_custom-c2661e793822b239b81cd2bf4587beddec235084-1920x2912.jpg 1920w\" sizes=\"(max-width: 1688px) 100vw, 1688px\">\u003cfigcaption class=\"wp-caption-text\">Luis Figueroa. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951518\" class=\"wp-caption aligncenter\" style=\"max-width: 864px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951518\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.17.31-PM.png\" alt=\"A Black woman wearing a red gown with structured straps that sprout into feathers over her head.\" width=\"864\" height=\"1302\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.17.31-PM.png 864w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.17.31-PM-800x1206.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.17.31-PM-160x241.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.17.31-PM-768x1157.png 768w\" sizes=\"(max-width: 864px) 100vw, 864px\">\u003cfigcaption class=\"wp-caption-text\">Dawn Richard. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951493\" class=\"wp-caption aligncenter\" style=\"max-width: 1698px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951493\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986027176_custom-5cc671e7860ce4cd2b3c52b6794c59d04a5186bb-scaled.jpg\" alt=\"A white man with scruffy facial hair in a black suit.\" width=\"1698\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986027176_custom-5cc671e7860ce4cd2b3c52b6794c59d04a5186bb-scaled.jpg 1698w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986027176_custom-5cc671e7860ce4cd2b3c52b6794c59d04a5186bb-800x1206.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986027176_custom-5cc671e7860ce4cd2b3c52b6794c59d04a5186bb-1020x1538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986027176_custom-5cc671e7860ce4cd2b3c52b6794c59d04a5186bb-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986027176_custom-5cc671e7860ce4cd2b3c52b6794c59d04a5186bb-768x1158.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986027176_custom-5cc671e7860ce4cd2b3c52b6794c59d04a5186bb-1019x1536.jpg 1019w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986027176_custom-5cc671e7860ce4cd2b3c52b6794c59d04a5186bb-1358x2048.jpg 1358w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986027176_custom-5cc671e7860ce4cd2b3c52b6794c59d04a5186bb-1920x2895.jpg 1920w\" sizes=\"(max-width: 1698px) 100vw, 1698px\">\u003cfigcaption class=\"wp-caption-text\">Josh Groban. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951519\" class=\"wp-caption aligncenter\" style=\"max-width: 862px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951519\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.20.45-PM.png\" alt=\"A Black man with shoulder length dreadlocks stands wearing a white shirt, black pants and sunglasses.\" width=\"862\" height=\"1296\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.20.45-PM.png 862w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.20.45-PM-800x1203.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.20.45-PM-160x241.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.20.45-PM-768x1155.png 768w\" sizes=\"(max-width: 862px) 100vw, 862px\">\u003cfigcaption class=\"wp-caption-text\">Eric Burton. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951520\" class=\"wp-caption aligncenter\" style=\"max-width: 860px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951520\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.22.37-PM.png\" alt=\"A young blond woman glances over her shoulder and smiles. She is wearing an off the shoulder black dress.\" width=\"860\" height=\"1286\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.22.37-PM.png 860w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.22.37-PM-800x1196.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.22.37-PM-160x239.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.22.37-PM-768x1148.png 768w\" sizes=\"(max-width: 860px) 100vw, 860px\">\u003cfigcaption class=\"wp-caption-text\">Charlotte Lawrence. \u003ccite>(Neilson Barnard/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951521\" class=\"wp-caption aligncenter\" style=\"max-width: 860px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951521\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.24.16-PM.png\" alt=\"A woman wearing an orange suit and pink blouse.\" width=\"860\" height=\"1270\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.24.16-PM.png 860w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.24.16-PM-800x1181.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.24.16-PM-160x236.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.24.16-PM-768x1134.png 768w\" sizes=\"(max-width: 860px) 100vw, 860px\">\u003cfigcaption class=\"wp-caption-text\">Brandi Carlile. \u003ccite>(ROBYN BECK/ AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951522\" class=\"wp-caption aligncenter\" style=\"max-width: 860px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951522\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.25.45-PM.png\" alt=\"A man in a Black suit clutches the pregnant belly of a woman wearing a flowing white gown.\" width=\"860\" height=\"1298\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.25.45-PM.png 860w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.25.45-PM-800x1207.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.25.45-PM-160x241.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.25.45-PM-768x1159.png 768w\" sizes=\"(max-width: 860px) 100vw, 860px\">\u003cfigcaption class=\"wp-caption-text\">Jessica Ledon and David Guetta. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951523\" class=\"wp-caption aligncenter\" style=\"max-width: 862px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951523\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.27.32-PM.png\" alt=\"A woman wearing a flowing orange gown.\" width=\"862\" height=\"1354\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.27.32-PM.png 862w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.27.32-PM-800x1257.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.27.32-PM-160x251.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.27.32-PM-768x1206.png 768w\" sizes=\"(max-width: 862px) 100vw, 862px\">\u003cfigcaption class=\"wp-caption-text\">Tessa Brooks. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951524\" class=\"wp-caption aligncenter\" style=\"max-width: 862px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951524\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.29.09-PM.png\" alt=\"A white man with curly brown hair and glasses wearing black pants and green and gold band jacket.\" width=\"862\" height=\"1326\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.29.09-PM.png 862w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.29.09-PM-800x1231.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.29.09-PM-160x246.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.29.09-PM-768x1181.png 768w\" sizes=\"(max-width: 862px) 100vw, 862px\">\u003cfigcaption class=\"wp-caption-text\">Tessa Brooks. \u003ccite>(Marc Whitmore Kevin Mazur/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951500\" class=\"wp-caption aligncenter\" style=\"max-width: 1770px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951500\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986022651_custom-7a6d5725822e321f84d5c59209e2fa503d986547-scaled.jpg\" alt=\"A woman wearing bloomers, a pink shirt and oversized red shoulder accessories.\" width=\"1770\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986022651_custom-7a6d5725822e321f84d5c59209e2fa503d986547-scaled.jpg 1770w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986022651_custom-7a6d5725822e321f84d5c59209e2fa503d986547-800x1157.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986022651_custom-7a6d5725822e321f84d5c59209e2fa503d986547-1020x1475.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986022651_custom-7a6d5725822e321f84d5c59209e2fa503d986547-160x231.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986022651_custom-7a6d5725822e321f84d5c59209e2fa503d986547-768x1111.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986022651_custom-7a6d5725822e321f84d5c59209e2fa503d986547-1062x1536.jpg 1062w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986022651_custom-7a6d5725822e321f84d5c59209e2fa503d986547-1416x2048.jpg 1416w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986022651_custom-7a6d5725822e321f84d5c59209e2fa503d986547-1920x2777.jpg 1920w\" sizes=\"(max-width: 1770px) 100vw, 1770px\">\u003cfigcaption class=\"wp-caption-text\">Montaigne. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Red+carpet+looks+from+the+2024+Grammy+Awards&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Check out some of the this year’s most memorable red carpet looks from the 66th annual Grammy Awards.","status":"publish","parent":0,"modified":1707104629,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":5,"wordCount":418},"headData":{"title":"Grammys 2024: Fashions on the Red Carpet | KQED","description":"Check out some of the this year’s most memorable red carpet looks from the 66th annual Grammy Awards.","ogTitle":"Red Carpet Looks From the 2024 Grammy Awards","ogDescription":"","ogImgId":"","twTitle":"Red Carpet Looks From the 2024 Grammy Awards","twDescription":"","twImgId":"","socialTitle":"Grammys 2024: Fashions on the Red Carpet %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Red Carpet Looks From the 2024 Grammy Awards","datePublished":"2024-02-05T03:43:49.000Z","dateModified":"2024-02-05T03:43:49.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"},"authorsData":[{"type":"authors","id":"92","meta":{"index":"authors_1591205172","id":"92","found":true},"name":"KQED Arts","firstName":"KQED","lastName":"Arts","slug":"kqedarts","email":"arts@kqed.org","display_author_email":false,"staff_mastheads":[],"title":"KQED Staff","bio":null,"avatar":"https://secure.gravatar.com/avatar/321c9ebfeb7736f9e55366a6d3399ab0?s=600&d=blank&r=g","twitter":null,"facebook":null,"instagram":"https://www.instagram.com/kqed_arts/","linkedin":null,"sites":[{"site":"arts","roles":["contributor"]},{"site":"pop","roles":["contributor"]},{"site":"science","roles":["author"]},{"site":"food","roles":["contributor"]}],"headData":{"title":"KQED Arts | KQED","description":"KQED Staff","ogImgSrc":"https://secure.gravatar.com/avatar/321c9ebfeb7736f9e55366a6d3399ab0?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/321c9ebfeb7736f9e55366a6d3399ab0?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/kqedarts"}],"imageData":{"ogImageSize":{"file":"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.35.22-PM-1020x587.png","width":1020,"height":587,"mimeType":"image/png"},"twImageSize":{"file":"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.35.22-PM-1020x587.png","width":1020,"height":587,"mimeType":"image/png"},"twitterCard":"summary_large_image"},"tagData":{"tags":["Awards","awards shows","grammys"]}},"sticky":false,"nprImageAgency":"Jordan Strauss/Invision/AP","nprStoryId":"1228979366","nprApiLink":"http://api.npr.org/query?id=1228979366&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/sections/pictureshow/2024/02/04/1228979366/red-carpet-looks-from-the-2024-grammy-awards?ft=nprml&f=1228979366","nprRetrievedStory":"1","nprPubDate":"Sun, 04 Feb 2024 21:17:00 -0500","nprStoryDate":"Sun, 04 Feb 2024 18:04:55 -0500","nprLastModifiedDate":"Sun, 04 Feb 2024 21:17:33 -0500","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13951471/2024-grammy-awards-red-carpet-fashion","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The 66th annual Grammy Award show is in full swing. Trevor Noah is hosting for his fourth consecutive year at Crypto.com Arena in Los Angeles, CA. Some big names are attending including SZA, who has nine nominations for her album \u003cem>SOS\u003c/em>, as well as Victoria Monét, Phoebe Bridgers, Taylor Swift and more.\u003c/p>\n\u003cp>A number of artists will perform live during the show. Joni Mitchell, a nominee tonight and a nine Grammy award winner, will be performing at the show tonight for the first time. Her live album \u003cem>Joni Mitchell in Newport\u003c/em> is up for best folk album.\u003c/p>\n\u003cp>Here are some of the most memorable looks of the night.\u003c/p>\n\u003cfigure id=\"attachment_13951526\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951526\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986539539-scaled.jpg\" alt=\"A white woman in a high cut white flowing gown and long black gloves.\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986539539-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986539539-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986539539-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986539539-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986539539-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986539539-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986539539-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986539539-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift. \u003ccite>(Jeff Kravitz/ FilmMagic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951473\" class=\"wp-caption aligncenter\" style=\"max-width: 1710px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951473\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986096056_custom-8a8fa8595ffc8e48f7ea2f45bb2f3b34187dbd2c-scaled.jpg\" alt=\"A Black man in a green suit and a Black woman in a tight rose gold gown stand on the red carpet. The woman is holding a small child.\" width=\"1710\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986096056_custom-8a8fa8595ffc8e48f7ea2f45bb2f3b34187dbd2c-scaled.jpg 1710w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986096056_custom-8a8fa8595ffc8e48f7ea2f45bb2f3b34187dbd2c-800x1198.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986096056_custom-8a8fa8595ffc8e48f7ea2f45bb2f3b34187dbd2c-1020x1527.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986096056_custom-8a8fa8595ffc8e48f7ea2f45bb2f3b34187dbd2c-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986096056_custom-8a8fa8595ffc8e48f7ea2f45bb2f3b34187dbd2c-768x1150.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986096056_custom-8a8fa8595ffc8e48f7ea2f45bb2f3b34187dbd2c-1026x1536.jpg 1026w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986096056_custom-8a8fa8595ffc8e48f7ea2f45bb2f3b34187dbd2c-1368x2048.jpg 1368w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986096056_custom-8a8fa8595ffc8e48f7ea2f45bb2f3b34187dbd2c-1920x2874.jpg 1920w\" sizes=\"(max-width: 1710px) 100vw, 1710px\">\u003cfigcaption class=\"wp-caption-text\">John Gaines, Victoria Monét, and Hazel Monét Gaines. \u003ccite>(Kayla Oaddams/ WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951502\" class=\"wp-caption aligncenter\" style=\"max-width: 864px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951502\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.33.54-PM.png\" alt=\"A Black woman strikes a pose in a plunging PVC and silver gown.\" width=\"864\" height=\"1316\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.33.54-PM.png 864w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.33.54-PM-800x1219.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.33.54-PM-160x244.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.33.54-PM-768x1170.png 768w\" sizes=\"(max-width: 864px) 100vw, 864px\">\u003cfigcaption class=\"wp-caption-text\">Janelle Monae. \u003ccite>(Matt Winkelmeyer/Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951503\" class=\"wp-caption aligncenter\" style=\"max-width: 862px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951503\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.35.36-PM.png\" alt=\"A tattooed woman stands in a sheer skin toned gown in the red carpet. She is looking over her shoulder.\" width=\"862\" height=\"1326\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.35.36-PM.png 862w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.35.36-PM-800x1231.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.35.36-PM-160x246.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.35.36-PM-768x1181.png 768w\" sizes=\"(max-width: 862px) 100vw, 862px\">\u003cfigcaption class=\"wp-caption-text\">Doja Cat. \u003ccite>(Jordan Strauss/ Invision/ AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951504\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951504\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986476579-scaled.jpg\" alt=\"A woman with cascading dark hair stands on the red carpet wearing a tight white gown.\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986476579-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986476579-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986476579-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986476579-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986476579-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986476579-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986476579-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986476579-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Olivia Rodrigo. \u003ccite>(Kayla Oaddams/ WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951505\" class=\"wp-caption aligncenter\" style=\"max-width: 860px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951505\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.40.39-PM.png\" alt=\"A woman with big hair stands on the red carpet in a gold sheer gown.\" width=\"860\" height=\"1298\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.40.39-PM.png 860w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.40.39-PM-800x1207.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.40.39-PM-160x241.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.40.39-PM-768x1159.png 768w\" sizes=\"(max-width: 860px) 100vw, 860px\">\u003cfigcaption class=\"wp-caption-text\">Miley Cyrus. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951476\" class=\"wp-caption aligncenter\" style=\"max-width: 1818px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951476\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986261016_custom-de7f432d40b105e7f9ae46f72d1ac98c20d9157f-scaled.jpg\" alt=\"A slender blond woman in a black and silver dress and a bald man in black suit and sunglasses stand on the red carpet with two young girls in black dresses.\" width=\"1818\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986261016_custom-de7f432d40b105e7f9ae46f72d1ac98c20d9157f-scaled.jpg 1818w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986261016_custom-de7f432d40b105e7f9ae46f72d1ac98c20d9157f-800x1126.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986261016_custom-de7f432d40b105e7f9ae46f72d1ac98c20d9157f-1020x1436.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986261016_custom-de7f432d40b105e7f9ae46f72d1ac98c20d9157f-160x225.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986261016_custom-de7f432d40b105e7f9ae46f72d1ac98c20d9157f-768x1081.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986261016_custom-de7f432d40b105e7f9ae46f72d1ac98c20d9157f-1091x1536.jpg 1091w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986261016_custom-de7f432d40b105e7f9ae46f72d1ac98c20d9157f-1455x2048.jpg 1455w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986261016_custom-de7f432d40b105e7f9ae46f72d1ac98c20d9157f-1920x2703.jpg 1920w\" sizes=\"(max-width: 1818px) 100vw, 1818px\">\u003cfigcaption class=\"wp-caption-text\">Alexis Roderick, Billy Joel, Della Joel and Remy Joel \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951506\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951506\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986204941-scaled.jpg\" alt=\"A young woman with red and black hair stands on the red carpet wearing oversized black pants and a bomber jacket.\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986204941-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986204941-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986204941-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986204941-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986204941-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986204941-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986204941-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986204941-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Billie Eilish. \u003ccite>(Kayla Oaddams/ WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951507\" class=\"wp-caption aligncenter\" style=\"max-width: 866px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951507\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.48.15-PM.png\" alt=\"A smiling Black woman wearing a plunging silver gown.\" width=\"866\" height=\"1228\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.48.15-PM.png 866w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.48.15-PM-800x1134.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.48.15-PM-160x227.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.48.15-PM-768x1089.png 768w\" sizes=\"(max-width: 866px) 100vw, 866px\">\u003cfigcaption class=\"wp-caption-text\">Coco Jones. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951478\" class=\"wp-caption aligncenter\" style=\"max-width: 1871px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951478\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986154109_custom-a5e323e0f2eef6e01f49dc39891204f7865a53ae-scaled.jpg\" alt=\"A woman with long red hair wearing a plunging silver and sheer dress.\" width=\"1871\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986154109_custom-a5e323e0f2eef6e01f49dc39891204f7865a53ae-scaled.jpg 1871w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986154109_custom-a5e323e0f2eef6e01f49dc39891204f7865a53ae-800x1094.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986154109_custom-a5e323e0f2eef6e01f49dc39891204f7865a53ae-1020x1395.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986154109_custom-a5e323e0f2eef6e01f49dc39891204f7865a53ae-160x219.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986154109_custom-a5e323e0f2eef6e01f49dc39891204f7865a53ae-768x1051.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986154109_custom-a5e323e0f2eef6e01f49dc39891204f7865a53ae-1123x1536.jpg 1123w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986154109_custom-a5e323e0f2eef6e01f49dc39891204f7865a53ae-1497x2048.jpg 1497w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986154109_custom-a5e323e0f2eef6e01f49dc39891204f7865a53ae-1920x2627.jpg 1920w\" sizes=\"(max-width: 1871px) 100vw, 1871px\">\u003cfigcaption class=\"wp-caption-text\">Dua Lipa. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951508\" class=\"wp-caption aligncenter\" style=\"max-width: 862px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951508\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.52.14-PM.png\" alt=\"A smiling man in an all black tudedo.\" width=\"862\" height=\"1284\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.52.14-PM.png 862w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.52.14-PM-800x1192.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.52.14-PM-160x238.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.52.14-PM-768x1144.png 768w\" sizes=\"(max-width: 862px) 100vw, 862px\">\u003cfigcaption class=\"wp-caption-text\">Noah Kahan. \u003ccite>(Matt Winkelmeyer/Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951509\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951509\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986036640-scaled.jpg\" alt=\"Three young women in matching white suits and red ties.\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986036640-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986036640-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986036640-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986036640-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986036640-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986036640-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986036640-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986036640-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Phoebe Bridgers, Lucy Dacus, and Julien Baker of Boygenius. \u003ccite>(Kayla Oaddams/ WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951480\" class=\"wp-caption aligncenter\" style=\"max-width: 1804px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951480\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986285428_custom-ebc16f62530f5626c4fba70e74a43148ed58e753-scaled.jpg\" alt=\"A man in an embroidered suit and a woman in a shiny pale blue gown.\" width=\"1804\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986285428_custom-ebc16f62530f5626c4fba70e74a43148ed58e753-scaled.jpg 1804w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986285428_custom-ebc16f62530f5626c4fba70e74a43148ed58e753-800x1135.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986285428_custom-ebc16f62530f5626c4fba70e74a43148ed58e753-1020x1448.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986285428_custom-ebc16f62530f5626c4fba70e74a43148ed58e753-160x227.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986285428_custom-ebc16f62530f5626c4fba70e74a43148ed58e753-768x1090.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986285428_custom-ebc16f62530f5626c4fba70e74a43148ed58e753-1082x1536.jpg 1082w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986285428_custom-ebc16f62530f5626c4fba70e74a43148ed58e753-1443x2048.jpg 1443w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986285428_custom-ebc16f62530f5626c4fba70e74a43148ed58e753-1920x2725.jpg 1920w\" sizes=\"(max-width: 1804px) 100vw, 1804px\">\u003cfigcaption class=\"wp-caption-text\">Peso Pluma and Nicki Nicole. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951510\" class=\"wp-caption aligncenter\" style=\"max-width: 864px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951510\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.57.45-PM.png\" alt=\"A young white women stands smiling in a cropped corset and black skirt.\" width=\"864\" height=\"1326\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.57.45-PM.png 864w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.57.45-PM-800x1228.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.57.45-PM-160x246.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.57.45-PM-768x1179.png 768w\" sizes=\"(max-width: 864px) 100vw, 864px\">\u003cfigcaption class=\"wp-caption-text\">Gracie Abrams. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951511\" class=\"wp-caption aligncenter\" style=\"max-width: 860px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951511\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.59.58-PM.png\" alt=\"A man in a brown elaborately patterned suit stands with a woman in a high cut silver gown.\" width=\"860\" height=\"1218\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.59.58-PM.png 860w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.59.58-PM-800x1133.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.59.58-PM-160x227.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.59.58-PM-768x1088.png 768w\" sizes=\"(max-width: 860px) 100vw, 860px\">\u003cfigcaption class=\"wp-caption-text\">Calvin Harris and Vick Hope. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951512\" class=\"wp-caption aligncenter\" style=\"max-width: 864px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951512\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.02.17-PM.png\" alt=\"A woman with long brown hair poses in a sheer, very frilled skirt and pink top.\" width=\"864\" height=\"1170\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.02.17-PM.png 864w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.02.17-PM-800x1083.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.02.17-PM-160x217.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.02.17-PM-768x1040.png 768w\" sizes=\"(max-width: 864px) 100vw, 864px\">\u003cfigcaption class=\"wp-caption-text\">Paty Cantu. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951484\" class=\"wp-caption aligncenter\" style=\"max-width: 1684px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951484\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986219918_custom-a8b9e169b7e6df7e8e2b421f4ff3460ac3cc7cbd-scaled.jpg\" alt=\"A man in a neon yellow suit and a woman in a lilac fitted gown.\" width=\"1684\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986219918_custom-a8b9e169b7e6df7e8e2b421f4ff3460ac3cc7cbd-scaled.jpg 1684w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986219918_custom-a8b9e169b7e6df7e8e2b421f4ff3460ac3cc7cbd-800x1216.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986219918_custom-a8b9e169b7e6df7e8e2b421f4ff3460ac3cc7cbd-1020x1551.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986219918_custom-a8b9e169b7e6df7e8e2b421f4ff3460ac3cc7cbd-160x243.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986219918_custom-a8b9e169b7e6df7e8e2b421f4ff3460ac3cc7cbd-768x1167.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986219918_custom-a8b9e169b7e6df7e8e2b421f4ff3460ac3cc7cbd-1010x1536.jpg 1010w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986219918_custom-a8b9e169b7e6df7e8e2b421f4ff3460ac3cc7cbd-1347x2048.jpg 1347w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986219918_custom-a8b9e169b7e6df7e8e2b421f4ff3460ac3cc7cbd-1920x2919.jpg 1920w\" sizes=\"(max-width: 1684px) 100vw, 1684px\">\u003cfigcaption class=\"wp-caption-text\">Michael Trotter Jr. and Tanya Trotter. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951513\" class=\"wp-caption aligncenter\" style=\"max-width: 860px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951513\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.05.54-PM.png\" alt=\"A man in a patchwork suit.\" width=\"860\" height=\"1294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.05.54-PM.png 860w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.05.54-PM-800x1204.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.05.54-PM-160x241.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.05.54-PM-768x1156.png 768w\" sizes=\"(max-width: 860px) 100vw, 860px\">\u003cfigcaption class=\"wp-caption-text\">Ed Sheeran. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951486\" class=\"wp-caption aligncenter\" style=\"max-width: 1690px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951486\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986220436_custom-37a30414683ff4ae216933a6548d857329336365.jpg\" alt=\"A striking woman in a white gown with oversized collar.\" width=\"1690\" height=\"2452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986220436_custom-37a30414683ff4ae216933a6548d857329336365.jpg 1690w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986220436_custom-37a30414683ff4ae216933a6548d857329336365-800x1161.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986220436_custom-37a30414683ff4ae216933a6548d857329336365-1020x1480.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986220436_custom-37a30414683ff4ae216933a6548d857329336365-160x232.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986220436_custom-37a30414683ff4ae216933a6548d857329336365-768x1114.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986220436_custom-37a30414683ff4ae216933a6548d857329336365-1059x1536.jpg 1059w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986220436_custom-37a30414683ff4ae216933a6548d857329336365-1412x2048.jpg 1412w\" sizes=\"(max-width: 1690px) 100vw, 1690px\">\u003cfigcaption class=\"wp-caption-text\">Kat Graham. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951514\" class=\"wp-caption aligncenter\" style=\"max-width: 864px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951514\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.08.22-PM.png\" alt=\"A Black woman with a lip piercing and cropped hair stands in a silver and black gown.\" width=\"864\" height=\"1194\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.08.22-PM.png 864w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.08.22-PM-800x1106.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.08.22-PM-160x221.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.08.22-PM-768x1061.png 768w\" sizes=\"(max-width: 864px) 100vw, 864px\">\u003cfigcaption class=\"wp-caption-text\">Fantasia Barrino. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951515\" class=\"wp-caption aligncenter\" style=\"max-width: 862px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951515\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.10.10-PM.png\" alt=\"Two Black men wearing sunglasses and oversized shirts and pants stand side by side. One of them has a small boy at his side.\" width=\"862\" height=\"1216\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.10.10-PM.png 862w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.10.10-PM-800x1129.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.10.10-PM-160x226.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.10.10-PM-768x1083.png 768w\" sizes=\"(max-width: 862px) 100vw, 862px\">\u003cfigcaption class=\"wp-caption-text\">Big Hit and Hit-Boy. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951516\" class=\"wp-caption aligncenter\" style=\"max-width: 864px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951516\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.12.10-PM.png\" alt=\"A Black man wearing a shiny black Versace suit and sunglasses.\" width=\"864\" height=\"1178\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.12.10-PM.png 864w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.12.10-PM-800x1091.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.12.10-PM-160x218.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.12.10-PM-768x1047.png 768w\" sizes=\"(max-width: 864px) 100vw, 864px\">\u003cfigcaption class=\"wp-caption-text\">Babyface. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951517\" class=\"wp-caption aligncenter\" style=\"max-width: 862px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951517\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.14.02-PM.png\" alt=\"A woman in a beige hat and cascading multicolor dress.\" width=\"862\" height=\"1238\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.14.02-PM.png 862w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.14.02-PM-800x1149.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.14.02-PM-160x230.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.14.02-PM-768x1103.png 768w\" sizes=\"(max-width: 862px) 100vw, 862px\">\u003cfigcaption class=\"wp-caption-text\">Lauren Daigle. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951491\" class=\"wp-caption aligncenter\" style=\"max-width: 1688px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951491\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986063826_custom-c2661e793822b239b81cd2bf4587beddec235084-scaled.jpg\" alt=\"A man wearing a black suit with very long sleeves.\" width=\"1688\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986063826_custom-c2661e793822b239b81cd2bf4587beddec235084-scaled.jpg 1688w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986063826_custom-c2661e793822b239b81cd2bf4587beddec235084-800x1213.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986063826_custom-c2661e793822b239b81cd2bf4587beddec235084-1020x1547.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986063826_custom-c2661e793822b239b81cd2bf4587beddec235084-160x243.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986063826_custom-c2661e793822b239b81cd2bf4587beddec235084-768x1165.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986063826_custom-c2661e793822b239b81cd2bf4587beddec235084-1013x1536.jpg 1013w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986063826_custom-c2661e793822b239b81cd2bf4587beddec235084-1350x2048.jpg 1350w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986063826_custom-c2661e793822b239b81cd2bf4587beddec235084-1920x2912.jpg 1920w\" sizes=\"(max-width: 1688px) 100vw, 1688px\">\u003cfigcaption class=\"wp-caption-text\">Luis Figueroa. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951518\" class=\"wp-caption aligncenter\" style=\"max-width: 864px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951518\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.17.31-PM.png\" alt=\"A Black woman wearing a red gown with structured straps that sprout into feathers over her head.\" width=\"864\" height=\"1302\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.17.31-PM.png 864w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.17.31-PM-800x1206.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.17.31-PM-160x241.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.17.31-PM-768x1157.png 768w\" sizes=\"(max-width: 864px) 100vw, 864px\">\u003cfigcaption class=\"wp-caption-text\">Dawn Richard. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951493\" class=\"wp-caption aligncenter\" style=\"max-width: 1698px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951493\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986027176_custom-5cc671e7860ce4cd2b3c52b6794c59d04a5186bb-scaled.jpg\" alt=\"A white man with scruffy facial hair in a black suit.\" width=\"1698\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986027176_custom-5cc671e7860ce4cd2b3c52b6794c59d04a5186bb-scaled.jpg 1698w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986027176_custom-5cc671e7860ce4cd2b3c52b6794c59d04a5186bb-800x1206.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986027176_custom-5cc671e7860ce4cd2b3c52b6794c59d04a5186bb-1020x1538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986027176_custom-5cc671e7860ce4cd2b3c52b6794c59d04a5186bb-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986027176_custom-5cc671e7860ce4cd2b3c52b6794c59d04a5186bb-768x1158.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986027176_custom-5cc671e7860ce4cd2b3c52b6794c59d04a5186bb-1019x1536.jpg 1019w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986027176_custom-5cc671e7860ce4cd2b3c52b6794c59d04a5186bb-1358x2048.jpg 1358w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986027176_custom-5cc671e7860ce4cd2b3c52b6794c59d04a5186bb-1920x2895.jpg 1920w\" sizes=\"(max-width: 1698px) 100vw, 1698px\">\u003cfigcaption class=\"wp-caption-text\">Josh Groban. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951519\" class=\"wp-caption aligncenter\" style=\"max-width: 862px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951519\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.20.45-PM.png\" alt=\"A Black man with shoulder length dreadlocks stands wearing a white shirt, black pants and sunglasses.\" width=\"862\" height=\"1296\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.20.45-PM.png 862w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.20.45-PM-800x1203.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.20.45-PM-160x241.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.20.45-PM-768x1155.png 768w\" sizes=\"(max-width: 862px) 100vw, 862px\">\u003cfigcaption class=\"wp-caption-text\">Eric Burton. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951520\" class=\"wp-caption aligncenter\" style=\"max-width: 860px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951520\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.22.37-PM.png\" alt=\"A young blond woman glances over her shoulder and smiles. She is wearing an off the shoulder black dress.\" width=\"860\" height=\"1286\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.22.37-PM.png 860w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.22.37-PM-800x1196.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.22.37-PM-160x239.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.22.37-PM-768x1148.png 768w\" sizes=\"(max-width: 860px) 100vw, 860px\">\u003cfigcaption class=\"wp-caption-text\">Charlotte Lawrence. \u003ccite>(Neilson Barnard/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951521\" class=\"wp-caption aligncenter\" style=\"max-width: 860px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951521\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.24.16-PM.png\" alt=\"A woman wearing an orange suit and pink blouse.\" width=\"860\" height=\"1270\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.24.16-PM.png 860w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.24.16-PM-800x1181.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.24.16-PM-160x236.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.24.16-PM-768x1134.png 768w\" sizes=\"(max-width: 860px) 100vw, 860px\">\u003cfigcaption class=\"wp-caption-text\">Brandi Carlile. \u003ccite>(ROBYN BECK/ AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951522\" class=\"wp-caption aligncenter\" style=\"max-width: 860px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951522\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.25.45-PM.png\" alt=\"A man in a Black suit clutches the pregnant belly of a woman wearing a flowing white gown.\" width=\"860\" height=\"1298\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.25.45-PM.png 860w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.25.45-PM-800x1207.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.25.45-PM-160x241.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.25.45-PM-768x1159.png 768w\" sizes=\"(max-width: 860px) 100vw, 860px\">\u003cfigcaption class=\"wp-caption-text\">Jessica Ledon and David Guetta. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951523\" class=\"wp-caption aligncenter\" style=\"max-width: 862px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951523\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.27.32-PM.png\" alt=\"A woman wearing a flowing orange gown.\" width=\"862\" height=\"1354\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.27.32-PM.png 862w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.27.32-PM-800x1257.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.27.32-PM-160x251.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.27.32-PM-768x1206.png 768w\" sizes=\"(max-width: 862px) 100vw, 862px\">\u003cfigcaption class=\"wp-caption-text\">Tessa Brooks. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951524\" class=\"wp-caption aligncenter\" style=\"max-width: 862px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951524\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.29.09-PM.png\" alt=\"A white man with curly brown hair and glasses wearing black pants and green and gold band jacket.\" width=\"862\" height=\"1326\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.29.09-PM.png 862w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.29.09-PM-800x1231.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.29.09-PM-160x246.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.29.09-PM-768x1181.png 768w\" sizes=\"(max-width: 862px) 100vw, 862px\">\u003cfigcaption class=\"wp-caption-text\">Tessa Brooks. \u003ccite>(Marc Whitmore Kevin Mazur/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951500\" class=\"wp-caption aligncenter\" style=\"max-width: 1770px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951500\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986022651_custom-7a6d5725822e321f84d5c59209e2fa503d986547-scaled.jpg\" alt=\"A woman wearing bloomers, a pink shirt and oversized red shoulder accessories.\" width=\"1770\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986022651_custom-7a6d5725822e321f84d5c59209e2fa503d986547-scaled.jpg 1770w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986022651_custom-7a6d5725822e321f84d5c59209e2fa503d986547-800x1157.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986022651_custom-7a6d5725822e321f84d5c59209e2fa503d986547-1020x1475.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986022651_custom-7a6d5725822e321f84d5c59209e2fa503d986547-160x231.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986022651_custom-7a6d5725822e321f84d5c59209e2fa503d986547-768x1111.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986022651_custom-7a6d5725822e321f84d5c59209e2fa503d986547-1062x1536.jpg 1062w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986022651_custom-7a6d5725822e321f84d5c59209e2fa503d986547-1416x2048.jpg 1416w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986022651_custom-7a6d5725822e321f84d5c59209e2fa503d986547-1920x2777.jpg 1920w\" sizes=\"(max-width: 1770px) 100vw, 1770px\">\u003cfigcaption class=\"wp-caption-text\">Montaigne. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Red+carpet+looks+from+the+2024+Grammy+Awards&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\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>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13951471/2024-grammy-awards-red-carpet-fashion","authors":["92"],"categories":["arts_1","arts_76","arts_69","arts_75"],"tags":["arts_9943","arts_8417","arts_1685"],"affiliates":["arts_137"],"featImg":"arts_13951525","label":"arts_137","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. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.","airtime":"MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/all-things-considered/","meta":{"site":"news","source":"npr"},"link":"/radio/program/all-things-considered"},"american-suburb-podcast":{"id":"american-suburb-podcast","title":"American Suburb: The Podcast","tagline":"The flip side of gentrification, told through one town","info":"Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. 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You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED MindShift: How We Will Learn","officialWebsiteLink":"/mindshift/","meta":{"site":"news","source":"kqed","order":"2"},"link":"/podcasts/mindshift","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5","npr":"https://www.npr.org/podcasts/464615685/mind-shift-podcast","stitcher":"https://www.stitcher.com/podcast/kqed/stories-teachers-share","spotify":"https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"}},"morning-edition":{"id":"morning-edition","title":"Morning Edition","info":"\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. 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On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg","imageAlt":"On Our Watch from NPR and KQED","officialWebsiteLink":"/podcasts/onourwatch","meta":{"site":"news","source":"kqed","order":"1"},"link":"/podcasts/onourwatch","subscribe":{"apple":"https://podcasts.apple.com/podcast/id1567098962","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw","npr":"https://rpb3r.app.goo.gl/onourwatch","spotify":"https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x","tuneIn":"https://tunein.com/radio/On-Our-Watch-p1436229/","stitcher":"https://www.stitcher.com/show/on-our-watch","rss":"https://feeds.npr.org/510360/podcast.xml"}},"on-the-media":{"id":"on-the-media","title":"On The Media","info":"Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. 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