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"content": "\u003cp>\u003cem>Welcome to KQED Arts’ \u003ca href=\"https://www.kqed.org/arts/tag/bay-brilliant\" rel=\"noopener\" target=\"_blank\">Bay Brilliant\u003c/a>, a series celebrating 10 local artists, creatives and makers who are pushing boundaries in 2018. Driven by passion for their own disciplines—music, dance, theater, visual art, performance, writing, illustration and more—these artists are true vanguards paving the way in their respective communities.\u003c/em>\u003c/p>\n\u003cp>Jessica Bejarano isn’t your average classical conductor. As a tattooed Mexican-American woman holding the baton, she stands out on just about any orchestra’s podium. The thing is: Bejarano’s been on a lot of podiums, all over the world. When she isn’t at home conducting the \u003ca href=\"https://www.sfcivicmusic.org/\" rel=\"noopener\" target=\"_blank\">San Francisco Civic Symphony\u003c/a> or serving as music director for San Francisco University High School, she keeps busy conducting overseas in countries like Russia, Bulgaria, Italy, Romania, Spain, Venezuela, and the Czech Republic, and with orchestras in the U.S. from Santa Cruz to Baltimore. \u003c/p>\n\u003cp>That’s no small feat for someone who grew up in Bell Gardens, the largely minority and low-income city southeast of Los Angeles, where “classical music was not a thing, by any means,” Bejarano says. Add to that a rough coming-out experience, and the numerous times she was told point-blank that she’d never be a successful conductor in the U.S. due to her looks and background, her stature in the classical music world becomes even more impressive.\u003c/p>\n\u003cp>Now, she uses her position to lift up others. Recently, Bejarano invited San Francisco Symphony violinist Eliot Lev, the first openly transgender member of a major American orchestra, to perform Tchaikovsky’s Violin Concerto in D Major with the San Francisco Civic Symphony—an 85-member orchestra that’s among the most diverse in the region. And whether as a teacher, conductor, or director, Bejarano’s approach is the same: “There’s a wonderful magic that comes with inspiring people,” she says, “and knowing how to motivate them.”\u003c/p>\n\u003cfigure id=\"attachment_13838912\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/JBejaranoHoriz1-1-800x571.jpg\" alt=\"Jessica Bejarano.\" width=\"800\" height=\"571\" class=\"size-medium wp-image-13838912\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/JBejaranoHoriz1-1-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/JBejaranoHoriz1-1-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/JBejaranoHoriz1-1-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/JBejaranoHoriz1-1-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/JBejaranoHoriz1-1-1200x857.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/JBejaranoHoriz1-1-1180x843.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/JBejaranoHoriz1-1-960x686.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/JBejaranoHoriz1-1-240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/JBejaranoHoriz1-1-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/JBejaranoHoriz1-1-520x371.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/JBejaranoHoriz1-1.jpg 1512w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jessica Bejarano. \u003ccite>(Jean Melesaine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What was your introduction to classical music? Did it feel exclusionary to you?\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Yes. I didn’t discover classical music until my first year of college. In order to fulfill my scholarship, because I was a trumpet player, I had to play in a few ensembles. I sat in the orchestra, and I remember it was Beethoven’s Fifth Symphony, Smetana’s \u003cem>The Moldau\u003c/em>, and a Vaughan Williams requiem. And I remember just sitting there, blown away. I was like, “Where did this come from? Where has this been?” It was like that music was already ingrained in my body, but it just needed to be activated.\u003c/p>\n\u003cp>Initially my undergraduate degrees were in music education; I wanted to be a music educator at a top-notch high school or at a college. But then I had the epiphany that I wanted to be a conductor. And if I had stopped for a minute and been like, “Okay, let me do some research and look at the history. How many women are in this field? What does it look like? How many women exist in this country or outside of the country in this field?” If I’d have done that kind of homework and seen the statistics, or lack thereof, I might’ve been dissuaded and been like, “Whoa, this is gonna be more of a battle than I’m ready for.”\u003c/p>\n\u003cp>But I didn’t look at any of that. I didn’t look at the lack of females in the field. I just knew that I was motivated, I was thirsty for it, and I was passionate about conducting and being a leader. So I just went for it. \u003c/p>\n\u003cfigure id=\"attachment_13838911\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/JBejaranoVert4-800x1120.jpg\" alt=\"Jessica Bejarano.\" width=\"800\" height=\"1120\" class=\"size-medium wp-image-13838911\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/JBejaranoVert4-800x1120.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/JBejaranoVert4-160x224.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/JBejaranoVert4-768x1075.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/JBejaranoVert4-1020x1428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/JBejaranoVert4-857x1200.jpg 857w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/JBejaranoVert4-960x1344.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/JBejaranoVert4-240x336.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/JBejaranoVert4-375x525.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/JBejaranoVert4-520x728.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/JBejaranoVert4.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jessica Bejarano. \u003ccite>(Artemisia Luk)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What kind of challenges and obstacles have you faced?\u003c/strong>\u003c/p>\n\u003cp>Many. Maybe too many. But it’s those obstacles and all those “no”s that I’ve been told that I’ve used to my advantage. Every time I was told no, and every time I got a letter saying “thank you but no thank you,” or every time I was told I couldn’t make it as a conductor in this country, I would take that energy and use it to motivate me and to keep that fire burning even brighter.\u003c/p>\n\u003cp>Not all the people that mentored me were good to me. Not at all. There is a thing that people call tough love. I would just call it tough.\u003c/p>\n\u003cp>\u003cstrong>What was your coming-out story?\u003c/strong>\u003c/p>\n\u003cp>Oh, that’s not a pretty story. I was outed when I was 13, 14 years old. I told a cousin in confidence and he turned around and told my mother. My family being Mexican, very religiously driven and culturally driven, the woman is supposed to get married, be a wife, be a mother, bear children and so forth—I’m like the complete opposite of that. I was defying our culture, I was defying our religion. And then they were immigrants as well, so there was just that fear behind it. My mother and family did not take it well whatsoever. It took them years, years, \u003cem>years\u003c/em> to get over it. And then by the time I was in college, when a bunch of my cousins came out, they were just like, “Okay, I guess it’s fine.”\u003c/p>\n\u003cp>\u003cstrong>How does it feel now to not just have these accomplishments and this career, but to be able to help others who may have been told “no” along the way?\u003c/strong>\u003c/p>\n\u003cp>I’m starting my third year with San Francisco Civic Symphony. It’s a full size 85-piece orchestra; they’re the oldest community orchestra this side of the Mississippi. They’ve been around for over 80 years. The thing about that orchestra, it is a community orchestra, and you get an array of talent. So, for me as a director, it’s like, how do I make it all-inclusive for everyone?\u003c/p>\n\u003cp>For me, no matter if it’s a professional orchestra, a community orchestra, as a director, my philosophy when I work with musicians is not to demand and insist, but to motivate and inspire. And when I have that kind of energy with my musicians, it keeps them on their toes. It keeps them on the edge of their seat and it keeps them in tune. No one wants to listen as someone berate them over and over again, and just hammer over them how awful they are or they’re not getting this right.\u003c/p>\n\u003cp>There’s a wonderful magic that comes with inspiring people and knowing how to motivate them. \u003c/p>\n\u003cfigure id=\"attachment_13838914\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/JBejaranoVert2-800x1120.jpg\" alt=\"Jessica Bejarano.\" width=\"800\" height=\"1120\" class=\"size-medium wp-image-13838914\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/JBejaranoVert2-800x1120.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/JBejaranoVert2-160x224.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/JBejaranoVert2-768x1075.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/JBejaranoVert2-1020x1428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/JBejaranoVert2-857x1200.jpg 857w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/JBejaranoVert2-960x1344.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/JBejaranoVert2-240x336.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/JBejaranoVert2-375x525.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/JBejaranoVert2-520x728.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/JBejaranoVert2.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jessica Bejarano. \u003ccite>(Jean Melesaine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How does living in San Francisco inform your work and what you do?\u003c/strong>\u003c/p>\n\u003cp>I’ve lived here 11 years now and I love this city. I absolutely love this city. Let me tell you what this city means to me. After I graduated from UC Davis, I had a plan to go to Europe conducting in Romania and Italy, travel around Europe, come back, and drive to South Carolina, because I got accepted to start my DMA in orchestral conducting.\u003c/p>\n\u003cp>Long story short, I was offered a job at the Peninsula Symphony down in Los Altos. Assistant conductor, Peninsula Symphony, four-year contract. And it paid $2,000 a year. After taxes, $224 a month. I had 24 hours to decide if I wanted to start my Doctorate like I’d planned, or be conducting in the Bay Area on $2,000 a year. \u003c/p>\n\u003cp>And San Francisco, as a kid, has always been my dream city. For me it was like gay Disneyland. I’ve always wanted to be here, but it seemed like my life was never going to bring me here—until this position came to fruition. So, I reached out to my mentors. I was like, “What would you do? What would you do?” Hands down, everyone said, “Take the job. Because you’re going to get your foot in the door. You’re actually going to be a conductor.”\u003c/p>\n\u003cp>So, I took my first job… for $2,000 a year.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Gw0sqCBkTkI\u003c/p>\n\u003cp>\u003cstrong>What motivates you every day?\u003c/strong>\u003c/p>\n\u003cp>Obviously I have a love of music. But growing up in a very poor community and a poor family, I only grew up with my mother and she worked two, three jobs. She worked at Toys ‘R’ Us. She worked at a hamburger joint. She worked at a Pick ‘n Save. In the evenings, she would go collect cans and plastic bottles to recycle them and make more money. Later, when I was in college, my mom was working at a casino. You know those people that stand in the bathroom, that clean the counters and give you mints? That was my mom. She would push around the trash can. That was my mom at a casino in L.A.\u003c/p>\n\u003cp>I remember seeing her struggle, and wanting to be successful as an adult so that one day I could knock on her door and tell her, “Today you’re going to quit your job because I’m going to support you for the rest of your life. I’m going to take care of you now that you’ve taken care of me my entire life and given me everything that I needed. Now it’s my turn to take care of you.”\u003c/p>\n\u003cp>That was always my goal. That was always my dream. Unfortunately, five, six years ago she passed away from a massive brain aneurysm. And it happened on Mother’s Day, too. It was the lowest point of my life. It kept me quiet and dormant for about a year to process. But once I came out of it, I still kept her and that momentum and that inspiration going even stronger.\u003c/p>\n\u003cp>Because even though she was gone and I couldn’t knock on her door to have her quit her job and let me take care of her for the rest for life, I could still make her proud. Even though she’s not here, I could still make her proud. That’s what drove me to begin with and what continues to drive me now.\u003c/p>\n\u003cfigure id=\"attachment_13838910\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/JBejaranoVert3-800x1120.jpg\" alt=\"Jessica Bejarano.\" width=\"800\" height=\"1120\" class=\"size-medium wp-image-13838910\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/JBejaranoVert3-800x1120.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/JBejaranoVert3-160x224.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/JBejaranoVert3-768x1075.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/JBejaranoVert3-1020x1428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/JBejaranoVert3-857x1200.jpg 857w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/JBejaranoVert3-960x1344.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/JBejaranoVert3-240x336.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/JBejaranoVert3-375x525.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/JBejaranoVert3-520x728.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/JBejaranoVert3.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jessica Bejarano. \u003ccite>(Artemisia Luk)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What does your ideal future look like for artists in the Bay Area?\u003c/strong>\u003c/p>\n\u003cp>It’s getting incredibly tough for anyone to live in the Bay Area. Most artists that I know have multiple jobs in order to live comfortably. Even me—I’m also a music director at San Francisco University High School. But it’s worth it. It’s absolutely worth it. I can’t believe that I get paid to direct the San Francisco Civic Symphony, and to conduct the orchestra and the music program at University High School. That I paid to do all these things as my career, as my living, in San Francisco! For me, it’s a blessing. \u003c/p>\n\u003cp>I remember when I first moved here, I would literally sit right on that corner where City Hall is, that green patch of grass, kitty-corner to Davies Symphony Hall. I would sit there with my sandwich, my legs crossed on the grass, and I would just stare at Davies and think, and wonder, and get myself going, “It’s there and it’s possible. It’s tangible. It can happen. It can happen.” I was just keeping myself inspired with that $2,000 a year in my bank account.\u003c/p>\n\u003cp>Conducting a Tier 1 orchestra, it’s still a goal, but my goals are more flexible now, where I don’t have to necessarily have a Tier 1 orchestra to be a great conductor. I can be an amazing conductor at the San Francisco Civic Symphony and be as inspiring and as effective musically, and personally.\u003c/p>\n\u003cp>People think music, it’s a hobby or something, but the power of it can be so immense and intense. It took this girl out of the ghetto. I’ve been traveling around the world and working with so many different musicians on so many different levels and I’ve done so much with my life because of music. It saved my life. It literally saved my life.\u003c/p>\n\u003cp>For artists, despite the financial challenges that may come with being an artist, I think music or the arts give you something much more than financial gain, that’s worthy of seeking and pursuing. So, an ideal future might be getting enough of \u003cem>that\u003c/em> reward to offset the meager financial reward.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" 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>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Learn more about Jessica Bejarano \u003ca href=\"http://jessicabejarano.com/about/\" rel=\"noopener\" target=\"_blank\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Welcome to KQED Arts’ \u003ca href=\"https://www.kqed.org/arts/tag/bay-brilliant\" rel=\"noopener\" target=\"_blank\">Bay Brilliant\u003c/a>, a series celebrating 10 local artists, creatives and makers who are pushing boundaries in 2018. Driven by passion for their own disciplines—music, dance, theater, visual art, performance, writing, illustration and more—these artists are true vanguards paving the way in their respective communities.\u003c/em>\u003c/p>\n\u003cp>Jessica Bejarano isn’t your average classical conductor. As a tattooed Mexican-American woman holding the baton, she stands out on just about any orchestra’s podium. The thing is: Bejarano’s been on a lot of podiums, all over the world. When she isn’t at home conducting the \u003ca href=\"https://www.sfcivicmusic.org/\" rel=\"noopener\" target=\"_blank\">San Francisco Civic Symphony\u003c/a> or serving as music director for San Francisco University High School, she keeps busy conducting overseas in countries like Russia, Bulgaria, Italy, Romania, Spain, Venezuela, and the Czech Republic, and with orchestras in the U.S. from Santa Cruz to Baltimore. \u003c/p>\n\u003cp>That’s no small feat for someone who grew up in Bell Gardens, the largely minority and low-income city southeast of Los Angeles, where “classical music was not a thing, by any means,” Bejarano says. Add to that a rough coming-out experience, and the numerous times she was told point-blank that she’d never be a successful conductor in the U.S. due to her looks and background, her stature in the classical music world becomes even more impressive.\u003c/p>\n\u003cp>Now, she uses her position to lift up others. Recently, Bejarano invited San Francisco Symphony violinist Eliot Lev, the first openly transgender member of a major American orchestra, to perform Tchaikovsky’s Violin Concerto in D Major with the San Francisco Civic Symphony—an 85-member orchestra that’s among the most diverse in the region. And whether as a teacher, conductor, or director, Bejarano’s approach is the same: “There’s a wonderful magic that comes with inspiring people,” she says, “and knowing how to motivate them.”\u003c/p>\n\u003cfigure id=\"attachment_13838912\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/JBejaranoHoriz1-1-800x571.jpg\" alt=\"Jessica Bejarano.\" width=\"800\" height=\"571\" class=\"size-medium wp-image-13838912\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/JBejaranoHoriz1-1-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/JBejaranoHoriz1-1-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/JBejaranoHoriz1-1-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/JBejaranoHoriz1-1-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/JBejaranoHoriz1-1-1200x857.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/JBejaranoHoriz1-1-1180x843.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/JBejaranoHoriz1-1-960x686.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/JBejaranoHoriz1-1-240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/JBejaranoHoriz1-1-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/JBejaranoHoriz1-1-520x371.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/JBejaranoHoriz1-1.jpg 1512w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jessica Bejarano. \u003ccite>(Jean Melesaine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What was your introduction to classical music? Did it feel exclusionary to you?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Yes. I didn’t discover classical music until my first year of college. In order to fulfill my scholarship, because I was a trumpet player, I had to play in a few ensembles. I sat in the orchestra, and I remember it was Beethoven’s Fifth Symphony, Smetana’s \u003cem>The Moldau\u003c/em>, and a Vaughan Williams requiem. And I remember just sitting there, blown away. I was like, “Where did this come from? Where has this been?” It was like that music was already ingrained in my body, but it just needed to be activated.\u003c/p>\n\u003cp>Initially my undergraduate degrees were in music education; I wanted to be a music educator at a top-notch high school or at a college. But then I had the epiphany that I wanted to be a conductor. And if I had stopped for a minute and been like, “Okay, let me do some research and look at the history. How many women are in this field? What does it look like? How many women exist in this country or outside of the country in this field?” If I’d have done that kind of homework and seen the statistics, or lack thereof, I might’ve been dissuaded and been like, “Whoa, this is gonna be more of a battle than I’m ready for.”\u003c/p>\n\u003cp>But I didn’t look at any of that. I didn’t look at the lack of females in the field. I just knew that I was motivated, I was thirsty for it, and I was passionate about conducting and being a leader. So I just went for it. \u003c/p>\n\u003cfigure id=\"attachment_13838911\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/JBejaranoVert4-800x1120.jpg\" alt=\"Jessica Bejarano.\" width=\"800\" height=\"1120\" class=\"size-medium wp-image-13838911\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/JBejaranoVert4-800x1120.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/JBejaranoVert4-160x224.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/JBejaranoVert4-768x1075.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/JBejaranoVert4-1020x1428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/JBejaranoVert4-857x1200.jpg 857w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/JBejaranoVert4-960x1344.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/JBejaranoVert4-240x336.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/JBejaranoVert4-375x525.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/JBejaranoVert4-520x728.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/JBejaranoVert4.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jessica Bejarano. \u003ccite>(Artemisia Luk)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What kind of challenges and obstacles have you faced?\u003c/strong>\u003c/p>\n\u003cp>Many. Maybe too many. But it’s those obstacles and all those “no”s that I’ve been told that I’ve used to my advantage. Every time I was told no, and every time I got a letter saying “thank you but no thank you,” or every time I was told I couldn’t make it as a conductor in this country, I would take that energy and use it to motivate me and to keep that fire burning even brighter.\u003c/p>\n\u003cp>Not all the people that mentored me were good to me. Not at all. There is a thing that people call tough love. I would just call it tough.\u003c/p>\n\u003cp>\u003cstrong>What was your coming-out story?\u003c/strong>\u003c/p>\n\u003cp>Oh, that’s not a pretty story. I was outed when I was 13, 14 years old. I told a cousin in confidence and he turned around and told my mother. My family being Mexican, very religiously driven and culturally driven, the woman is supposed to get married, be a wife, be a mother, bear children and so forth—I’m like the complete opposite of that. I was defying our culture, I was defying our religion. And then they were immigrants as well, so there was just that fear behind it. My mother and family did not take it well whatsoever. It took them years, years, \u003cem>years\u003c/em> to get over it. And then by the time I was in college, when a bunch of my cousins came out, they were just like, “Okay, I guess it’s fine.”\u003c/p>\n\u003cp>\u003cstrong>How does it feel now to not just have these accomplishments and this career, but to be able to help others who may have been told “no” along the way?\u003c/strong>\u003c/p>\n\u003cp>I’m starting my third year with San Francisco Civic Symphony. It’s a full size 85-piece orchestra; they’re the oldest community orchestra this side of the Mississippi. They’ve been around for over 80 years. The thing about that orchestra, it is a community orchestra, and you get an array of talent. So, for me as a director, it’s like, how do I make it all-inclusive for everyone?\u003c/p>\n\u003cp>For me, no matter if it’s a professional orchestra, a community orchestra, as a director, my philosophy when I work with musicians is not to demand and insist, but to motivate and inspire. And when I have that kind of energy with my musicians, it keeps them on their toes. It keeps them on the edge of their seat and it keeps them in tune. No one wants to listen as someone berate them over and over again, and just hammer over them how awful they are or they’re not getting this right.\u003c/p>\n\u003cp>There’s a wonderful magic that comes with inspiring people and knowing how to motivate them. \u003c/p>\n\u003cfigure id=\"attachment_13838914\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/JBejaranoVert2-800x1120.jpg\" alt=\"Jessica Bejarano.\" width=\"800\" height=\"1120\" class=\"size-medium wp-image-13838914\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/JBejaranoVert2-800x1120.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/JBejaranoVert2-160x224.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/JBejaranoVert2-768x1075.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/JBejaranoVert2-1020x1428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/JBejaranoVert2-857x1200.jpg 857w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/JBejaranoVert2-960x1344.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/JBejaranoVert2-240x336.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/JBejaranoVert2-375x525.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/JBejaranoVert2-520x728.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/JBejaranoVert2.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jessica Bejarano. \u003ccite>(Jean Melesaine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How does living in San Francisco inform your work and what you do?\u003c/strong>\u003c/p>\n\u003cp>I’ve lived here 11 years now and I love this city. I absolutely love this city. Let me tell you what this city means to me. After I graduated from UC Davis, I had a plan to go to Europe conducting in Romania and Italy, travel around Europe, come back, and drive to South Carolina, because I got accepted to start my DMA in orchestral conducting.\u003c/p>\n\u003cp>Long story short, I was offered a job at the Peninsula Symphony down in Los Altos. Assistant conductor, Peninsula Symphony, four-year contract. And it paid $2,000 a year. After taxes, $224 a month. I had 24 hours to decide if I wanted to start my Doctorate like I’d planned, or be conducting in the Bay Area on $2,000 a year. \u003c/p>\n\u003cp>And San Francisco, as a kid, has always been my dream city. For me it was like gay Disneyland. I’ve always wanted to be here, but it seemed like my life was never going to bring me here—until this position came to fruition. So, I reached out to my mentors. I was like, “What would you do? What would you do?” Hands down, everyone said, “Take the job. Because you’re going to get your foot in the door. You’re actually going to be a conductor.”\u003c/p>\n\u003cp>So, I took my first job… for $2,000 a year.\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/Gw0sqCBkTkI'\n title='//www.youtube.com/embed/Gw0sqCBkTkI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>What motivates you every day?\u003c/strong>\u003c/p>\n\u003cp>Obviously I have a love of music. But growing up in a very poor community and a poor family, I only grew up with my mother and she worked two, three jobs. She worked at Toys ‘R’ Us. She worked at a hamburger joint. She worked at a Pick ‘n Save. In the evenings, she would go collect cans and plastic bottles to recycle them and make more money. Later, when I was in college, my mom was working at a casino. You know those people that stand in the bathroom, that clean the counters and give you mints? That was my mom. She would push around the trash can. That was my mom at a casino in L.A.\u003c/p>\n\u003cp>I remember seeing her struggle, and wanting to be successful as an adult so that one day I could knock on her door and tell her, “Today you’re going to quit your job because I’m going to support you for the rest of your life. I’m going to take care of you now that you’ve taken care of me my entire life and given me everything that I needed. Now it’s my turn to take care of you.”\u003c/p>\n\u003cp>That was always my goal. That was always my dream. Unfortunately, five, six years ago she passed away from a massive brain aneurysm. And it happened on Mother’s Day, too. It was the lowest point of my life. It kept me quiet and dormant for about a year to process. But once I came out of it, I still kept her and that momentum and that inspiration going even stronger.\u003c/p>\n\u003cp>Because even though she was gone and I couldn’t knock on her door to have her quit her job and let me take care of her for the rest for life, I could still make her proud. Even though she’s not here, I could still make her proud. That’s what drove me to begin with and what continues to drive me now.\u003c/p>\n\u003cfigure id=\"attachment_13838910\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/JBejaranoVert3-800x1120.jpg\" alt=\"Jessica Bejarano.\" width=\"800\" height=\"1120\" class=\"size-medium wp-image-13838910\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/JBejaranoVert3-800x1120.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/JBejaranoVert3-160x224.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/JBejaranoVert3-768x1075.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/JBejaranoVert3-1020x1428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/JBejaranoVert3-857x1200.jpg 857w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/JBejaranoVert3-960x1344.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/JBejaranoVert3-240x336.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/JBejaranoVert3-375x525.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/JBejaranoVert3-520x728.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/JBejaranoVert3.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jessica Bejarano. \u003ccite>(Artemisia Luk)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What does your ideal future look like for artists in the Bay Area?\u003c/strong>\u003c/p>\n\u003cp>It’s getting incredibly tough for anyone to live in the Bay Area. Most artists that I know have multiple jobs in order to live comfortably. Even me—I’m also a music director at San Francisco University High School. But it’s worth it. It’s absolutely worth it. I can’t believe that I get paid to direct the San Francisco Civic Symphony, and to conduct the orchestra and the music program at University High School. That I paid to do all these things as my career, as my living, in San Francisco! For me, it’s a blessing. \u003c/p>\n\u003cp>I remember when I first moved here, I would literally sit right on that corner where City Hall is, that green patch of grass, kitty-corner to Davies Symphony Hall. I would sit there with my sandwich, my legs crossed on the grass, and I would just stare at Davies and think, and wonder, and get myself going, “It’s there and it’s possible. It’s tangible. It can happen. It can happen.” I was just keeping myself inspired with that $2,000 a year in my bank account.\u003c/p>\n\u003cp>Conducting a Tier 1 orchestra, it’s still a goal, but my goals are more flexible now, where I don’t have to necessarily have a Tier 1 orchestra to be a great conductor. I can be an amazing conductor at the San Francisco Civic Symphony and be as inspiring and as effective musically, and personally.\u003c/p>\n\u003cp>People think music, it’s a hobby or something, but the power of it can be so immense and intense. It took this girl out of the ghetto. I’ve been traveling around the world and working with so many different musicians on so many different levels and I’ve done so much with my life because of music. It saved my life. It literally saved my life.\u003c/p>\n\u003cp>For artists, despite the financial challenges that may come with being an artist, I think music or the arts give you something much more than financial gain, that’s worthy of seeking and pursuing. So, an ideal future might be getting enough of \u003cem>that\u003c/em> reward to offset the meager financial reward.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" 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>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Learn more about Jessica Bejarano \u003ca href=\"http://jessicabejarano.com/about/\" rel=\"noopener\" target=\"_blank\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "jackson-monae-feminist-pop-sunday-outside-lands",
"title": "Jackson, Monáe Connect Past and Present of Feminist Pop at Outside Lands' Close",
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"headTitle": "Jackson, Monáe Connect Past and Present of Feminist Pop at Outside Lands’ Close | KQED",
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"content": "\u003cp>With songs speaking out against sexual harassment and domestic violence dating back to the ’80s and ’90s, Janet Jackson was lightyears ahead of the current conversations about gender equality as far as pop stars are concerned. Her headlining set at Outside Lands Sunday night was not only an expertly crafted spectacle, but a powerful, timely statement that vindicated her legacy and reignited her relevance in the current political moment.\u003c/p>\n\u003cp>[contextly_sidebar id=”aS0D4cEJIv3NvCXBJ9mQDpYYtEn0DmTJ”]\u003c/p>\n\u003cp>As white supremacist “Unite the Right” rallies took place around the country over the weekend, Jackson opened her set with her 1989 song “The Knowledge,” declaring, “Prejudice—no! / Ignorance—no! Bigotry—no!” over a funky breakbeat as a giant Black Power fist flashed onscreen.\u003c/p>\n\u003cp>Her strong opening statement set the tone for the rest of the show: throughout, Jackson celebrated female sexuality (did you know 1986’s seemingly PG “When I Think of You” is actually about masturbation?) and decried abuses against women through a potent combination of lyrics, choreo and multimedia.\u003c/p>\n\u003cp>Over the course of the energetic 90-minute performance spanning three decades of hits, Jackson never stopped moving her feet. She channeled rage, vulnerability and sensuality, bringing the audience to giddy, nostalgic highs and plunging them into deep moments of catharsis.\u003c/p>\n\u003cfigure id=\"attachment_13838861\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838861\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8564-800x533.jpg\" alt=\"Janet Jackson performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8564.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8564-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8564-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8564-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8564-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8564-520x346.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Janet Jackson performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While much of Jackson’s music coats her feminist message in sassiness and humor (“No, my first name ain’t ‘baby’ / It’s Janet / Miss Jackson if you’re nasty,” she sings in 1986’s hip-shaking hit, “Nasty”), her set also occasionally treaded into shocking territory. During Jackson’s performance of “What About,” her angry 1997 ballad about an abusive relationship, a white, male dancer mimed attacking a black, female dancer, even putting his hands on her face. As Jackson sang the chorus (“What about the times you lied to me / What about the times you said no one would want me”), she sat the man in a chair as she danced fiercely behind him, mimicking knocking him to the ground.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When Jackson finished the song, tears flooded her eyes and trickled down her cheeks. For a second, she looked overcome with emotion—a touching, genuine moment. “I am done with you,” she declared to the male dancer—and what felt like the patriarchy as a whole—as she shoved him out of his chair.\u003c/p>\n\u003cp>It seemed like no accident that at this point in the show, Jackson changed into an Alexander Wang football jersey, evoking the 2004 Super Bowl halftime show that many critics \u003ca href=\"https://www.usatoday.com/story/life/entertainthis/2017/10/23/why-justin-timberlake-owes-janet-jackson-super-bowl-sized-apology/790290001/\" target=\"_blank\" rel=\"noopener\">now argue\u003c/a> unfairly sidelined her from the music industry in a case of sexist double standards. Jackson appears keenly self-aware of how perceptions of her music have shifted in today’s cultural moment of reckoning with misogyny and abuse. Her forthcoming single, also announced Sunday, is called “Made For Now.” Riding on a high of headlining festivals and receiving the Billboard Icon Award this year, she knows the time for her comeback is ripe, and rightfully so.\u003c/p>\n\u003cfigure id=\"attachment_13838834\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838834\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8235-800x533.jpg\" alt=\"Janelle Monáe performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8235.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8235-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8235-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8235-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8235-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8235-520x346.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Janelle Monáe performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jackson’s Outside Lands set was also a reminder of how she’s inspired younger generations. Just a few hours earlier on the main stage, Janelle Monáe delivered a boldly feminist performance of her own, taking her seat atop a red, velvet throne as she rapped “Django Jane” from her new album, \u003cem>Dirty Computer\u003c/em>, with her Kansas drawl: “Black girl magic, y’all can’t stand it / Y’all can’t ban it, made out like a bandit.” Witnessing her ultra-confident body language as she regally took her seat was contagiously empowering, and her screaming fans seemed just about ready to hail her as their queen.\u003c/p>\n\u003cp>With her tight choreography, androgynous, wide-shouldered outfit and funky, all-woman band that included an expert horn section, Monáe’s set channeled a legacy of futuristic black pop that Janet and Michael Jackson and Prince pioneered over thirty years prior. In many ways, Monáe’s body of work builds on the themes Janet Jackson put forth in her music; Monáe’s work expands upon that legacy, adding queerness to the conversation as well.\u003c/p>\n\u003cp>\u003cem>Dirty Computer\u003c/em> (the album and short film) is arguably the most impactful pro-LGBTQ statement we’ve seen in mainstream pop all year, and Monáe’s expressions of queerness also celebrate and center blackness and femininity. That mindfulness of the intersections of our identities and how they shape life experience translated to her set. “You all learned about how I choose to love,” Monáe declared, alluding to the \u003cem>Rolling Stone\u003c/em> interview where she formally came out as pansexual. “No matter how you choose to love, what god you serve or what class you come from, you are welcome here.”\u003c/p>\n\u003cfigure id=\"attachment_13838833\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838833\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8229-800x533.jpg\" alt=\"Janelle Monáe performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8229.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8229-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8229-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8229-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8229-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8229-520x346.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Janelle Monáe performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jackson and Monáe’s sets, hours apart on the big Lands End stage, connected a legacy of black feminism past and present. And as Jackson later revealed on her Instagram, Monáe was in the audience cheering her on in a “Made For Now” T-shirt—a sweet display of camaraderie between the two artists.\u003c/p>\n\u003cp>Just a few years ago, it would have been hard to believe that Outside Lands—a fest traditionally associated with mostly white, male indie rock—would become the site of these powerful black feminist performances. But this year, as the festival put forth its most diverse lineup yet, it set the stage for a impactful statement, and Jackson and Monáe went above and beyond, eclipsing the rest of the day’s sets with their larger-than-life shows and empowering messages.\u003c/p>\n\u003cp>“With music by our side / To break the color lines / Let’s work together / To improve our way of life,” Jackson sang in her closing number, 1989’s “Rhythm Nation.” On Sunday at Outside Lands, she offered a glimmer of hope that that dream is still possible.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>More photos from Outside Lands\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13838872\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838872\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8495-800x533.jpg\" alt=\"Janet Jackson performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8495-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8495-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8495-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8495-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8495-520x346.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Janet Jackson performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838855\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838855\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8481-800x533.jpg\" alt=\"Salt N Pepa performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8481.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8481-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8481-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8481-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8481-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8481-520x346.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Salt N Pepa performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838852\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838852\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8442-Edit-800x533.jpg\" alt=\"James Blake performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8442-Edit.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8442-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8442-Edit-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8442-Edit-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8442-Edit-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8442-Edit-520x346.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">James Blake performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838841\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838841\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8332-800x533.jpg\" alt=\"The Internet performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8332.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8332-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8332-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8332-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8332-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8332-520x346.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Internet performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838839\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838839\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8316-800x533.jpg\" alt=\"The crowd at the Outside Lands music festival in San Francisco, Aug. 12, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8316.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8316-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8316-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8316-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8316-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8316-520x346.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the Outside Lands music festival in San Francisco, Aug. 12, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838848\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838848\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8385-800x533.jpg\" alt=\"LP performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8385.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8385-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8385-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8385-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8385-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8385-520x346.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">LP backstage at the Outside Lands music festival in San Francisco, Aug. 12, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838863\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838863\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8588-800x533.jpg\" alt=\"The crowd at the Outside Lands music festival in San Francisco, Aug. 12, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8588.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8588-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8588-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8588-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8588-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8588-520x346.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the Outside Lands music festival in San Francisco, Aug. 12, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838846\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8379-800x533.jpg\" alt=\"Portugal. The Man performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8379.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8379-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8379-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8379-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8379-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8379-520x346.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Portugal. The Man performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"excerpt": "Jackson's headlining set on Sunday was a powerful, timely statement that vindicated her legacy and reignited her relevance in the current political moment.",
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"title": "Jackson, Monáe Connect Past and Present of Feminist Pop at Outside Lands' Close | KQED",
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"headline": "Jackson, Monáe Connect Past and Present of Feminist Pop at Outside Lands' Close",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With songs speaking out against sexual harassment and domestic violence dating back to the ’80s and ’90s, Janet Jackson was lightyears ahead of the current conversations about gender equality as far as pop stars are concerned. Her headlining set at Outside Lands Sunday night was not only an expertly crafted spectacle, but a powerful, timely statement that vindicated her legacy and reignited her relevance in the current political moment.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>As white supremacist “Unite the Right” rallies took place around the country over the weekend, Jackson opened her set with her 1989 song “The Knowledge,” declaring, “Prejudice—no! / Ignorance—no! Bigotry—no!” over a funky breakbeat as a giant Black Power fist flashed onscreen.\u003c/p>\n\u003cp>Her strong opening statement set the tone for the rest of the show: throughout, Jackson celebrated female sexuality (did you know 1986’s seemingly PG “When I Think of You” is actually about masturbation?) and decried abuses against women through a potent combination of lyrics, choreo and multimedia.\u003c/p>\n\u003cp>Over the course of the energetic 90-minute performance spanning three decades of hits, Jackson never stopped moving her feet. She channeled rage, vulnerability and sensuality, bringing the audience to giddy, nostalgic highs and plunging them into deep moments of catharsis.\u003c/p>\n\u003cfigure id=\"attachment_13838861\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838861\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8564-800x533.jpg\" alt=\"Janet Jackson performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8564.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8564-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8564-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8564-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8564-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8564-520x346.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Janet Jackson performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While much of Jackson’s music coats her feminist message in sassiness and humor (“No, my first name ain’t ‘baby’ / It’s Janet / Miss Jackson if you’re nasty,” she sings in 1986’s hip-shaking hit, “Nasty”), her set also occasionally treaded into shocking territory. During Jackson’s performance of “What About,” her angry 1997 ballad about an abusive relationship, a white, male dancer mimed attacking a black, female dancer, even putting his hands on her face. As Jackson sang the chorus (“What about the times you lied to me / What about the times you said no one would want me”), she sat the man in a chair as she danced fiercely behind him, mimicking knocking him to the ground.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When Jackson finished the song, tears flooded her eyes and trickled down her cheeks. For a second, she looked overcome with emotion—a touching, genuine moment. “I am done with you,” she declared to the male dancer—and what felt like the patriarchy as a whole—as she shoved him out of his chair.\u003c/p>\n\u003cp>It seemed like no accident that at this point in the show, Jackson changed into an Alexander Wang football jersey, evoking the 2004 Super Bowl halftime show that many critics \u003ca href=\"https://www.usatoday.com/story/life/entertainthis/2017/10/23/why-justin-timberlake-owes-janet-jackson-super-bowl-sized-apology/790290001/\" target=\"_blank\" rel=\"noopener\">now argue\u003c/a> unfairly sidelined her from the music industry in a case of sexist double standards. Jackson appears keenly self-aware of how perceptions of her music have shifted in today’s cultural moment of reckoning with misogyny and abuse. Her forthcoming single, also announced Sunday, is called “Made For Now.” Riding on a high of headlining festivals and receiving the Billboard Icon Award this year, she knows the time for her comeback is ripe, and rightfully so.\u003c/p>\n\u003cfigure id=\"attachment_13838834\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838834\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8235-800x533.jpg\" alt=\"Janelle Monáe performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8235.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8235-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8235-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8235-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8235-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8235-520x346.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Janelle Monáe performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jackson’s Outside Lands set was also a reminder of how she’s inspired younger generations. Just a few hours earlier on the main stage, Janelle Monáe delivered a boldly feminist performance of her own, taking her seat atop a red, velvet throne as she rapped “Django Jane” from her new album, \u003cem>Dirty Computer\u003c/em>, with her Kansas drawl: “Black girl magic, y’all can’t stand it / Y’all can’t ban it, made out like a bandit.” Witnessing her ultra-confident body language as she regally took her seat was contagiously empowering, and her screaming fans seemed just about ready to hail her as their queen.\u003c/p>\n\u003cp>With her tight choreography, androgynous, wide-shouldered outfit and funky, all-woman band that included an expert horn section, Monáe’s set channeled a legacy of futuristic black pop that Janet and Michael Jackson and Prince pioneered over thirty years prior. In many ways, Monáe’s body of work builds on the themes Janet Jackson put forth in her music; Monáe’s work expands upon that legacy, adding queerness to the conversation as well.\u003c/p>\n\u003cp>\u003cem>Dirty Computer\u003c/em> (the album and short film) is arguably the most impactful pro-LGBTQ statement we’ve seen in mainstream pop all year, and Monáe’s expressions of queerness also celebrate and center blackness and femininity. That mindfulness of the intersections of our identities and how they shape life experience translated to her set. “You all learned about how I choose to love,” Monáe declared, alluding to the \u003cem>Rolling Stone\u003c/em> interview where she formally came out as pansexual. “No matter how you choose to love, what god you serve or what class you come from, you are welcome here.”\u003c/p>\n\u003cfigure id=\"attachment_13838833\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838833\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8229-800x533.jpg\" alt=\"Janelle Monáe performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8229.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8229-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8229-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8229-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8229-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8229-520x346.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Janelle Monáe performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jackson and Monáe’s sets, hours apart on the big Lands End stage, connected a legacy of black feminism past and present. And as Jackson later revealed on her Instagram, Monáe was in the audience cheering her on in a “Made For Now” T-shirt—a sweet display of camaraderie between the two artists.\u003c/p>\n\u003cp>Just a few years ago, it would have been hard to believe that Outside Lands—a fest traditionally associated with mostly white, male indie rock—would become the site of these powerful black feminist performances. But this year, as the festival put forth its most diverse lineup yet, it set the stage for a impactful statement, and Jackson and Monáe went above and beyond, eclipsing the rest of the day’s sets with their larger-than-life shows and empowering messages.\u003c/p>\n\u003cp>“With music by our side / To break the color lines / Let’s work together / To improve our way of life,” Jackson sang in her closing number, 1989’s “Rhythm Nation.” On Sunday at Outside Lands, she offered a glimmer of hope that that dream is still possible.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>More photos from Outside Lands\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13838872\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838872\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8495-800x533.jpg\" alt=\"Janet Jackson performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8495-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8495-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8495-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8495-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8495-520x346.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Janet Jackson performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838855\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838855\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8481-800x533.jpg\" alt=\"Salt N Pepa performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8481.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8481-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8481-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8481-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8481-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8481-520x346.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Salt N Pepa performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838852\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838852\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8442-Edit-800x533.jpg\" alt=\"James Blake performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8442-Edit.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8442-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8442-Edit-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8442-Edit-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8442-Edit-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8442-Edit-520x346.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">James Blake performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838841\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838841\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8332-800x533.jpg\" alt=\"The Internet performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8332.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8332-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8332-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8332-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8332-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8332-520x346.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Internet performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838839\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838839\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8316-800x533.jpg\" alt=\"The crowd at the Outside Lands music festival in San Francisco, Aug. 12, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8316.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8316-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8316-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8316-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8316-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8316-520x346.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the Outside Lands music festival in San Francisco, Aug. 12, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838848\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838848\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8385-800x533.jpg\" alt=\"LP performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8385.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8385-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8385-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8385-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8385-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8385-520x346.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">LP backstage at the Outside Lands music festival in San Francisco, Aug. 12, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838863\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838863\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8588-800x533.jpg\" alt=\"The crowd at the Outside Lands music festival in San Francisco, Aug. 12, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8588.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8588-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8588-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8588-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8588-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8588-520x346.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the Outside Lands music festival in San Francisco, Aug. 12, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838846\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8379-800x533.jpg\" alt=\"Portugal. The Man performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8379.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8379-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8379-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8379-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8379-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8379-520x346.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Portugal. The Man performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"title": "Future Reigns at Outside Lands on Saturday",
"headTitle": "Future Reigns at Outside Lands on Saturday | KQED",
"content": "\u003cp style=\"text-align: left\">For all the songs by Future about abusing painkillers and depressants, his Saturday Outside Lands performance was so high-energy and cleanly executed that the Atlanta rapper either has to be lying (because who wants to hear an album about gym reps and green juice?), or he simply has superhuman stamina.[contextly_sidebar id=”Dc2aHjqmZVgfmnNSPaCzOO1IeYMVD5xG”]\u003c/p>\n\u003cp>Though booked at the same time as headliner Florence + the Machine, Future’s set at the Twin Peaks stage packed just as large of a crowd, if not bigger. Future wasted no time getting to his hits, getting the crowd jumping with his triumphant hook on Ace Hood’s “Bugatti.” He then quickly shifted gears to “Thought It Was a Drought,” the ode to fast money and prescription cough syrup, with thousands singing along to the infamous line about infidelity in Gucci flip-flops.\u003c/p>\n\u003cfigure id=\"attachment_13838791\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838791\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8180-800x533.jpg\" alt=\"Future performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8180.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8180-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8180-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8180-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8180-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8180-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Future performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While more novice rappers often over-rely on vocal backing tracks and yell into the mic, Future’s voice sounded rich and full throughout his 75-minute set. Future is a pioneer of the contemporary trap style currently ruling radio, and listeners often associate him with Autotune. But in reality, his unique delivery comes from his lilting inflection and vocal range, projected from the diaphragm like someone who really knows how to \u003cem>sing\u003c/em>.\u003c/p>\n\u003cp>Future’s set was the highpoint of day two of Outside Lands, which felt somewhat lackluster between Friday’s \u003ca href=\"https://www.kqed.org/arts/13838662/at-outside-lands-on-friday-lgbtq-performers-steal-the-show\" target=\"_blank\" rel=\"noopener\">exhilarating opening day\u003c/a> and Sunday’s stacked bill of Janet Jackson, Janelle Monae, The Internet and James Blake. Saturday’s heavy hitters included indie rock and pop stalwarts Bon Iver and CHVRCHES, who’ve both been fixtures of festival lineups for years. Their sets harked back to the old guard of Outside Lands, when white and mostly male musicians dominated the lineup.\u003c/p>\n\u003cfigure id=\"attachment_13838785\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838785\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8008-800x533.jpg\" alt=\"Jamie xx performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8008.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8008-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8008-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8008-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8008-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8008-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jamie xx performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There were a couple other disappointments: the schedule didn’t emphasize that Jamie xx, the producer, vocalist and guitarist from The xx, would play a DJ set during the day’s penultimate time slot; audience members murmured in confusion, having expected a live show. And “Crew” rapper Goldlink canceled his set due to travel issues. (San Francisco rapper Berner filled the slot at short notice, however, with a fun performance bursting with Bay Area pride.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>All of which set the conditions for Future to jolt the audience awake from the low-key afternoon. With his bold stage presence and expert command of the mic, Future focused the majority of his set on songs from \u003cem>DS2\u003c/em>, the album that elevated him from cult artist to rap’s favorite antihero. Washes of pink and blue projected on the screen as Future commanded the stage from a tunnel-like cylinder with light projections that looked like slime-green lightning.\u003c/p>\n\u003cfigure id=\"attachment_13838792\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838792\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8185-800x533.jpg\" alt=\"Future performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8185.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8185-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8185-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8185-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8185-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8185-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Future performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though Future’s current fame and wealth is far removed from the trap houses he once knew, he’s stayed stubbornly consistent in his lyrical content over the years—and that’s because fans want lean-sipping Future, the Future of drug abuse, risky sex and depression. During “Stick Talk,” the mostly white and affluent crowd shouted along like they were right alongside him in the trenches.\u003c/p>\n\u003ch2>Other Highlights\u003c/h2>\n\u003cfigure id=\"attachment_13838750\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838750\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7626-800x533.jpg\" alt=\"Lizzo performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7626.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7626-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7626-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7626-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7626-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7626-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lizzo performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Lizzo Took Outside Lands to the Church of Girl Power and Self-Love\u003c/strong>\u003c/p>\n\u003cp>Minneapolis singer Lizzo brings a gospel delivery to twerk-worthy trap beats, and on the Lands End stage on Saturday, she preached a message of self-love and acceptance. Dressed in a flouncy tulle leotard, she reminded audience members of their personal power between tracks: “You should hire me as your motivational speaker,” she implored jokingly, “I’ll wake up and pop out of the closet like, ‘Good morning, bitch! You’re beautiful!”\u003c/p>\n\u003cp>During her closing song, “Good As Hell,” she busted out a bottle of Patrón during the line “All the big fights, long nights / That you’ve been through / I got a bottle of tequila / That I’ve been savin’ for you.” Lizzo is like a best friend who always understands—it’s no wonder her words resonate with a generation of women attempting to break free from old standards of beauty and sexual purity, and trying to embrace the messiness that makes them unique.\u003c/p>\n\u003cfigure id=\"attachment_13838771\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838771\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7876-800x533.jpg\" alt=\"SOB X RBE performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7876.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7876-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7876-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7876-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7876-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7876-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SOB X RBE performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>SOB x RBE Brought Vallejo Out to Golden Gate Park\u003c/strong>\u003c/p>\n\u003cp>Along with Lizzo and Future, SOB x RBE, the boisterous Vallejo rap group, were one of Saturday’s emotional high points. Similarly to Caleborate the day before, they brought out an enthusiastic hometown crowd that sang along to every word of breakout hits “Anti” and “Lane Switching,” as well as deeper cuts like the Eazy-E–sampling “Calvin Cambridge.”\u003c/p>\n\u003cp>While the four-piece was mesmerizing with their aggressive flows, spat at a rapid clip, their set turned into a real party when Nef the Pharaoh turned up to perform his “Bling Blaow” featuring SOB’s Slimmy B. The crew also brought out Lil Sheik and a posse of hype men, who all turned up with the audience, visibly ecstatic to go from Vallejo’s underground scene to the big stage.\u003c/p>\n\u003cp>\u003cstrong>More photos below.\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13838755\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838755\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7688-800x533.jpg\" alt=\"Jonathan Van Ness performs at The Barbary with special guest Florence Welch and Michelle Wolf at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7688.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7688-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7688-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7688-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7688-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7688-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jonathan Van Ness performs at The Barbary with special guest Florence Welch and Michelle Wolf at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838754\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838754\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7667-800x533.jpg\" alt=\"Cuco performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7667.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7667-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7667-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7667-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7667-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7667-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cuco performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838789\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838789\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8156-800x533.jpg\" alt=\"Florence and the Machine performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8156.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8156-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8156-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8156-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8156-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8156-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Florence and the Machine performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838777\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838777\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7928-800x533.jpg\" alt=\"Tycho performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7928.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7928-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7928-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7928-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7928-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7928-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tycho performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838767\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838767\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7809-800x533.jpg\" alt=\"CHVRCHES performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7809.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7809-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7809-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7809-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7809-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7809-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">CHVRCHES performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838798\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838798\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7877-800x533.jpg\" alt=\"SOB X RBE performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7877.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7877-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7877-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7877-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7877-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7877-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SOB X RBE performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838748\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838748\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7615-800x533.jpg\" alt=\"Lizzo performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7615.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7615-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7615-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7615-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7615-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7615-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lizzo performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838757\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838757\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7698-800x533.jpg\" alt=\"Jonathan Van Ness performs at The Barbary with special guest Florence Welch at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7698.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7698-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7698-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7698-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7698-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7698-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jonathan Van Ness performs at The Barbary with special guest Florence Welch at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838758\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838758\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7728-800x533.jpg\" alt=\"CHVRCHES performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7728.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7728-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7728-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7728-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7728-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7728-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">CHVRCHES performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838768\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838768\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7824-800x533.jpg\" alt=\"The crowd at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7824.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7824-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7824-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7824-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7824-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7824-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838762\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838762\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7742-800x533.jpg\" alt=\"Cuco performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7742.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7742-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7742-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7742-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7742-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7742-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cuco performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838770\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838770\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7874-800x533.jpg\" alt=\"SOB X RBE performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7874.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7874-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7874-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7874-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7874-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7874-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SOB X RBE performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838783\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838783\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7989-800x533.jpg\" alt=\"The crowd at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7989.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7989-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7989-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7989-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7989-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7989-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838788\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838788\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8123-800x533.jpg\" alt=\"Florence and the Machine performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8123.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8123-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8123-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8123-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8123-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8123-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Florence and the Machine performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838799\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838799\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7881-800x533.jpg\" alt=\"SOB X RBE performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7881.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7881-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7881-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7881-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7881-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7881-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SOB X RBE performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838796\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838796\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7832-800x533.jpg\" alt=\"The crowd at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7832.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7832-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7832-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7832-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7832-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7832-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 11, 2018.\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838787\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838787\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8090-800x533.jpg\" alt=\"Florence and the Machine performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8090.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8090-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8090-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8090-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8090-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8090-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Florence and the Machine performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Correction:\u003c/strong> This article originally mentioned that Father John Misty was on Saturday’s Outside Lands lineup, when he actually performed on Friday Aug. 10.\u003c/em>\u003c/p>\n\n",
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"excerpt": "The Atlanta chart-topper jolted the Outside Lands audience awake after an afternoon of mellow indie rock on Saturday. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp style=\"text-align: left\">For all the songs by Future about abusing painkillers and depressants, his Saturday Outside Lands performance was so high-energy and cleanly executed that the Atlanta rapper either has to be lying (because who wants to hear an album about gym reps and green juice?), or he simply has superhuman stamina.\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Though booked at the same time as headliner Florence + the Machine, Future’s set at the Twin Peaks stage packed just as large of a crowd, if not bigger. Future wasted no time getting to his hits, getting the crowd jumping with his triumphant hook on Ace Hood’s “Bugatti.” He then quickly shifted gears to “Thought It Was a Drought,” the ode to fast money and prescription cough syrup, with thousands singing along to the infamous line about infidelity in Gucci flip-flops.\u003c/p>\n\u003cfigure id=\"attachment_13838791\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838791\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8180-800x533.jpg\" alt=\"Future performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8180.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8180-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8180-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8180-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8180-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8180-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Future performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While more novice rappers often over-rely on vocal backing tracks and yell into the mic, Future’s voice sounded rich and full throughout his 75-minute set. Future is a pioneer of the contemporary trap style currently ruling radio, and listeners often associate him with Autotune. But in reality, his unique delivery comes from his lilting inflection and vocal range, projected from the diaphragm like someone who really knows how to \u003cem>sing\u003c/em>.\u003c/p>\n\u003cp>Future’s set was the highpoint of day two of Outside Lands, which felt somewhat lackluster between Friday’s \u003ca href=\"https://www.kqed.org/arts/13838662/at-outside-lands-on-friday-lgbtq-performers-steal-the-show\" target=\"_blank\" rel=\"noopener\">exhilarating opening day\u003c/a> and Sunday’s stacked bill of Janet Jackson, Janelle Monae, The Internet and James Blake. Saturday’s heavy hitters included indie rock and pop stalwarts Bon Iver and CHVRCHES, who’ve both been fixtures of festival lineups for years. Their sets harked back to the old guard of Outside Lands, when white and mostly male musicians dominated the lineup.\u003c/p>\n\u003cfigure id=\"attachment_13838785\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838785\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8008-800x533.jpg\" alt=\"Jamie xx performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8008.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8008-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8008-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8008-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8008-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8008-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jamie xx performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There were a couple other disappointments: the schedule didn’t emphasize that Jamie xx, the producer, vocalist and guitarist from The xx, would play a DJ set during the day’s penultimate time slot; audience members murmured in confusion, having expected a live show. And “Crew” rapper Goldlink canceled his set due to travel issues. (San Francisco rapper Berner filled the slot at short notice, however, with a fun performance bursting with Bay Area pride.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>All of which set the conditions for Future to jolt the audience awake from the low-key afternoon. With his bold stage presence and expert command of the mic, Future focused the majority of his set on songs from \u003cem>DS2\u003c/em>, the album that elevated him from cult artist to rap’s favorite antihero. Washes of pink and blue projected on the screen as Future commanded the stage from a tunnel-like cylinder with light projections that looked like slime-green lightning.\u003c/p>\n\u003cfigure id=\"attachment_13838792\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838792\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8185-800x533.jpg\" alt=\"Future performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8185.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8185-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8185-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8185-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8185-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8185-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Future performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though Future’s current fame and wealth is far removed from the trap houses he once knew, he’s stayed stubbornly consistent in his lyrical content over the years—and that’s because fans want lean-sipping Future, the Future of drug abuse, risky sex and depression. During “Stick Talk,” the mostly white and affluent crowd shouted along like they were right alongside him in the trenches.\u003c/p>\n\u003ch2>Other Highlights\u003c/h2>\n\u003cfigure id=\"attachment_13838750\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838750\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7626-800x533.jpg\" alt=\"Lizzo performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7626.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7626-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7626-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7626-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7626-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7626-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lizzo performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Lizzo Took Outside Lands to the Church of Girl Power and Self-Love\u003c/strong>\u003c/p>\n\u003cp>Minneapolis singer Lizzo brings a gospel delivery to twerk-worthy trap beats, and on the Lands End stage on Saturday, she preached a message of self-love and acceptance. Dressed in a flouncy tulle leotard, she reminded audience members of their personal power between tracks: “You should hire me as your motivational speaker,” she implored jokingly, “I’ll wake up and pop out of the closet like, ‘Good morning, bitch! You’re beautiful!”\u003c/p>\n\u003cp>During her closing song, “Good As Hell,” she busted out a bottle of Patrón during the line “All the big fights, long nights / That you’ve been through / I got a bottle of tequila / That I’ve been savin’ for you.” Lizzo is like a best friend who always understands—it’s no wonder her words resonate with a generation of women attempting to break free from old standards of beauty and sexual purity, and trying to embrace the messiness that makes them unique.\u003c/p>\n\u003cfigure id=\"attachment_13838771\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838771\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7876-800x533.jpg\" alt=\"SOB X RBE performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7876.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7876-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7876-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7876-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7876-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7876-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SOB X RBE performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>SOB x RBE Brought Vallejo Out to Golden Gate Park\u003c/strong>\u003c/p>\n\u003cp>Along with Lizzo and Future, SOB x RBE, the boisterous Vallejo rap group, were one of Saturday’s emotional high points. Similarly to Caleborate the day before, they brought out an enthusiastic hometown crowd that sang along to every word of breakout hits “Anti” and “Lane Switching,” as well as deeper cuts like the Eazy-E–sampling “Calvin Cambridge.”\u003c/p>\n\u003cp>While the four-piece was mesmerizing with their aggressive flows, spat at a rapid clip, their set turned into a real party when Nef the Pharaoh turned up to perform his “Bling Blaow” featuring SOB’s Slimmy B. The crew also brought out Lil Sheik and a posse of hype men, who all turned up with the audience, visibly ecstatic to go from Vallejo’s underground scene to the big stage.\u003c/p>\n\u003cp>\u003cstrong>More photos below.\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13838755\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838755\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7688-800x533.jpg\" alt=\"Jonathan Van Ness performs at The Barbary with special guest Florence Welch and Michelle Wolf at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7688.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7688-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7688-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7688-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7688-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7688-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jonathan Van Ness performs at The Barbary with special guest Florence Welch and Michelle Wolf at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838754\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838754\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7667-800x533.jpg\" alt=\"Cuco performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7667.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7667-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7667-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7667-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7667-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7667-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cuco performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838789\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838789\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8156-800x533.jpg\" alt=\"Florence and the Machine performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8156.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8156-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8156-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8156-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8156-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8156-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Florence and the Machine performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838777\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838777\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7928-800x533.jpg\" alt=\"Tycho performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7928.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7928-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7928-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7928-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7928-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7928-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tycho performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838767\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838767\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7809-800x533.jpg\" alt=\"CHVRCHES performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7809.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7809-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7809-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7809-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7809-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7809-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">CHVRCHES performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838798\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838798\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7877-800x533.jpg\" alt=\"SOB X RBE performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7877.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7877-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7877-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7877-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7877-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7877-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SOB X RBE performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838748\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838748\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7615-800x533.jpg\" alt=\"Lizzo performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7615.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7615-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7615-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7615-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7615-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7615-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lizzo performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838757\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838757\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7698-800x533.jpg\" alt=\"Jonathan Van Ness performs at The Barbary with special guest Florence Welch at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7698.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7698-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7698-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7698-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7698-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7698-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jonathan Van Ness performs at The Barbary with special guest Florence Welch at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838758\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838758\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7728-800x533.jpg\" alt=\"CHVRCHES performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7728.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7728-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7728-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7728-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7728-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7728-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">CHVRCHES performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838768\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838768\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7824-800x533.jpg\" alt=\"The crowd at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7824.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7824-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7824-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7824-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7824-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7824-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838762\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838762\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7742-800x533.jpg\" alt=\"Cuco performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7742.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7742-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7742-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7742-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7742-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7742-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cuco performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838770\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838770\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7874-800x533.jpg\" alt=\"SOB X RBE performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7874.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7874-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7874-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7874-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7874-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7874-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SOB X RBE performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838783\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838783\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7989-800x533.jpg\" alt=\"The crowd at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7989.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7989-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7989-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7989-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7989-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7989-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838788\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838788\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8123-800x533.jpg\" alt=\"Florence and the Machine performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8123.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8123-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8123-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8123-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8123-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8123-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Florence and the Machine performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838799\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838799\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7881-800x533.jpg\" alt=\"SOB X RBE performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7881.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7881-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7881-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7881-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7881-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7881-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SOB X RBE performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838796\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838796\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7832-800x533.jpg\" alt=\"The crowd at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7832.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7832-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7832-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7832-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7832-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7832-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 11, 2018.\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838787\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838787\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8090-800x533.jpg\" alt=\"Florence and the Machine performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8090.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8090-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8090-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8090-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8090-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8090-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Florence and the Machine performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Correction:\u003c/strong> This article originally mentioned that Father John Misty was on Saturday’s Outside Lands lineup, when he actually performed on Friday Aug. 10.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "At Outside Lands on Friday, LGBTQ Performers Steal the Show",
"headTitle": "At Outside Lands on Friday, LGBTQ Performers Steal the Show | KQED",
"content": "\u003cp>On the GastroMagic stage at Outside Lands on Friday, Aug. 10, drag performer Shangela of \u003cem>RuPaul’s Drag Race\u003c/em> fame marveled at the number of LGBTQ people who came to her cooking demonstration-turned-drag show.[contextly_sidebar id=”fvFDOVbB2fBk21rqpRjgzcfitzF3oRU6″]\u003c/p>\n\u003cp>“That’s why I love being home,” said San Francisco-raised chef Tiffani Faison, onstage teaching Shangela to make fried fish while the drag queen cracked cheeky, innuendo-filled one-liners.\u003c/p>\n\u003cp>“And I love being \u003cem>homo\u003c/em>,” Shangela retorted without missing a beat.\u003c/p>\n\u003cfigure id=\"attachment_13838695\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838695\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7424-800x533.jpg\" alt=\"Tiffani Faison and Shangela perform at the at Outside Lands in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7424.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7424-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7424-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7424-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7424-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7424-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tiffani Faison and Shangela perform at the Outside Lands in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Outside Lands’ \u003ca href=\"https://www.kqed.org/arts/13828348/janet-jackson-to-play-outside-lands-ending-10-year-run-of-no-female-headliners\" target=\"_blank\" rel=\"noopener\">first-time inclusion of female headliners\u003c/a> (with Florence + the Machine on Saturday and Janet Jackson on Sunday) has been a hot topic since the lineup was announced in April. But as the fest kicked off on Friday in Golden Gate Park, it became apparent that the many LGBTQ artists and performers at this year’s Outside Lands attracted a queerer, more diverse audience, changing the tone from the bro-y vibe of years past.\u003c/p>\n\u003cp>After Faison laid the fried fish onto an enormous, baking pan-sized biscuit for an impossibly huge sandwich, the DJ hit play on RuPaul’s vogue house tune, “Call Me Mother,” and Shangela stripped off her chef outfit, revealing a Beyoncé-esque gold beaded leotard that glistened in the afternoon sun. The audience erupted with cheers and shouts of “yaaasss” as Shangela lip synced, twirled, kicked and death-dropped to the floor.\u003c/p>\n\u003cfigure id=\"attachment_13838675\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838675\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7034-800x533.jpg\" alt=\"Perfume Genius performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7034.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7034-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7034-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7034-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7034-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7034-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Perfume Genius performs at the Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to Shangela’s second set at the Barbary, the festival’s comedy tent, Friday’s lineup also included a sultry performance by Perfume Genius, the queer electronic pop balladeer. Perfume Genius, clad in vintage dress pants and a loud, blue-and-white button-down, sauntered across the stage like a sexy cowboy to reverb-laden guitar that evoked a Quentin Tarantino soundtrack. As his band built up instrumental layers to a crescendo of synths, he popped his hips and writhed suggestively on the floor as the many gender non-conforming, creatively dressed audience members cheered.\u003c/p>\n\u003cfigure id=\"attachment_13838689\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838689\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7327-800x533.jpg\" alt=\"Carly Rae Jepsen performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7327.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7327-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7327-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7327-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7327-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7327-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carly Rae Jepsen performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Later in the afternoon, pop singer Carly Rae Jepsen, who has a massive, loyal following in the LGBTQ community, ignited an epic dance party consisting mostly of gay guys and their gal pals at the Twin Peaks stage. Groups of teenagers skipped and tossed their ponytails to “Boy Problems” and “Call Me Maybe.” Jepsen’s cotton-candy tunes, delivered with the bubbly attitude of a modern-day Cindy Lauper, elevated the mood with their uncomplicated expressions of infatuation and joy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/nananastia/status/1028085739580346370\u003c/p>\n\u003cp>To close out her set, a buff, shirtless go-go dancer with a rainbow cape joined Jepsen on stage. He pulled at least five technicolor wigs off his head one by one, the final wig exploding with gold glitter, as Jepsen and the audience watched in awe and delight.\u003c/p>\n\u003cp>Shangela, Perfume Genius and Carly Rae Jepsen centered queerness in a way I haven’t seen at previous editions of Outside Lands, which has only recently begun to meaningfully shift its focus from white- and male-dominated rock to more inclusive lineups. Judging by the smiling faces all around, the LGBTQ people in the audience were feeling the love.\u003c/p>\n\u003cfigure id=\"attachment_13838669\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838669\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_6904-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6904.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6904-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6904-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6904-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6904-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6904-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With \u003cem>Queer Eye\u003c/em>‘s Jonathan Van Ness doing a live podcast Saturday and Janelle Monae (who recently came out as pansexual) and R&B band The Internet (whose singer Syd openly sings about gay themes) performing on Sunday, this might just be the most LGTBQ-friendly Outside Lands yet. Let’s hope the trend continues.\u003c/p>\n\u003ch2>Other Highlights\u003c/h2>\n\u003cfigure id=\"attachment_13838708\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838708\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7586-800x533.jpg\" alt=\"The Weekend performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7586.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7586-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7586-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7586-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7586-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7586-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Weekend performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>The Weeknd’s Moody Hit Parade \u003c/strong>\u003c/p>\n\u003cp>Canadian chart-topper The Weeknd closed out Friday night at Outside Lands with a set that wove tracks from his debut mixtape, \u003cem>House of Balloons\u003c/em>, to his latest album, \u003cem>My Dear Melancholy\u003c/em>. While singing about feeling empty in the club on tracks like “Starboy,” “I Can’t Feel My Face” and “Low Life,” he sounded surprisingly soulful under cinematic, sunset-hued stage lights and heavy fog while the crowd never stopped moving their feet.\u003c/p>\n\u003cfigure id=\"attachment_13838677\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838677\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7076-800x533.jpg\" alt=\"Caleborate performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7076.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7076-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7076-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7076-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7076-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7076-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caleborate performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Caleborate’s Set Was a Win for the Home Team\u003c/strong>\u003c/p>\n\u003cp>It was only three years ago that Caleborate came onto the East Bay music scene with his endearingly confessional debut, \u003cem>Hella Good. \u003c/em>Now with three albums under his belt, the breakout artist has quickly ascended to headlining small clubs like The New Parish and lighting up the Panhandle stage at Outside Lands, where legions of hometown fans chanted “Caleb! Caleb!”\u003c/p>\n\u003cp>As he performed the danceable, house-inflected jam “SMH” and the hyped-up confessional “Bankrobber,” Caleborate danced on top of the speakers and ran through the photo pit to high-five the front row. His set felt like a triumph for the Bay Area’s underground rap scene.\u003c/p>\n\u003cp>\u003cstrong>See more photos from Friday at Outside Lands below.\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13838705\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838705\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7536-800x533.jpg\" alt=\"The Weekend performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7536.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7536-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7536-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7536-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7536-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7536-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Weekend performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838696\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838696\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7426-800x533.jpg\" alt=\"Tiffani Faison and Shangela perform at the at Outside Lands in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7426.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7426-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7426-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7426-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7426-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7426-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tiffani Faison and Shangela perform at Outside Lands in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838703\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838703\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7488-800x533.jpg\" alt=\"Mac DeMarco performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7488.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7488-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7488-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7488-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7488-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7488-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mac DeMarco performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838684\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838684\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7275-800x533.jpg\" alt=\"Chicano Batman performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7275.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7275-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7275-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7275-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7275-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7275-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chicano Batman performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838680\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838680\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7177-800x533.jpg\" alt=\"N.E.R.D performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7177.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7177-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7177-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7177-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7177-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7177-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">N.E.R.D performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838671\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838671\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_6946-800x533.jpg\" alt=\"Billie Eilish performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6946.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6946-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6946-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6946-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6946-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6946-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Billie Eilish performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838693\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838693\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7389-800x533.jpg\" alt=\"ODESZA performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7389.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7389-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7389-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7389-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7389-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7389-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">ODESZA performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838678\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838678\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7111-800x533.jpg\" alt=\"Caleborate performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7111.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7111-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7111-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7111-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7111-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7111-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caleborate performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838667\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838667\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_6894-800x533.jpg\" alt=\"Mikky Ekko at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6894.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6894-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6894-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6894-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6894-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6894-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mikky Ekko at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838702\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838702\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7471-800x533.jpg\" alt=\"Mac DeMarco performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7471.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7471-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7471-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7471-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7471-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7471-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mac DeMarco performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838701\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838701\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7454-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7454.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7454-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7454-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7454-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7454-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7454-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838698\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838698\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7440-800x533.jpg\" alt=\"The Growlers perform at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7440.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7440-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7440-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7440-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7440-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7440-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Growlers perform at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838700\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838700\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7452-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7452-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7452-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7452-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7452-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7452-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838697\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838697\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7432-800x533.jpg\" alt=\"Tiffani Faison and Shangela perform at the at Outside Lands in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7432.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7432-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7432-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7432-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7432-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7432-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tiffani Faison and Shangela perform at Outside Lands in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838694\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838694\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7409-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7409.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7409-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7409-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7409-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7409-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7409-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838691\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838691\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7358-800x533.jpg\" alt=\"ODESZA performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7358.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7358-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7358-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7358-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7358-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7358-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">ODESZA performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838688\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838688\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7302-800x533.jpg\" alt=\"Chicano Batman performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7302.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7302-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7302-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7302-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7302-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7302-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chicano Batman performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838683\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838683\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7252-800x533.jpg\" alt=\"N.E.R.D performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7252.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7252-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7252-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7252-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7252-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7252-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">N.E.R.D performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838687\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838687\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7297-800x533.jpg\" alt=\"Chicano Batman performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7297.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7297-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7297-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7297-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7297-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7297-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chicano Batman performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838681\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838681\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7203-800x533.jpg\" alt=\"N.E.R.D performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7203.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7203-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7203-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7203-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7203-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7203-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">N.E.R.D performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838673\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838673\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_6959-800x533.jpg\" alt=\"Billie Eilish performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6959.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6959-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6959-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6959-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6959-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6959-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Billie Eilish performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838668\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838668\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_6896-800x533.jpg\" alt=\"Mikky Ekko at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6896.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6896-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6896-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6896-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6896-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6896-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mikky Ekko at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838670\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838670\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_6912-800x533.jpg\" alt=\"Billie Eilish performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6912.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6912-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6912-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6912-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6912-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6912-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Billie Eilish performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838672\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838672\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_6951-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6951.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6951-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6951-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6951-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6951-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6951-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Outside Lands continues through Sunday, Aug. 12. For tips, guides, food and more, see \u003ca href=\"https://www.kqed.org/arts/tag/outside-lands\" target=\"_blank\" rel=\"noopener\">all of KQED’s Outside Lands coverage here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Carly Rae Jepsen, Perfume Genius and Shangela centered queerness on stage in a way Outside Lands has never seen. ",
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"description": "Carly Rae Jepsen, Perfume Genius and Shangela centered queerness on stage in a way Outside Lands has never seen. ",
"title": "At Outside Lands on Friday, LGBTQ Performers Steal the Show | KQED",
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"headline": "At Outside Lands on Friday, LGBTQ Performers Steal the Show",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On the GastroMagic stage at Outside Lands on Friday, Aug. 10, drag performer Shangela of \u003cem>RuPaul’s Drag Race\u003c/em> fame marveled at the number of LGBTQ people who came to her cooking demonstration-turned-drag show.\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“That’s why I love being home,” said San Francisco-raised chef Tiffani Faison, onstage teaching Shangela to make fried fish while the drag queen cracked cheeky, innuendo-filled one-liners.\u003c/p>\n\u003cp>“And I love being \u003cem>homo\u003c/em>,” Shangela retorted without missing a beat.\u003c/p>\n\u003cfigure id=\"attachment_13838695\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838695\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7424-800x533.jpg\" alt=\"Tiffani Faison and Shangela perform at the at Outside Lands in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7424.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7424-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7424-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7424-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7424-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7424-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tiffani Faison and Shangela perform at the Outside Lands in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Outside Lands’ \u003ca href=\"https://www.kqed.org/arts/13828348/janet-jackson-to-play-outside-lands-ending-10-year-run-of-no-female-headliners\" target=\"_blank\" rel=\"noopener\">first-time inclusion of female headliners\u003c/a> (with Florence + the Machine on Saturday and Janet Jackson on Sunday) has been a hot topic since the lineup was announced in April. But as the fest kicked off on Friday in Golden Gate Park, it became apparent that the many LGBTQ artists and performers at this year’s Outside Lands attracted a queerer, more diverse audience, changing the tone from the bro-y vibe of years past.\u003c/p>\n\u003cp>After Faison laid the fried fish onto an enormous, baking pan-sized biscuit for an impossibly huge sandwich, the DJ hit play on RuPaul’s vogue house tune, “Call Me Mother,” and Shangela stripped off her chef outfit, revealing a Beyoncé-esque gold beaded leotard that glistened in the afternoon sun. The audience erupted with cheers and shouts of “yaaasss” as Shangela lip synced, twirled, kicked and death-dropped to the floor.\u003c/p>\n\u003cfigure id=\"attachment_13838675\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838675\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7034-800x533.jpg\" alt=\"Perfume Genius performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7034.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7034-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7034-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7034-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7034-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7034-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Perfume Genius performs at the Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to Shangela’s second set at the Barbary, the festival’s comedy tent, Friday’s lineup also included a sultry performance by Perfume Genius, the queer electronic pop balladeer. Perfume Genius, clad in vintage dress pants and a loud, blue-and-white button-down, sauntered across the stage like a sexy cowboy to reverb-laden guitar that evoked a Quentin Tarantino soundtrack. As his band built up instrumental layers to a crescendo of synths, he popped his hips and writhed suggestively on the floor as the many gender non-conforming, creatively dressed audience members cheered.\u003c/p>\n\u003cfigure id=\"attachment_13838689\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838689\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7327-800x533.jpg\" alt=\"Carly Rae Jepsen performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7327.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7327-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7327-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7327-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7327-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7327-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carly Rae Jepsen performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Later in the afternoon, pop singer Carly Rae Jepsen, who has a massive, loyal following in the LGBTQ community, ignited an epic dance party consisting mostly of gay guys and their gal pals at the Twin Peaks stage. Groups of teenagers skipped and tossed their ponytails to “Boy Problems” and “Call Me Maybe.” Jepsen’s cotton-candy tunes, delivered with the bubbly attitude of a modern-day Cindy Lauper, elevated the mood with their uncomplicated expressions of infatuation and joy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>To close out her set, a buff, shirtless go-go dancer with a rainbow cape joined Jepsen on stage. He pulled at least five technicolor wigs off his head one by one, the final wig exploding with gold glitter, as Jepsen and the audience watched in awe and delight.\u003c/p>\n\u003cp>Shangela, Perfume Genius and Carly Rae Jepsen centered queerness in a way I haven’t seen at previous editions of Outside Lands, which has only recently begun to meaningfully shift its focus from white- and male-dominated rock to more inclusive lineups. Judging by the smiling faces all around, the LGBTQ people in the audience were feeling the love.\u003c/p>\n\u003cfigure id=\"attachment_13838669\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838669\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_6904-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6904.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6904-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6904-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6904-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6904-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6904-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With \u003cem>Queer Eye\u003c/em>‘s Jonathan Van Ness doing a live podcast Saturday and Janelle Monae (who recently came out as pansexual) and R&B band The Internet (whose singer Syd openly sings about gay themes) performing on Sunday, this might just be the most LGTBQ-friendly Outside Lands yet. Let’s hope the trend continues.\u003c/p>\n\u003ch2>Other Highlights\u003c/h2>\n\u003cfigure id=\"attachment_13838708\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838708\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7586-800x533.jpg\" alt=\"The Weekend performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7586.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7586-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7586-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7586-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7586-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7586-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Weekend performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>The Weeknd’s Moody Hit Parade \u003c/strong>\u003c/p>\n\u003cp>Canadian chart-topper The Weeknd closed out Friday night at Outside Lands with a set that wove tracks from his debut mixtape, \u003cem>House of Balloons\u003c/em>, to his latest album, \u003cem>My Dear Melancholy\u003c/em>. While singing about feeling empty in the club on tracks like “Starboy,” “I Can’t Feel My Face” and “Low Life,” he sounded surprisingly soulful under cinematic, sunset-hued stage lights and heavy fog while the crowd never stopped moving their feet.\u003c/p>\n\u003cfigure id=\"attachment_13838677\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838677\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7076-800x533.jpg\" alt=\"Caleborate performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7076.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7076-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7076-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7076-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7076-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7076-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caleborate performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Caleborate’s Set Was a Win for the Home Team\u003c/strong>\u003c/p>\n\u003cp>It was only three years ago that Caleborate came onto the East Bay music scene with his endearingly confessional debut, \u003cem>Hella Good. \u003c/em>Now with three albums under his belt, the breakout artist has quickly ascended to headlining small clubs like The New Parish and lighting up the Panhandle stage at Outside Lands, where legions of hometown fans chanted “Caleb! Caleb!”\u003c/p>\n\u003cp>As he performed the danceable, house-inflected jam “SMH” and the hyped-up confessional “Bankrobber,” Caleborate danced on top of the speakers and ran through the photo pit to high-five the front row. His set felt like a triumph for the Bay Area’s underground rap scene.\u003c/p>\n\u003cp>\u003cstrong>See more photos from Friday at Outside Lands below.\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13838705\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838705\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7536-800x533.jpg\" alt=\"The Weekend performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7536.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7536-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7536-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7536-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7536-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7536-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Weekend performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838696\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838696\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7426-800x533.jpg\" alt=\"Tiffani Faison and Shangela perform at the at Outside Lands in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7426.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7426-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7426-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7426-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7426-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7426-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tiffani Faison and Shangela perform at Outside Lands in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838703\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838703\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7488-800x533.jpg\" alt=\"Mac DeMarco performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7488.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7488-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7488-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7488-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7488-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7488-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mac DeMarco performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838684\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838684\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7275-800x533.jpg\" alt=\"Chicano Batman performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7275.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7275-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7275-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7275-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7275-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7275-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chicano Batman performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838680\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838680\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7177-800x533.jpg\" alt=\"N.E.R.D performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7177.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7177-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7177-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7177-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7177-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7177-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">N.E.R.D performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838671\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838671\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_6946-800x533.jpg\" alt=\"Billie Eilish performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6946.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6946-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6946-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6946-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6946-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6946-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Billie Eilish performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838693\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838693\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7389-800x533.jpg\" alt=\"ODESZA performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7389.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7389-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7389-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7389-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7389-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7389-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">ODESZA performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838678\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838678\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7111-800x533.jpg\" alt=\"Caleborate performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7111.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7111-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7111-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7111-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7111-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7111-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caleborate performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838667\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838667\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_6894-800x533.jpg\" alt=\"Mikky Ekko at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6894.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6894-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6894-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6894-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6894-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6894-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mikky Ekko at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838702\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838702\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7471-800x533.jpg\" alt=\"Mac DeMarco performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7471.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7471-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7471-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7471-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7471-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7471-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mac DeMarco performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838701\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838701\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7454-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7454.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7454-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7454-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7454-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7454-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7454-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838698\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838698\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7440-800x533.jpg\" alt=\"The Growlers perform at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7440.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7440-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7440-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7440-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7440-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7440-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Growlers perform at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838700\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838700\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7452-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7452-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7452-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7452-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7452-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7452-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838697\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838697\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7432-800x533.jpg\" alt=\"Tiffani Faison and Shangela perform at the at Outside Lands in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7432.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7432-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7432-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7432-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7432-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7432-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tiffani Faison and Shangela perform at Outside Lands in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838694\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838694\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7409-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7409.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7409-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7409-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7409-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7409-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7409-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838691\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838691\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7358-800x533.jpg\" alt=\"ODESZA performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7358.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7358-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7358-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7358-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7358-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7358-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">ODESZA performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838688\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838688\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7302-800x533.jpg\" alt=\"Chicano Batman performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7302.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7302-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7302-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7302-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7302-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7302-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chicano Batman performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838683\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838683\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7252-800x533.jpg\" alt=\"N.E.R.D performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7252.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7252-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7252-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7252-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7252-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7252-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">N.E.R.D performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838687\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838687\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7297-800x533.jpg\" alt=\"Chicano Batman performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7297.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7297-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7297-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7297-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7297-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7297-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chicano Batman performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838681\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838681\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7203-800x533.jpg\" alt=\"N.E.R.D performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7203.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7203-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7203-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7203-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7203-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7203-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">N.E.R.D performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838673\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838673\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_6959-800x533.jpg\" alt=\"Billie Eilish performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6959.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6959-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6959-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6959-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6959-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6959-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Billie Eilish performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838668\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838668\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_6896-800x533.jpg\" alt=\"Mikky Ekko at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6896.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6896-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6896-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6896-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6896-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6896-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mikky Ekko at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838670\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838670\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_6912-800x533.jpg\" alt=\"Billie Eilish performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6912.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6912-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6912-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6912-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6912-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6912-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Billie Eilish performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838672\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838672\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_6951-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6951.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6951-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6951-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6951-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6951-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6951-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Outside Lands continues through Sunday, Aug. 12. For tips, guides, food and more, see \u003ca href=\"https://www.kqed.org/arts/tag/outside-lands\" target=\"_blank\" rel=\"noopener\">all of KQED’s Outside Lands coverage here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Five Local Bands Not to Miss at Outside Lands—And Other Essential Tips",
"headTitle": "Five Local Bands Not to Miss at Outside Lands—And Other Essential Tips | KQED",
"content": "\u003cp>A lot is different about \u003ca href=\"https://www.sfoutsidelands.com/lineup/#/\" target=\"_blank\" rel=\"noopener\">Outside Lands\u003c/a> this year. The music and arts festival kicks off its 11th edition on Aug. 10, when thousands of concertgoers will descend upon Golden Gate Park for three days of music, comedy, food, beer and art.\u003c/p>\n\u003cp>For one, the fest finally booked female headliners for the first time in its history: Florence + the Machine on Saturday and Janet Jackson on Sunday.\u003c/p>\n\u003cp>And in addition to its food and beverage offerings, this year’s edition will introduce \u003ca href=\"https://www.sfoutsidelands.com/grass-lands/\" target=\"_blank\" rel=\"noopener\">Grass Lands\u003c/a>, a town square-style showcase of Northern California’s cannabis offerings. (This is just to look and smell. You still can’t buy weed at the fest—sorry.)\u003c/p>\n\u003cp>Entertainment other than music is becoming more prominent at Outside Lands as well: \u003ca href=\"https://www.sfoutsidelands.com/lineup/#/lineup_groupings/the-barbary\" target=\"_blank\" rel=\"noopener\">The Barbary\u003c/a>, its improv and comedy stage, stars \u003cem>Brooklyn Nine-Nine\u003c/em>‘s Chelsea Peretti, as well as Michelle Wolf, the \u003cem>Daily Show\u003c/em> contributor and \u003ca href=\"https://www.washingtonpost.com/news/reliable-source/wp/2018/04/29/the-many-reactions-to-michelle-wolfs-speech-from-trump-saying-she-bombed-to-kumail-nanjianis-support/?utm_term=.cd5626d5420f\" target=\"_blank\" rel=\"noopener\">nemesis of the Trump administration\u003c/a>. And the \u003ca href=\"https://www.sfoutsidelands.com/gastromagic/\" target=\"_blank\" rel=\"noopener\">Gastro Magic Stage\u003c/a>, which is all about food, features outspoken Brooklyn chef and author Eddie Huang (whose memoir inspired the hit series \u003cem>Fresh Off the Boat\u003c/em>) and Matty Matheson, whose Vice show makes him seem like an extremely entertaining dining companion.\u003c/p>\n\u003cp>While dressing for the cold and dusty terrain of Golden Gate Park and the struggle to find parking are givens (check out our \u003ca href=\"https://www.kqed.org/arts/10139926/how-to-survive-outside-lands-a-veterans-guide\" target=\"_blank\" rel=\"noopener\">Outside Lands survival guide\u003c/a>), there’s another big change: this year, Outside Lands has introduced a clear bag policy. Word to the wise: either bring your PKW (that’s phone, keys and wallet) in your pockets, or invest in a clear backpack or purse from Amazon, Target or just about any school supply store. The clear bag policy is becoming a staple of other festivals, including June’s Clusterfest in Civic Center, so it will likely come in handy again.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But, back to the music. In addition to tons of exciting mainstream acts at \u003ca href=\"https://www.kqed.org/arts/13828518/outside-lands-lineup-announced-janet-jackson-the-weeknd-headline\" target=\"_blank\" rel=\"noopener\">this year’s Outside Lands\u003c/a> (Janelle Monae! Future! The Internet! N.E.R.D.!), there’s a wealth of local talent represented on the lineup.\u003c/p>\n\u003cp>https://youtu.be/WM5yCRiSQPY\u003c/p>\n\u003cp>Don’t miss SOB x RBE, the Vallejo upstarts whose “Anti” blasted from what sounded like every car window throughout 2016 and 2017. The four-piece has since risen to national prominence through their fiery track on the \u003cem>Black Panther\u003c/em> soundtrack, “\u003ca href=\"https://youtu.be/W2_A89qTgwM\" target=\"_blank\" rel=\"noopener\">Paramedic\u003c/a>.” Recently, the group’s biggest star, Yhung T.O., inked a solo deal with Interscope. It’s unclear what lies ahead for SOB x RBE as a collective, so Outside Lands will be a good opportunity to catch them live as a unit. They perform at the Twin Peaks stage on Saturday, Aug. 11, at 5:20pm.\u003c/p>\n\u003cp>https://youtu.be/Hm3cf3jsWNw\u003c/p>\n\u003cp>Shannon and the Clams are also hitting the Outside Lands stage for the first time this year. The group came up in Oakland’s warehouse scene, performing in clandestine venues and dusty basements for years before getting their big break. Recently, they worked with Dan Auerbach of the Black Keys at his Easy Eye Sound label. Shannon and the Clams’ Outside Lands set will be a victory for these mainstays of the local punk scene. They perform at the Twin Peaks stage on Friday, Aug. 10, at 12:40 pm.\u003c/p>\n\u003cp>https://youtu.be/tJBqGe88-9A\u003c/p>\n\u003cp>Similar to Shannon and the Clams’ retro sensibilities, Oakland’s Dick Stusso lends a modern twist to his blues and rock’n’roll guitar stylings, which conjure long road trips in an old-school Cadillac. He performs Sunday, Aug. 12 at noon at the Panhandle Stage.\u003c/p>\n\u003cp>https://youtu.be/N4nhBG8NDC0\u003c/p>\n\u003cp>The T Sisters have been blessing the Bay Area with their beautiful three-part harmonies and bluegrass, folk and indie instrumentation for years now. They perform on the Sutro Stage on Sunday, Aug. 12, at noon.\u003c/p>\n\u003cp>https://youtu.be/8dHAWTzD5SE\u003c/p>\n\u003cp>Caleborate has been winning Bay Area hip-hop fans’ hearts and minds since 2015, when he came onto the scene with his confessional debut, \u003cem>Hella Good\u003c/em>. The Sacramento native raps about coming of age in his adopted home of Berkeley. His latest album, \u003cem>Real Person\u003c/em>, is endearingly confessional and candid. After slaying local clubs, he’s ready for the big festival stage. Caleborate performs on the Panhandle Stage on Friday, Aug. 10, at 4:30pm.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Outside Lands takes place Aug. 10–12 in Golden Gate Park. Details \u003ca href=\"https://www.sfoutsidelands.com/lineup/#/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "Plus, details on the clear backpack policy, who to see at the comedy stage and more. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A lot is different about \u003ca href=\"https://www.sfoutsidelands.com/lineup/#/\" target=\"_blank\" rel=\"noopener\">Outside Lands\u003c/a> this year. The music and arts festival kicks off its 11th edition on Aug. 10, when thousands of concertgoers will descend upon Golden Gate Park for three days of music, comedy, food, beer and art.\u003c/p>\n\u003cp>For one, the fest finally booked female headliners for the first time in its history: Florence + the Machine on Saturday and Janet Jackson on Sunday.\u003c/p>\n\u003cp>And in addition to its food and beverage offerings, this year’s edition will introduce \u003ca href=\"https://www.sfoutsidelands.com/grass-lands/\" target=\"_blank\" rel=\"noopener\">Grass Lands\u003c/a>, a town square-style showcase of Northern California’s cannabis offerings. (This is just to look and smell. You still can’t buy weed at the fest—sorry.)\u003c/p>\n\u003cp>Entertainment other than music is becoming more prominent at Outside Lands as well: \u003ca href=\"https://www.sfoutsidelands.com/lineup/#/lineup_groupings/the-barbary\" target=\"_blank\" rel=\"noopener\">The Barbary\u003c/a>, its improv and comedy stage, stars \u003cem>Brooklyn Nine-Nine\u003c/em>‘s Chelsea Peretti, as well as Michelle Wolf, the \u003cem>Daily Show\u003c/em> contributor and \u003ca href=\"https://www.washingtonpost.com/news/reliable-source/wp/2018/04/29/the-many-reactions-to-michelle-wolfs-speech-from-trump-saying-she-bombed-to-kumail-nanjianis-support/?utm_term=.cd5626d5420f\" target=\"_blank\" rel=\"noopener\">nemesis of the Trump administration\u003c/a>. And the \u003ca href=\"https://www.sfoutsidelands.com/gastromagic/\" target=\"_blank\" rel=\"noopener\">Gastro Magic Stage\u003c/a>, which is all about food, features outspoken Brooklyn chef and author Eddie Huang (whose memoir inspired the hit series \u003cem>Fresh Off the Boat\u003c/em>) and Matty Matheson, whose Vice show makes him seem like an extremely entertaining dining companion.\u003c/p>\n\u003cp>While dressing for the cold and dusty terrain of Golden Gate Park and the struggle to find parking are givens (check out our \u003ca href=\"https://www.kqed.org/arts/10139926/how-to-survive-outside-lands-a-veterans-guide\" target=\"_blank\" rel=\"noopener\">Outside Lands survival guide\u003c/a>), there’s another big change: this year, Outside Lands has introduced a clear bag policy. Word to the wise: either bring your PKW (that’s phone, keys and wallet) in your pockets, or invest in a clear backpack or purse from Amazon, Target or just about any school supply store. The clear bag policy is becoming a staple of other festivals, including June’s Clusterfest in Civic Center, so it will likely come in handy again.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But, back to the music. In addition to tons of exciting mainstream acts at \u003ca href=\"https://www.kqed.org/arts/13828518/outside-lands-lineup-announced-janet-jackson-the-weeknd-headline\" target=\"_blank\" rel=\"noopener\">this year’s Outside Lands\u003c/a> (Janelle Monae! Future! The Internet! N.E.R.D.!), there’s a wealth of local talent represented on the lineup.\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/WM5yCRiSQPY'\n title='//www.youtube.com/embed/WM5yCRiSQPY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Don’t miss SOB x RBE, the Vallejo upstarts whose “Anti” blasted from what sounded like every car window throughout 2016 and 2017. The four-piece has since risen to national prominence through their fiery track on the \u003cem>Black Panther\u003c/em> soundtrack, “\u003ca href=\"https://youtu.be/W2_A89qTgwM\" target=\"_blank\" rel=\"noopener\">Paramedic\u003c/a>.” Recently, the group’s biggest star, Yhung T.O., inked a solo deal with Interscope. It’s unclear what lies ahead for SOB x RBE as a collective, so Outside Lands will be a good opportunity to catch them live as a unit. They perform at the Twin Peaks stage on Saturday, Aug. 11, at 5:20pm.\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/Hm3cf3jsWNw'\n title='//www.youtube.com/embed/Hm3cf3jsWNw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Shannon and the Clams are also hitting the Outside Lands stage for the first time this year. The group came up in Oakland’s warehouse scene, performing in clandestine venues and dusty basements for years before getting their big break. Recently, they worked with Dan Auerbach of the Black Keys at his Easy Eye Sound label. Shannon and the Clams’ Outside Lands set will be a victory for these mainstays of the local punk scene. They perform at the Twin Peaks stage on Friday, Aug. 10, at 12:40 pm.\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/tJBqGe88-9A'\n title='//www.youtube.com/embed/tJBqGe88-9A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Similar to Shannon and the Clams’ retro sensibilities, Oakland’s Dick Stusso lends a modern twist to his blues and rock’n’roll guitar stylings, which conjure long road trips in an old-school Cadillac. He performs Sunday, Aug. 12 at noon at the Panhandle Stage.\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/N4nhBG8NDC0'\n title='//www.youtube.com/embed/N4nhBG8NDC0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The T Sisters have been blessing the Bay Area with their beautiful three-part harmonies and bluegrass, folk and indie instrumentation for years now. They perform on the Sutro Stage on Sunday, Aug. 12, at noon.\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/8dHAWTzD5SE'\n title='//www.youtube.com/embed/8dHAWTzD5SE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Caleborate has been winning Bay Area hip-hop fans’ hearts and minds since 2015, when he came onto the scene with his confessional debut, \u003cem>Hella Good\u003c/em>. The Sacramento native raps about coming of age in his adopted home of Berkeley. His latest album, \u003cem>Real Person\u003c/em>, is endearingly confessional and candid. After slaying local clubs, he’s ready for the big festival stage. Caleborate performs on the Panhandle Stage on Friday, Aug. 10, at 4:30pm.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Outside Lands takes place Aug. 10–12 in Golden Gate Park. Details \u003ca href=\"https://www.sfoutsidelands.com/lineup/#/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Multivrs is Illuminated Festival Spotlights Black and Brown Punks",
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"content": "\u003cp>There’s power in the collective—in activism and in the music scene, and Shawna Shanté Scroggins and Jade Ariana Fair know this.\u003c/p>\n\u003cp>In August 2017, Fair, Scroggins, Sharmi Basu and Titania Kumeh—all local musicians—debuted \u003ca href=\"https://www.sfchronicle.com/music/article/The-Universe-Is-Lit-puts-light-on-black-and-brown-11728121.php\" target=\"_blank\" rel=\"noopener\">The Universe is Lit\u003c/a>, a multi-day music festival with a lineup consisting entirely of black and brown experimental and punk musicians. Inspired by a series of events organized by the Black and Brown Punk Show Collective in Chicago some years prior, the trio seized an opportunity to highlight musicians of color in the Bay Area’s underground scene.\u003c/p>\n\u003cp>Scroggins, a DJ, musician and the co-executive director of Bay Area Girls Rock Camp, and Fair, a visual artist and performer in noise duo Earthbound, have taken the reins for the festival’s second year. This time dubbed The Multivrs is Illuminated, the mission of this year’s event embraces the collective mindset at the heart of punk.\u003c/p>\n\u003cp>“The universe is singular and the multiverse is like, we are all illuminating this space together,” Scroggins explains.\u003c/p>\n\u003cfigure id=\"attachment_13832377\" class=\"wp-caption alignright\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13832377\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/universe-is-lit.jpg\" alt=\"Provoke performing at The Universe Is Lit in 2017.\" width=\"750\" height=\"581\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/universe-is-lit.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/universe-is-lit-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/universe-is-lit-240x186.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/universe-is-lit-375x291.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/universe-is-lit-520x403.jpg 520w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Provoke performing at The Universe Is Lit in 2017. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This weekend’s \u003ca href=\"http://www.theuniverseislit.com/schedule\" target=\"_blank\" rel=\"noopener\">four-day festival\u003c/a>, taking place Aug. 9–12, will span both sides of the Bay Bridge, at venues like Oakland’s ProArts and Red Bay Coffee, as well as Artists Television Access (ATA) in the Mission district. The roster is packed with artists drawing from multiple genres. The acts are as varied as psychedelic cumbia and dub band Xolito Sound System, electronic music producer and artist \u003ca href=\"https://www.kqed.org/arts/13818742/wizard-apprentices-music-is-a-crash-course-in-self-reflection\" target=\"_blank\" rel=\"noopener\">Wizard Apprentice\u003c/a> and Denver’s Death in Space, who blend blistering shoegaze with punk and noise music roots.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=4133849032/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>The fest also features artist vendors and opens on Thursday, Aug. 9, with a screening of a slate experimental films at ATA.\u003c/p>\n\u003cp>For Scroggins and Fair, the focus on the collective is crucial in light of current political and social tumult. “So many things in this world don’t want us to shine and it can be hard,” Scroggins says. “There’s scarcity and competition, but it’s like each of us shine together and there is infinite space to do that.”\u003c/p>\n\u003cp>The name change is also a nod to the fleet of people— volunteers, performers and hosts of the venues—who support Scroggins and Fair in making the festival come to fruition.\u003c/p>\n\u003cp>Beyond a festival, The Multivrs is Illuminated is a distillation of Scroggins and Fair’s philosophy of punk—where everyone is welcome and encouraged to bring their full selves despite any preconceived and notions of what is—or isn’t—punk.\u003c/p>\n\u003cp>Scroggins had gravitated to alternative spaces her whole life, but growing up in Phoenix, Arizona, she felt a barrier between herself and the punk scene.\u003c/p>\n\u003cp>“You’d have to look like a certain aesthetic that didn’t resonate with me, and there were so many dudes,” she says.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/playlists/487574820″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true” width=”100%” height=”450″ iframe=”true” /]\u003c/p>\n\u003cp>The scene in the Bay Area introduced her to other black and brown people who shared her interests, unlike her upbringing in Phoenix where she recalls being treated like “an anomaly a lot as a black person that was into countercultures and skateboarding.”\u003c/p>\n\u003cp>“Going to all these different spaces because as a weird black person, or as a weird brown person, I feel like we go to all these different worlds because we’re like ‘Where’s my zone?’” Scroggins says.\u003c/p>\n\u003cp>Fair felt similarly alienated during upbringing in Los Angeles. She’d travel from her Inglewood home to the west side of the city for school, and the physicality of moving through the landscape of Los Angeles left an impact on her.\u003c/p>\n\u003cp>“Being exposed to whiteness like that really did all these damaging things to me in this one way, but I think it actually gave me the superpower of being able to carry myself in any space that I go,” she says. “It was hella isolating.”\u003c/p>\n\u003cp>“I think that’s why now I feel so adamant about carrying all parts of myself into a space,” Fair says. “Because I had to break myself apart a lot growing up, so it feels essential now.”\u003c/p>\n\u003cp>That demand, of course, carries into the mission of the festival.\u003c/p>\n\u003cp>“Me and Shawna are following in this legacy of people who are like, ‘I’m going to articulate all parts of myself in all of these spaces,’” Fair says.\u003c/p>\n\u003cp>https://youtu.be/USfWu3JzmLo\u003c/p>\n\u003cp>For years, the white face of punk music erased the black and brown artists whose contributions to the genre shaped its path from the start. There was Bad Brains, an all-Black band from 1980s Washington D.C. who paired rumbling, whiplash-inducing drums with reggae. Death, the band of brothers from Detroit, are often cited as one of the first punk bands of all time. Poly Styrene, a biracial, working class woman, fronted the U.K.’s X-Ray Spex with an inimitable caterwaul. On the West Coast, Chicana artist Alice Bag brought her foundation of Rancheras and soul music to the East L.A. punk scene in the 1970s.\u003c/p>\n\u003cp>In short, a festival like The Multivrs is Illuminated isn’t a novelty: it’s both a reminder and a continuation of a long history of black and brown artists in the punk scene.\u003c/p>\n\u003cp>The festival’s wide parameters of punk hark back to Scroggins and Fair’s understanding of punk as a political philosophy of self-determination, community and challenging the status quo, not necessarily a particular sound.\u003c/p>\n\u003cp>“It is a basic structure or foundation of reality that’s questioning what is force fed to us and being like, ‘We don’t ask for what we want: we take what we want and we make what we want,’” Scroggins says. To her, punk is a means to challenge oppressive systems like capitalism, racism, sexism and homophobia.\u003c/p>\n\u003cp>“Instead of accepting it, I’m going to fight it, create and live as vibrantly as possible,” she says. “That is what being black means to me, that is what being queer means to me and that’s what being punk means to me.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The Multivrs Is Illuminated takes place in Oakland and San Francisco, Aug. 9-12. Details \u003ca href=\"http://www.theuniverseislit.com/schedule\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s power in the collective—in activism and in the music scene, and Shawna Shanté Scroggins and Jade Ariana Fair know this.\u003c/p>\n\u003cp>In August 2017, Fair, Scroggins, Sharmi Basu and Titania Kumeh—all local musicians—debuted \u003ca href=\"https://www.sfchronicle.com/music/article/The-Universe-Is-Lit-puts-light-on-black-and-brown-11728121.php\" target=\"_blank\" rel=\"noopener\">The Universe is Lit\u003c/a>, a multi-day music festival with a lineup consisting entirely of black and brown experimental and punk musicians. Inspired by a series of events organized by the Black and Brown Punk Show Collective in Chicago some years prior, the trio seized an opportunity to highlight musicians of color in the Bay Area’s underground scene.\u003c/p>\n\u003cp>Scroggins, a DJ, musician and the co-executive director of Bay Area Girls Rock Camp, and Fair, a visual artist and performer in noise duo Earthbound, have taken the reins for the festival’s second year. This time dubbed The Multivrs is Illuminated, the mission of this year’s event embraces the collective mindset at the heart of punk.\u003c/p>\n\u003cp>“The universe is singular and the multiverse is like, we are all illuminating this space together,” Scroggins explains.\u003c/p>\n\u003cfigure id=\"attachment_13832377\" class=\"wp-caption alignright\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13832377\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/universe-is-lit.jpg\" alt=\"Provoke performing at The Universe Is Lit in 2017.\" width=\"750\" height=\"581\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/universe-is-lit.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/universe-is-lit-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/universe-is-lit-240x186.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/universe-is-lit-375x291.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/universe-is-lit-520x403.jpg 520w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Provoke performing at The Universe Is Lit in 2017. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This weekend’s \u003ca href=\"http://www.theuniverseislit.com/schedule\" target=\"_blank\" rel=\"noopener\">four-day festival\u003c/a>, taking place Aug. 9–12, will span both sides of the Bay Bridge, at venues like Oakland’s ProArts and Red Bay Coffee, as well as Artists Television Access (ATA) in the Mission district. The roster is packed with artists drawing from multiple genres. The acts are as varied as psychedelic cumbia and dub band Xolito Sound System, electronic music producer and artist \u003ca href=\"https://www.kqed.org/arts/13818742/wizard-apprentices-music-is-a-crash-course-in-self-reflection\" target=\"_blank\" rel=\"noopener\">Wizard Apprentice\u003c/a> and Denver’s Death in Space, who blend blistering shoegaze with punk and noise music roots.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=4133849032/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>The fest also features artist vendors and opens on Thursday, Aug. 9, with a screening of a slate experimental films at ATA.\u003c/p>\n\u003cp>For Scroggins and Fair, the focus on the collective is crucial in light of current political and social tumult. “So many things in this world don’t want us to shine and it can be hard,” Scroggins says. “There’s scarcity and competition, but it’s like each of us shine together and there is infinite space to do that.”\u003c/p>\n\u003cp>The name change is also a nod to the fleet of people— volunteers, performers and hosts of the venues—who support Scroggins and Fair in making the festival come to fruition.\u003c/p>\n\u003cp>Beyond a festival, The Multivrs is Illuminated is a distillation of Scroggins and Fair’s philosophy of punk—where everyone is welcome and encouraged to bring their full selves despite any preconceived and notions of what is—or isn’t—punk.\u003c/p>\n\u003cp>Scroggins had gravitated to alternative spaces her whole life, but growing up in Phoenix, Arizona, she felt a barrier between herself and the punk scene.\u003c/p>\n\u003cp>“You’d have to look like a certain aesthetic that didn’t resonate with me, and there were so many dudes,” she says.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”450″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/playlists/487574820″&visual=true&”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true”'\n title='”https://api.soundcloud.com/playlists/487574820″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The scene in the Bay Area introduced her to other black and brown people who shared her interests, unlike her upbringing in Phoenix where she recalls being treated like “an anomaly a lot as a black person that was into countercultures and skateboarding.”\u003c/p>\n\u003cp>“Going to all these different spaces because as a weird black person, or as a weird brown person, I feel like we go to all these different worlds because we’re like ‘Where’s my zone?’” Scroggins says.\u003c/p>\n\u003cp>Fair felt similarly alienated during upbringing in Los Angeles. She’d travel from her Inglewood home to the west side of the city for school, and the physicality of moving through the landscape of Los Angeles left an impact on her.\u003c/p>\n\u003cp>“Being exposed to whiteness like that really did all these damaging things to me in this one way, but I think it actually gave me the superpower of being able to carry myself in any space that I go,” she says. “It was hella isolating.”\u003c/p>\n\u003cp>“I think that’s why now I feel so adamant about carrying all parts of myself into a space,” Fair says. “Because I had to break myself apart a lot growing up, so it feels essential now.”\u003c/p>\n\u003cp>That demand, of course, carries into the mission of the festival.\u003c/p>\n\u003cp>“Me and Shawna are following in this legacy of people who are like, ‘I’m going to articulate all parts of myself in all of these spaces,’” Fair says.\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/USfWu3JzmLo'\n title='//www.youtube.com/embed/USfWu3JzmLo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For years, the white face of punk music erased the black and brown artists whose contributions to the genre shaped its path from the start. There was Bad Brains, an all-Black band from 1980s Washington D.C. who paired rumbling, whiplash-inducing drums with reggae. Death, the band of brothers from Detroit, are often cited as one of the first punk bands of all time. Poly Styrene, a biracial, working class woman, fronted the U.K.’s X-Ray Spex with an inimitable caterwaul. On the West Coast, Chicana artist Alice Bag brought her foundation of Rancheras and soul music to the East L.A. punk scene in the 1970s.\u003c/p>\n\u003cp>In short, a festival like The Multivrs is Illuminated isn’t a novelty: it’s both a reminder and a continuation of a long history of black and brown artists in the punk scene.\u003c/p>\n\u003cp>The festival’s wide parameters of punk hark back to Scroggins and Fair’s understanding of punk as a political philosophy of self-determination, community and challenging the status quo, not necessarily a particular sound.\u003c/p>\n\u003cp>“It is a basic structure or foundation of reality that’s questioning what is force fed to us and being like, ‘We don’t ask for what we want: we take what we want and we make what we want,’” Scroggins says. To her, punk is a means to challenge oppressive systems like capitalism, racism, sexism and homophobia.\u003c/p>\n\u003cp>“Instead of accepting it, I’m going to fight it, create and live as vibrantly as possible,” she says. “That is what being black means to me, that is what being queer means to me and that’s what being punk means to me.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The Multivrs Is Illuminated takes place in Oakland and San Francisco, Aug. 9-12. Details \u003ca href=\"http://www.theuniverseislit.com/schedule\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Built to Spill, they of long jams, wide-eyed lyrics and childhood wonder, have announced a show at an 80-year old amphitheater in the middle of a redwood forest on the Russian River.\u003c/p>\n\u003cp>Log benches? Check. Native fern? Check. A hike on burl-laden trails to get there? Yes indeed. Basically, this is the ultimate setting to see Built to Spill. \u003ca href=\"https://www.google.com/search?q=amphitheater+armstrong+woods&source=lnms&tbm=isch&sa=X&ved=0ahUKEwjXqI675-DcAhXmxFQKHapjDAwQ_AUIDCgD&biw=1027&bih=542\" rel=\"noopener\" target=\"_blank\">See photos of the amphitheater here\u003c/a>.\u003c/p>\n\u003cp>The venue’s proper title is the Redwood Amphitheater at Armstrong Woods State Park in Guerneville, an outdoor WPA-built theater near the Parson Jones Tree, a redwood tree approximately 1,300 years old. The amphitheater rarely hosts concerts, short of an annual bluegrass and folk concert to benefit the local Stewards of the Coast and Redwoods nonprofit. The Sept. 16 concert, presented by Noise Pop, also benefits the Stewards as well as Save the Redwoods League.\u003c/p>\n\u003cp>Think of it as the Russian River’s answer to the Henry Miller Library concerts at Big Sur. Tickets for the Sept. 16 show are $40–$75, probably won’t last long, and are \u003ca href=\"https://www.eventbrite.com/e/built-to-spill-a-benefit-for-save-the-redwoods-stewards-of-the-coast-and-redwoods-armstrong-tickets-48851873268\" rel=\"noopener\" target=\"_blank\">on sale here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "The band plays Sept. 16 in the redwoods on the Russian River, amidst log benches, native fern and 1,300-year-old trees.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Built to Spill, they of long jams, wide-eyed lyrics and childhood wonder, have announced a show at an 80-year old amphitheater in the middle of a redwood forest on the Russian River.\u003c/p>\n\u003cp>Log benches? Check. Native fern? Check. A hike on burl-laden trails to get there? Yes indeed. Basically, this is the ultimate setting to see Built to Spill. \u003ca href=\"https://www.google.com/search?q=amphitheater+armstrong+woods&source=lnms&tbm=isch&sa=X&ved=0ahUKEwjXqI675-DcAhXmxFQKHapjDAwQ_AUIDCgD&biw=1027&bih=542\" rel=\"noopener\" target=\"_blank\">See photos of the amphitheater here\u003c/a>.\u003c/p>\n\u003cp>The venue’s proper title is the Redwood Amphitheater at Armstrong Woods State Park in Guerneville, an outdoor WPA-built theater near the Parson Jones Tree, a redwood tree approximately 1,300 years old. The amphitheater rarely hosts concerts, short of an annual bluegrass and folk concert to benefit the local Stewards of the Coast and Redwoods nonprofit. The Sept. 16 concert, presented by Noise Pop, also benefits the Stewards as well as Save the Redwoods League.\u003c/p>\n\u003cp>Think of it as the Russian River’s answer to the Henry Miller Library concerts at Big Sur. Tickets for the Sept. 16 show are $40–$75, probably won’t last long, and are \u003ca href=\"https://www.eventbrite.com/e/built-to-spill-a-benefit-for-save-the-redwoods-stewards-of-the-coast-and-redwoods-armstrong-tickets-48851873268\" rel=\"noopener\" target=\"_blank\">on sale here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">While some groups might sideline their keys or situate them behind strings,\u003c/span>\u003ca href=\"http://www.monophonics.com/\" target=\"_blank\" rel=\"noopener\"> \u003cspan style=\"font-weight: 400\">Monophonics\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">’ Kelly Finnigan sits squarely center stage and commands the room. At the San Francisco band’s recent show at Mercury Lounge in New York, sweat drops fall onto his organ as he sings Eddie & Ernie’s 1972 soul sleeper, “\u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=HMXkBvSfIhQ\" target=\"_blank\" rel=\"noopener\">\u003cspan style=\"font-weight: 400\">Bullets Don’t Have Eyes\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">.” He’s flanked by members of various West Coast soul groups, who are standing in for the band’s usual horn players. A member of Brooklyn soul revival band The Dap-Kings is on guitar, but the sound is undeniably San Francisco, dripping with the primordial ooze of Sly Stone.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Monophonics are a true showcase of the heavy, but often under-recognized, California brand of modern funk. The style takes influence from multiple genres but remains steeped in the state’s history of psychedelics, jamming and experimentation. Amid growing national and international recognition, Monophonics’ undeniable funkiness, keen interpretation of ’60s and ’70s sounds and intense live shows have remained a driving force in the Bay Area scene.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The six-piece band will perform at Outside Lands for the first time with two sets on Aug. 11 and 12—a feat for a homegrown act operating on the fringes of mainstream pop sensibility. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Monophonics’ fifth studio album is due out in early 2019 and promises a similar aesthetic to 2012’s mind-melting \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">In Your Brain\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, which tapped into the region’s psychedelic, funky heritage and kicked opened the door for more local, modern funk and soul bands like Con Brio and Baby and the Luvies.\u003c/span>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=t4u83UD2YdQ\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“In 2009-2010, there were a lot of bands popping up that wanted to be Sharon Jones [and The Dap-Kings] and, ‘Let’s wear a suit and two step.’ We love that band and love what they do, but there really was a void of people playing psychedelic soul,” says Finnigan, adding that the band knew \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">In Your Brain\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> would make a statement. “One thing that excited us about being from the Bay was how the music was connected to the history of that culture, and the scene and the soul that people don’t know.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Monophonics are an easy link between the Bay’s musical past and present, where Tower of Power, Sly and the Family Stone, Tony! Toni! Toné!, Con Funk Shun and Darondo intermingle with the sounds of ’60s counterculture and lingering acid jazz. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Sound of Sinning,\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> the band’s third record, conjured The Grateful Dead, Jimi Hendrix and Janis Joplin’s soulful, Summer-of-Love psychedelia.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“There’s a weird little brand of funk, soul and R&B from the Bay,” says trumpet player, percussionist and founding member Ryan Scott. “I think it has to do with the liberal weirdness in the Bay Area and how it’s OK to be different.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Yet the Bay didn’t feel like a very funky place when Monophonics, originally an instrumental group, formed circa 2010, when garage rock reigned the San Francisco scene. At the time, old friends and founding members Scott, drummer Austin Bohlman and guitarist Ian McDonald combined their interests in prog metal, blues, soul and world music like Fela Kuti to create Monophonics’ depth of sound. The band would reach new heights with the addition of Los Angeles-born Finnigan.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We streamed away from the jam improvisation, instrumental kind of stuff and into more songwriting, paying homage to Bay Area bands that we were influenced by and trying to take on the Bay Area psychedelic soul approach,” Scott says from the band’s North Bay headquarters.\u003c/span>\u003c/p>\n\u003cp>https://youtu.be/xyWHRC8A_uU\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The band’s big break came in the form of a soulfully cinematic cover of the 1966 song “\u003c/span>\u003cspan style=\"font-weight: 400\">Bang Bang (My Baby Shot Me Down)\u003c/span>,”\u003cspan style=\"font-weight: 400\"> originally recorded by Nancy Sinatra and later by Cher. Finnigan’s pleading vocals, laid over a fantastically paired-down guitar and heavy organ, gained traction in Europe and exposed Monophonics to an international audience. The band has since toured multiple continents and has a large fan base in Greece.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Monophonics’ songwriting capabilities may be their greatest differentiator, particularly among other West Coast cinematic soul groups. “We wanted a groove that was heavy and lo-fi,” says Finnigan. “I want the melody to be stuck in your head; I want to put an earworm in you.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">On 2015’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Sound of Sinning\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, Monophonics put their songwriting to the test with a 12-track album of shorter, poppier songs that reflect the Bay’s ’67 sound as well as the cultural context that created records like The Temptations’ \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Psychedelic Shack\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. Their latest, an 2018 EP of covers titled \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Mirrors\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, pays tribute to The Isley Brothers, The Mamas and The Papas and even Frankie Valli. All the while, Finnigan has done guest vocals on friends’ records, including a covers album by Los Angeles’ Orgone. And Monophonics have opened their Marin County studio, Transistor Sound, to other local bands looking for places to record.\u003c/span>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4QxssN_ZKmw\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Monophonics have become trendsetters in Bay Area funk and soul while connecting Northern and Southern California scenes. As a result, Finnigan believes the larger musical community has embraced the state’s musical movement.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Whereas a lot of people looked at New York and Brooklyn as the epicenter [of soul and funk], I think it’s safe to say that there’s something happening in California,” Finnigan says. “California is strong. We have Surefire Soul Ensemble and Orgone and Soul Scratch and The Humidors. The Grease Traps and The M-Tet. We feed off each other and feed off other bands from around the country.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Finnigan says their forthcoming record will be more reflective of \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">In Your Brain \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">while employing more falsetto vocals in the style of Curtis Mayfield. The new “Last Man Standing,” for example, melds soulful vocals over a heavy bass line, while songs such as “Battle Cry” employ political messages.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Monophonics’ solid brand of psychedelic soul is the result of little demoing and what Scott calls a “shitty is pretty” aesthetic that relies on vintage gear and analogue recording processes. For their as-yet-untitled album, Monophonics went deeper into Northern California’s serenity and spent some time writing at a friend’s 19th-century school house in Sonoma. Although the band will continue to pull from a well of California sounds, Finnigan says Monophonics never intended to be the torch-bearing “big fish” funk band in the San Francisco Bay.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“If that is the case, then I’m proud. That’s why we’re all here: because music moves us,” he says. “If in any way we encouraged people to get up off the butts and start a band, I’d be proud.”\u003c/span>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Monophonics perform at Outside Lands on Sunday, Aug. 12 at 4:20pm on the Panhandle Stage, with an additional, shorter set at 4:20pm on Aug. 11 on the GastroMagic Stage.\u003c/span>\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">While some groups might sideline their keys or situate them behind strings,\u003c/span>\u003ca href=\"http://www.monophonics.com/\" target=\"_blank\" rel=\"noopener\"> \u003cspan style=\"font-weight: 400\">Monophonics\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">’ Kelly Finnigan sits squarely center stage and commands the room. At the San Francisco band’s recent show at Mercury Lounge in New York, sweat drops fall onto his organ as he sings Eddie & Ernie’s 1972 soul sleeper, “\u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=HMXkBvSfIhQ\" target=\"_blank\" rel=\"noopener\">\u003cspan style=\"font-weight: 400\">Bullets Don’t Have Eyes\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">.” He’s flanked by members of various West Coast soul groups, who are standing in for the band’s usual horn players. A member of Brooklyn soul revival band The Dap-Kings is on guitar, but the sound is undeniably San Francisco, dripping with the primordial ooze of Sly Stone.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Monophonics are a true showcase of the heavy, but often under-recognized, California brand of modern funk. The style takes influence from multiple genres but remains steeped in the state’s history of psychedelics, jamming and experimentation. Amid growing national and international recognition, Monophonics’ undeniable funkiness, keen interpretation of ’60s and ’70s sounds and intense live shows have remained a driving force in the Bay Area scene.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The six-piece band will perform at Outside Lands for the first time with two sets on Aug. 11 and 12—a feat for a homegrown act operating on the fringes of mainstream pop sensibility. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Monophonics’ fifth studio album is due out in early 2019 and promises a similar aesthetic to 2012’s mind-melting \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">In Your Brain\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, which tapped into the region’s psychedelic, funky heritage and kicked opened the door for more local, modern funk and soul bands like Con Brio and Baby and the Luvies.\u003c/span>\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/t4u83UD2YdQ'\n title='//www.youtube.com/embed/t4u83UD2YdQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“In 2009-2010, there were a lot of bands popping up that wanted to be Sharon Jones [and The Dap-Kings] and, ‘Let’s wear a suit and two step.’ We love that band and love what they do, but there really was a void of people playing psychedelic soul,” says Finnigan, adding that the band knew \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">In Your Brain\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> would make a statement. “One thing that excited us about being from the Bay was how the music was connected to the history of that culture, and the scene and the soul that people don’t know.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Monophonics are an easy link between the Bay’s musical past and present, where Tower of Power, Sly and the Family Stone, Tony! Toni! Toné!, Con Funk Shun and Darondo intermingle with the sounds of ’60s counterculture and lingering acid jazz. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Sound of Sinning,\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> the band’s third record, conjured The Grateful Dead, Jimi Hendrix and Janis Joplin’s soulful, Summer-of-Love psychedelia.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“There’s a weird little brand of funk, soul and R&B from the Bay,” says trumpet player, percussionist and founding member Ryan Scott. “I think it has to do with the liberal weirdness in the Bay Area and how it’s OK to be different.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Yet the Bay didn’t feel like a very funky place when Monophonics, originally an instrumental group, formed circa 2010, when garage rock reigned the San Francisco scene. At the time, old friends and founding members Scott, drummer Austin Bohlman and guitarist Ian McDonald combined their interests in prog metal, blues, soul and world music like Fela Kuti to create Monophonics’ depth of sound. The band would reach new heights with the addition of Los Angeles-born Finnigan.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We streamed away from the jam improvisation, instrumental kind of stuff and into more songwriting, paying homage to Bay Area bands that we were influenced by and trying to take on the Bay Area psychedelic soul approach,” Scott says from the band’s North Bay headquarters.\u003c/span>\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/xyWHRC8A_uU'\n title='//www.youtube.com/embed/xyWHRC8A_uU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">The band’s big break came in the form of a soulfully cinematic cover of the 1966 song “\u003c/span>\u003cspan style=\"font-weight: 400\">Bang Bang (My Baby Shot Me Down)\u003c/span>,”\u003cspan style=\"font-weight: 400\"> originally recorded by Nancy Sinatra and later by Cher. Finnigan’s pleading vocals, laid over a fantastically paired-down guitar and heavy organ, gained traction in Europe and exposed Monophonics to an international audience. The band has since toured multiple continents and has a large fan base in Greece.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Monophonics’ songwriting capabilities may be their greatest differentiator, particularly among other West Coast cinematic soul groups. “We wanted a groove that was heavy and lo-fi,” says Finnigan. “I want the melody to be stuck in your head; I want to put an earworm in you.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">On 2015’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Sound of Sinning\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, Monophonics put their songwriting to the test with a 12-track album of shorter, poppier songs that reflect the Bay’s ’67 sound as well as the cultural context that created records like The Temptations’ \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Psychedelic Shack\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. Their latest, an 2018 EP of covers titled \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Mirrors\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, pays tribute to The Isley Brothers, The Mamas and The Papas and even Frankie Valli. All the while, Finnigan has done guest vocals on friends’ records, including a covers album by Los Angeles’ Orgone. And Monophonics have opened their Marin County studio, Transistor Sound, to other local bands looking for places to record.\u003c/span>\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/4QxssN_ZKmw'\n title='//www.youtube.com/embed/4QxssN_ZKmw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Monophonics have become trendsetters in Bay Area funk and soul while connecting Northern and Southern California scenes. As a result, Finnigan believes the larger musical community has embraced the state’s musical movement.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Whereas a lot of people looked at New York and Brooklyn as the epicenter [of soul and funk], I think it’s safe to say that there’s something happening in California,” Finnigan says. “California is strong. We have Surefire Soul Ensemble and Orgone and Soul Scratch and The Humidors. The Grease Traps and The M-Tet. We feed off each other and feed off other bands from around the country.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Finnigan says their forthcoming record will be more reflective of \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">In Your Brain \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">while employing more falsetto vocals in the style of Curtis Mayfield. The new “Last Man Standing,” for example, melds soulful vocals over a heavy bass line, while songs such as “Battle Cry” employ political messages.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Monophonics’ solid brand of psychedelic soul is the result of little demoing and what Scott calls a “shitty is pretty” aesthetic that relies on vintage gear and analogue recording processes. For their as-yet-untitled album, Monophonics went deeper into Northern California’s serenity and spent some time writing at a friend’s 19th-century school house in Sonoma. Although the band will continue to pull from a well of California sounds, Finnigan says Monophonics never intended to be the torch-bearing “big fish” funk band in the San Francisco Bay.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“If that is the case, then I’m proud. That’s why we’re all here: because music moves us,” he says. “If in any way we encouraged people to get up off the butts and start a band, I’d be proud.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Monophonics perform at Outside Lands on Sunday, Aug. 12 at 4:20pm on the Panhandle Stage, with an additional, shorter set at 4:20pm on Aug. 11 on the GastroMagic Stage.\u003c/span>\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Ace of Cups’ overdue return from obscurity continued yesterday with the release of “\u003ca href=\"https://www.billboard.com/articles/columns/rock/8469266/the-ace-of-cups\" target=\"_blank\" rel=\"noopener\">Feel Good\u003c/a>,” the all-woman rock group’s first single since forming more than 50 years ago in San Francisco.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.billboard.com/articles/columns/rock/8469266/the-ace-of-cups\" target=\"_blank\" rel=\"noopener\">Billboard-premiered single\u003c/a>, a choppy rock song with 1960s-style organ and tambourine flourishes, appears on Ace of Cups’ first-ever album, an eponymous release due November 9 on High Moon Records.\u003c/p>\n\u003cp>As described in a KQED video last year (below), Ace of Cups were fixtures of the psychedelic rock scene centered in the Haight-Ashbury, performing alongside stars such as Jefferson Airplane and Jimi Hendrix. Despite garnering regional notoriety, they never signed to a record label and disbanded in 1972.\u003c/p>\n\u003cp>https://vimeo.com/231941695\u003c/p>\n\u003cp>“When we split up it was a lot related to the fact that we were having children,” guitarist Denise Kaufman says in the video, noting the way gender roles shaped the music scene. “Our brother bands, they were having children too, but they had wives and girlfriends.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Gradually, though, Ace of Cups were rediscovered, prompting the release of the 2003 compilation \u003cem>It’s Bad For You But Buy It!\u003c/em> According to Billboard, High Moon Records operator George Wallace initially contacted the band in search of more unreleased archival material.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Instead, the group reformed to record \u003cem>Ace of Cups\u003c/em>. “When we got the chance to record through High Moon Records, it started out being 12 songs and now it’s 36,” Kaufman says in the video. “So it’s three records we never got to make.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ace of Cups’ overdue return from obscurity continued yesterday with the release of “\u003ca href=\"https://www.billboard.com/articles/columns/rock/8469266/the-ace-of-cups\" target=\"_blank\" rel=\"noopener\">Feel Good\u003c/a>,” the all-woman rock group’s first single since forming more than 50 years ago in San Francisco.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.billboard.com/articles/columns/rock/8469266/the-ace-of-cups\" target=\"_blank\" rel=\"noopener\">Billboard-premiered single\u003c/a>, a choppy rock song with 1960s-style organ and tambourine flourishes, appears on Ace of Cups’ first-ever album, an eponymous release due November 9 on High Moon Records.\u003c/p>\n\u003cp>As described in a KQED video last year (below), Ace of Cups were fixtures of the psychedelic rock scene centered in the Haight-Ashbury, performing alongside stars such as Jefferson Airplane and Jimi Hendrix. Despite garnering regional notoriety, they never signed to a record label and disbanded in 1972.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“When we split up it was a lot related to the fact that we were having children,” guitarist Denise Kaufman says in the video, noting the way gender roles shaped the music scene. “Our brother bands, they were having children too, but they had wives and girlfriends.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "On the Ranch with Nef the Pharaoh",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">“S\u003c/span>cared of lizards or mice, y’all?” Nef the Pharaoh asks as he ushers me and a photographer into the barn of his Vacaville ranch to show off his ATV.\u003c/p>\n\u003cp>“I try to have my friends come up here,” he says as he pulls off the dusty cover to get on the four-wheeler. “We do paint balling. We have a couple ATVs going, a few dirt bikes in the garage.”\u003c/p>\n\u003cp>The Vallejo-raised rapper has been coming to this two-and-a-half-acre ranch since he was a little boy. His grandfather James got the property on a lease-to-own land contract after coming back from the Vietnam war as a combat-injured veteran. Once his rap money started coming in, Nef paid off the rest with his dad.\u003c/p>\n\u003cp>“Now it’s ours and we own it,” he says with pride.\u003c/p>\n\u003cfigure id=\"attachment_13838170\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13838170 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_6675-800x533.jpg\" alt=\"Nef the Pharaoh at his ranch in Vacaville on August 1, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6675-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6675-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6675-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6675-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6675-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6675.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6675-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6675-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6675-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6675-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6675-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nef the Pharaoh visits his Vacaville ranch often to escape city life and ride ATVs with his friends. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nef, who just drove in from his nearby condo in a silver Mercedes, has on a white tank top and simple gray sweats with one pant leg rolled up; he got a new tattoo earlier in the day and needs to let it breathe. The 90-degree heat makes the freshly inked words “Dream More” bleed on his shin, right next to a tattooed portrait of his mentor, E-40, a fellow ambassador of the 707 who’s championed Nef since before his single about being a teenage hustler, “\u003ca href=\"https://youtu.be/qwEZGsf_MXA\" target=\"_blank\" rel=\"noopener\">Big Tymin’\u003c/a>,” went viral in 2015.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I got this far and never signed with a major label, ever,” Nef says, praising E-40 for setting an example of how to thrive as an indie artist in the Bay Area.\u003c/p>\n\u003cp>When E-40 signed Nef to his label, Sick Wid It Records, it was an invaluable endorsement from the foremost gatekeeper of Bay Area rap. Now, with his first official album (and fourth major project), \u003cem>The Big Chang Theory\u003c/em>, dropping on Aug. 10, Nef has outgrown the role of protégé, becoming a star of the Bay Area music scene in his own right.\u003c/p>\n\u003cp>Along with indie upstarts like SOB x RBE, ALLBLACK and Mozzy, Nef the Pharaoh has come to define the current era of hard-edged, streetwise Northern California rap. Tracks like “\u003ca href=\"https://www.youtube.com/watch?v=FJVxiyiVflg\" target=\"_blank\" rel=\"noopener\">Bling Blaow\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=EwH5C4DSgSg\" target=\"_blank\" rel=\"noopener\">#Saydaat\u003c/a>” have become regional hits over the past two years. And collaborations with some of the West Coast’s biggest stars, including Ty Dolla $ign, YG and G-Eazy, have positioned Nef as a conduit between the notoriously insular Bay Area scene and the national stage.\u003c/p>\n\u003cp>“I never wanna get satisfied because once you get satisfied, you get lazy. Everyday, I know I accomplished a goal but I still want to go at it like I’m a freshman,” he says of his place in the local rap pantheon, taking a sip of an ice-cold Snapple. “I still want to achieve, or prove, or earn my spot. I don’t wanna kick my feet up.”\u003c/p>\n\u003cp>A gracious host, Nef continues the tour of the ranch. A herd of baby goats skips away as he approaches, seemingly unaccustomed to the presence of an urbanite visitor with a diamond-encrusted gold chain (incidentally, in the shape of Plank from the cartoon \u003cem>Ed, Edd n Eddy\u003c/em>, about a trio of friends obsessed with concocting money-making schemes).\u003c/p>\n\u003cfigure id=\"attachment_13838171\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13838171 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_6681-800x533.jpg\" alt=\"Nef the Pharaoh at his ranch in Vacaville on August 1, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6681-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6681-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6681-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6681-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6681-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6681.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6681-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6681-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6681-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6681-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6681-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nef the Pharaoh has outgrown the role of E-40’s protégé and become a Bay Area rap star in his own right. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We walk along the dirt path, through shady groves of fig and olive trees, to a team of horses, some of whom Nef and his grandfather adopted from ranchers displaced by last year’s destructive Sonoma County wildfires. When he points out his favorite, a brown-and-white mare, his face lights up with the gentle kindness of a genuine animal lover.\u003c/p>\n\u003cp>Nef, who was raised in South Vallejo (in E-40’s Magazine Street neighborhood) and Sacramento, often visits the ranch to get away from the stresses of city life.\u003c/p>\n\u003cp>“I come here and get a peace of mind,” he says as we sit down on a porch swing in the shade. “All you hear is the highways, and you see the stars.”\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">D\u003c/span>espite Nef’s considerable success, those urban stresses are ever-present in \u003cem>The Big Chang Theory\u003c/em>, whose opener “Victim,” featuring OMB Peezy, indicts police brutality against the black community.\u003c/p>\n\u003cp>“I’ve witnessed police brutality in my younger years, and I’ve witnessed police brutality this year—me being Nef the Pharaoh,” he says, adding that success doesn’t insulate him from the realities of racism in America. “I just want the world to know that even though I’m here and I’m able to maintain this lifestyle, the flashy objects, I’m woke. I still know what’s going on. And they still hate me just like you. I’m still a product of my environment.”\u003c/p>\n\u003cfigure id=\"attachment_13838176\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13838176 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_6703-800x533.jpg\" alt=\"Nef the Pharaoh at his ranch in Vacaville on August 1, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6703-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6703-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6703-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6703-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6703-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6703.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6703-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6703-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6703-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6703-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6703-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">On his new album, ‘The Big Chang Theory,’ Nef the Pharaoh candidly addresses police brutality against the black community. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The conversation turns to Stephon Clark, the unarmed 22-year-old murdered by Sacramento police in his grandmother’s backyard in May, leaving behind his girlfriend and two young kids. “I actually smoked with him a few times in my adolescence,” Nef says—and then, conscious of the ways the media often demonizes victims of violent crimes when they’re black, clarifies, “Even though I’m saying I smoked marijuana with the dude, he wasn’t a bad person.”\u003c/p>\n\u003cp>On “Victim,” Nef calls out racism in the criminal justice system without mincing words: “That’s why I hate the police / And I raise my son to / Baby, we got melanin / That’s why they wanna hunt you,” he rhymes over an airy beat that manages to sound wistful despite its subterranean bass and distinctive Bay Area bounce.\u003c/p>\n\u003cp>With the track, Nef makes poetry out of that pain and fear, but he’s also pragmatic. He brings up the fact that officers rarely face legal consequences for killing unarmed citizens, and explains the need for greater accountability. “Some cops have a whole background history of being racist; they have a whole background issue of mental illnesses,” Nef says. “One thing might trigger their mental illness and next thing you know, he’s beating this man senseless or he just shot this man for no reason. They should really be evaluated deeper than they are; they should go through more training than they are.”\u003c/p>\n\u003cp>Amid the many highly publicized police shootings in recent years, Clark’s killing hit particularly close to home to Nef as a young father, he explains. “Even though me and my son’s mom aren’t together, we always talk about how fathers or young parents get taken away from their kids and how much that would hurt,” says Nef, who is 23.\u003c/p>\n\u003cfigure id=\"attachment_13838175\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13838175 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_6700-800x533.jpg\" alt=\"Nef the Pharaoh at his ranch in Vacaville on August 1, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6700-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6700-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6700-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6700-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6700-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6700.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6700-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6700-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6700-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6700-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6700-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“I come here and get a peace of mind. All you hear is the highways, and you see the stars.” \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nef’s \u003ca href=\"https://twitter.com/gmeline/status/934689530338197505\" target=\"_blank\" rel=\"noopener\">four-year-old son\u003c/a>, whom he co-parents with his ex, is a huge part of his life. Baby Nef was a newborn when “Big Tymin’” started to blow up on YouTube. Navigating newfound fame, financial success and fatherhood made Nef grow up quickly, and he looks back on that turbulent period as a major life lesson. “That was a dope time in my life,” Nef says. “But me being young and on the road fucked up my relationship with his mom. I was a young adolescent; I just let the road get in the way of what was more important, relationship-wise. We’re still not together, but it is what it is. I just gotta be a man and take care of my family.”\u003c/p>\n\u003cp>The demands of fatherhood called for more income, and more income meant more touring and being away from home. After a pensive pause, he raises his voice passionately to talk about the often-overlooked mental health consequences of being a traveling musician. “Man! Depression, anxiety,” he exclaims. “A lot of shit that rappers don’t talk about, or a lot of rappers try to cover it with this big Xanax epidemic.”\u003c/p>\n\u003cp>He mentions Lil Peep, who died of an opioid overdose in 2017. “I just see my peers—this anxiety and depression that we go through, being young and on this road by ourselves—feeling like we have no one to talk to can eat you alive,” Nef says, adding that he once had a Xanax prescription for anxiety and stopped taking the drug because it made him feel like a “robot” and a “zombie.” “I saw that early on and I vowed to myself that I wasn’t going to be one of those rappers.”\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">B\u003c/span>eyond its downcast opening track, Nef’s attitude throughout \u003cem>The Big Chang Theory\u003c/em> is celebratory yet defiant—of racist institutions, the law, poverty, stereotypes. The project’s bonafide club banger is the rapidfire “\u003ca href=\"https://youtu.be/b8aONPFZ2xs\" target=\"_blank\" rel=\"noopener\">86\u003c/a>” featuring ALLBLACK and Cuban Doll (who’s shaping up to be a next-generation Trina with her mix of pretty and gangster). On it, the trio spits venom about getting booted out of a club to an adrenaline-inducing, double-time beat with a gritty, Bay-meets-Detroit funk.\u003c/p>\n\u003cfigure id=\"attachment_13838174\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13838174 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_6692-800x533.jpg\" alt=\"Nef the Pharaoh at his ranch in Vacaville on August 1, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6692-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6692-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6692-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6692-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6692-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6692.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6692-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6692-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6692-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6692-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6692-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Balancing fun, toughness and honest reflection, ‘The Big Chang Theory’ is a compelling snapshot of Nef the Pharaoh’s life. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Throughout the album, Nef does plenty of punchline-oriented flexing, but \u003cem>The Big Chang Theory\u003c/em> also goes deep into his real-life struggles—being a young dad, escaping poverty by virtue of his talents, navigating the pitfalls of fame. With Hercules’ DTB and Sacramento’s Juneonnabeat as producers, the project positions Nef as an heir to Northern California’s mobb music sound—which his mentor, E-40, helped pioneer in the ’80s and ’90s.\u003c/p>\n\u003cp>That balance of fun, toughness and honest reflection throughout \u003cem>The Big Chang Theory\u003c/em> gives Nef a chameleon-like quality, appealing to suburban kids and those from the hood alike. He sounds just as natural on a love song with silky-voiced Dej Loaf (“What We Have”) as he does on his recent mixtape with 03 Greedo, the L.A. rapper who recently went to prison on a 20-year sentence for trafficking meth.\u003c/p>\n\u003cp>But as much as Nef chases success, broad appeal comes with a price, and he remains wary of fame. “Knock Down a Fan” is a warning to hangers-on with bad intentions—a testament to the lessons he’s learned on tour.\u003c/p>\n\u003cp>“Now I know how to be prepared for the road more: keep my dick in my pants,” Nef says. “Even though I’m single, it’s not safe, gambling with life. I could have another baby. I could catch an STD. Everybody’s gonna come up to you with a smile, but they’re not going to show you the jealousy and envy. The demons that’s holding the sides of them cheeks up—those are invisible.”\u003c/p>\n\u003cfigure id=\"attachment_13838178\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13838178 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_6717-800x533.jpg\" alt=\"Nef the Pharaoh at his ranch in Vacaville on August 1, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6717-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6717-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6717-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6717-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6717-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6717.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6717-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6717-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6717-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6717-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6717-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Wariness of fame and life on the road is a major theme in Nef the Pharaoh’s latest music. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nef the Pharaoh has always been precocious. He knew he wanted to be a rapper after winning a talent contest at four years old, and later dropped out of high school in Sacramento to pursue his dream. (He comes from a musical family: his uncle was a member of the pioneering Chicano rap group Funky Aztecs). On one of his early features, on Corn’s “\u003ca href=\"https://youtu.be/XWDDenNx0Y0\" target=\"_blank\" rel=\"noopener\">Old School Hyphy\u003c/a>,” he brags about out-earning his teachers via the streets.\u003c/p>\n\u003cp>Now, he’s focused on building wealth that will weather the ups and downs of the notoriously fickle music industry. Like E-40, who preaches the value of persistence and diversifying one’s income, Nef is slowly building his business empire and a better future for his son.\u003c/p>\n\u003cp>“If I get something, it’s going to be land, a vehicle—something that’s going to last me long-term that I can invest in,” he says, mentioning his brand of pre-rolled joints, called Pharaohs, that he sells at cannabis clubs across the Bay Area. He’s also working on his own weed strain, called Chang’s Hii Chew (named after the Japanese candy), and is starting a French bulldog-breeding business on the ranch with his dad.\u003c/p>\n\u003cp>Nef is also writing a cartoon that he hopes to pitch to Adult Swim. And his own label, KILFMB (Keep it Lit for My Brothers, a motto for living life to the fullest in honor of those who’ve passed), is also on the rise: his first signee, OMB Peezy, has been gaining national attention for his Sacramento-by-way-of-Alabama swag in recent years. The two of them will hit the road with E-40 later this month for the \u003ca href=\"https://twitter.com/E40/status/1019181904828874753\" target=\"_blank\" rel=\"noopener\">Gift of Gab tour\u003c/a>, which Nef plans to follow up with a tour of his own.\u003c/p>\n\u003cp>Nef says goodbye to his grandfather, who’s inside watching the news at high volume with no air conditioning. It’s time to escape the unforgiving Vacaville heat, he says, and go back to the condo to finish binge-watching the new season of \u003cem>Orange is the New Black\u003c/em>. He’s savoring his days off before hitting the road again for several weeks.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“After this album drops, it’s foot on the gas,” he says, determined, and hops in his Mercedes to cruise down the desolate country highway.\u003c/p>\n\n",
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"excerpt": "Among hay bales and baby goats, the Bay Area rap star discusses leaving Vallejo, police brutality and his new album, 'The Big Chang Theory.'",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">“S\u003c/span>cared of lizards or mice, y’all?” Nef the Pharaoh asks as he ushers me and a photographer into the barn of his Vacaville ranch to show off his ATV.\u003c/p>\n\u003cp>“I try to have my friends come up here,” he says as he pulls off the dusty cover to get on the four-wheeler. “We do paint balling. We have a couple ATVs going, a few dirt bikes in the garage.”\u003c/p>\n\u003cp>The Vallejo-raised rapper has been coming to this two-and-a-half-acre ranch since he was a little boy. His grandfather James got the property on a lease-to-own land contract after coming back from the Vietnam war as a combat-injured veteran. Once his rap money started coming in, Nef paid off the rest with his dad.\u003c/p>\n\u003cp>“Now it’s ours and we own it,” he says with pride.\u003c/p>\n\u003cfigure id=\"attachment_13838170\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13838170 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_6675-800x533.jpg\" alt=\"Nef the Pharaoh at his ranch in Vacaville on August 1, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6675-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6675-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6675-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6675-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6675-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6675.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6675-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6675-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6675-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6675-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6675-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nef the Pharaoh visits his Vacaville ranch often to escape city life and ride ATVs with his friends. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nef, who just drove in from his nearby condo in a silver Mercedes, has on a white tank top and simple gray sweats with one pant leg rolled up; he got a new tattoo earlier in the day and needs to let it breathe. The 90-degree heat makes the freshly inked words “Dream More” bleed on his shin, right next to a tattooed portrait of his mentor, E-40, a fellow ambassador of the 707 who’s championed Nef since before his single about being a teenage hustler, “\u003ca href=\"https://youtu.be/qwEZGsf_MXA\" target=\"_blank\" rel=\"noopener\">Big Tymin’\u003c/a>,” went viral in 2015.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I got this far and never signed with a major label, ever,” Nef says, praising E-40 for setting an example of how to thrive as an indie artist in the Bay Area.\u003c/p>\n\u003cp>When E-40 signed Nef to his label, Sick Wid It Records, it was an invaluable endorsement from the foremost gatekeeper of Bay Area rap. Now, with his first official album (and fourth major project), \u003cem>The Big Chang Theory\u003c/em>, dropping on Aug. 10, Nef has outgrown the role of protégé, becoming a star of the Bay Area music scene in his own right.\u003c/p>\n\u003cp>Along with indie upstarts like SOB x RBE, ALLBLACK and Mozzy, Nef the Pharaoh has come to define the current era of hard-edged, streetwise Northern California rap. Tracks like “\u003ca href=\"https://www.youtube.com/watch?v=FJVxiyiVflg\" target=\"_blank\" rel=\"noopener\">Bling Blaow\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=EwH5C4DSgSg\" target=\"_blank\" rel=\"noopener\">#Saydaat\u003c/a>” have become regional hits over the past two years. And collaborations with some of the West Coast’s biggest stars, including Ty Dolla $ign, YG and G-Eazy, have positioned Nef as a conduit between the notoriously insular Bay Area scene and the national stage.\u003c/p>\n\u003cp>“I never wanna get satisfied because once you get satisfied, you get lazy. Everyday, I know I accomplished a goal but I still want to go at it like I’m a freshman,” he says of his place in the local rap pantheon, taking a sip of an ice-cold Snapple. “I still want to achieve, or prove, or earn my spot. I don’t wanna kick my feet up.”\u003c/p>\n\u003cp>A gracious host, Nef continues the tour of the ranch. A herd of baby goats skips away as he approaches, seemingly unaccustomed to the presence of an urbanite visitor with a diamond-encrusted gold chain (incidentally, in the shape of Plank from the cartoon \u003cem>Ed, Edd n Eddy\u003c/em>, about a trio of friends obsessed with concocting money-making schemes).\u003c/p>\n\u003cfigure id=\"attachment_13838171\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13838171 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_6681-800x533.jpg\" alt=\"Nef the Pharaoh at his ranch in Vacaville on August 1, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6681-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6681-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6681-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6681-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6681-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6681.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6681-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6681-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6681-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6681-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6681-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nef the Pharaoh has outgrown the role of E-40’s protégé and become a Bay Area rap star in his own right. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We walk along the dirt path, through shady groves of fig and olive trees, to a team of horses, some of whom Nef and his grandfather adopted from ranchers displaced by last year’s destructive Sonoma County wildfires. When he points out his favorite, a brown-and-white mare, his face lights up with the gentle kindness of a genuine animal lover.\u003c/p>\n\u003cp>Nef, who was raised in South Vallejo (in E-40’s Magazine Street neighborhood) and Sacramento, often visits the ranch to get away from the stresses of city life.\u003c/p>\n\u003cp>“I come here and get a peace of mind,” he says as we sit down on a porch swing in the shade. “All you hear is the highways, and you see the stars.”\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">D\u003c/span>espite Nef’s considerable success, those urban stresses are ever-present in \u003cem>The Big Chang Theory\u003c/em>, whose opener “Victim,” featuring OMB Peezy, indicts police brutality against the black community.\u003c/p>\n\u003cp>“I’ve witnessed police brutality in my younger years, and I’ve witnessed police brutality this year—me being Nef the Pharaoh,” he says, adding that success doesn’t insulate him from the realities of racism in America. “I just want the world to know that even though I’m here and I’m able to maintain this lifestyle, the flashy objects, I’m woke. I still know what’s going on. And they still hate me just like you. I’m still a product of my environment.”\u003c/p>\n\u003cfigure id=\"attachment_13838176\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13838176 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_6703-800x533.jpg\" alt=\"Nef the Pharaoh at his ranch in Vacaville on August 1, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6703-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6703-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6703-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6703-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6703-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6703.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6703-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6703-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6703-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6703-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6703-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">On his new album, ‘The Big Chang Theory,’ Nef the Pharaoh candidly addresses police brutality against the black community. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The conversation turns to Stephon Clark, the unarmed 22-year-old murdered by Sacramento police in his grandmother’s backyard in May, leaving behind his girlfriend and two young kids. “I actually smoked with him a few times in my adolescence,” Nef says—and then, conscious of the ways the media often demonizes victims of violent crimes when they’re black, clarifies, “Even though I’m saying I smoked marijuana with the dude, he wasn’t a bad person.”\u003c/p>\n\u003cp>On “Victim,” Nef calls out racism in the criminal justice system without mincing words: “That’s why I hate the police / And I raise my son to / Baby, we got melanin / That’s why they wanna hunt you,” he rhymes over an airy beat that manages to sound wistful despite its subterranean bass and distinctive Bay Area bounce.\u003c/p>\n\u003cp>With the track, Nef makes poetry out of that pain and fear, but he’s also pragmatic. He brings up the fact that officers rarely face legal consequences for killing unarmed citizens, and explains the need for greater accountability. “Some cops have a whole background history of being racist; they have a whole background issue of mental illnesses,” Nef says. “One thing might trigger their mental illness and next thing you know, he’s beating this man senseless or he just shot this man for no reason. They should really be evaluated deeper than they are; they should go through more training than they are.”\u003c/p>\n\u003cp>Amid the many highly publicized police shootings in recent years, Clark’s killing hit particularly close to home to Nef as a young father, he explains. “Even though me and my son’s mom aren’t together, we always talk about how fathers or young parents get taken away from their kids and how much that would hurt,” says Nef, who is 23.\u003c/p>\n\u003cfigure id=\"attachment_13838175\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13838175 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_6700-800x533.jpg\" alt=\"Nef the Pharaoh at his ranch in Vacaville on August 1, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6700-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6700-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6700-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6700-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6700-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6700.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6700-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6700-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6700-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6700-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6700-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“I come here and get a peace of mind. All you hear is the highways, and you see the stars.” \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nef’s \u003ca href=\"https://twitter.com/gmeline/status/934689530338197505\" target=\"_blank\" rel=\"noopener\">four-year-old son\u003c/a>, whom he co-parents with his ex, is a huge part of his life. Baby Nef was a newborn when “Big Tymin’” started to blow up on YouTube. Navigating newfound fame, financial success and fatherhood made Nef grow up quickly, and he looks back on that turbulent period as a major life lesson. “That was a dope time in my life,” Nef says. “But me being young and on the road fucked up my relationship with his mom. I was a young adolescent; I just let the road get in the way of what was more important, relationship-wise. We’re still not together, but it is what it is. I just gotta be a man and take care of my family.”\u003c/p>\n\u003cp>The demands of fatherhood called for more income, and more income meant more touring and being away from home. After a pensive pause, he raises his voice passionately to talk about the often-overlooked mental health consequences of being a traveling musician. “Man! Depression, anxiety,” he exclaims. “A lot of shit that rappers don’t talk about, or a lot of rappers try to cover it with this big Xanax epidemic.”\u003c/p>\n\u003cp>He mentions Lil Peep, who died of an opioid overdose in 2017. “I just see my peers—this anxiety and depression that we go through, being young and on this road by ourselves—feeling like we have no one to talk to can eat you alive,” Nef says, adding that he once had a Xanax prescription for anxiety and stopped taking the drug because it made him feel like a “robot” and a “zombie.” “I saw that early on and I vowed to myself that I wasn’t going to be one of those rappers.”\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">B\u003c/span>eyond its downcast opening track, Nef’s attitude throughout \u003cem>The Big Chang Theory\u003c/em> is celebratory yet defiant—of racist institutions, the law, poverty, stereotypes. The project’s bonafide club banger is the rapidfire “\u003ca href=\"https://youtu.be/b8aONPFZ2xs\" target=\"_blank\" rel=\"noopener\">86\u003c/a>” featuring ALLBLACK and Cuban Doll (who’s shaping up to be a next-generation Trina with her mix of pretty and gangster). On it, the trio spits venom about getting booted out of a club to an adrenaline-inducing, double-time beat with a gritty, Bay-meets-Detroit funk.\u003c/p>\n\u003cfigure id=\"attachment_13838174\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13838174 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_6692-800x533.jpg\" alt=\"Nef the Pharaoh at his ranch in Vacaville on August 1, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6692-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6692-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6692-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6692-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6692-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6692.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6692-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6692-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6692-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6692-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6692-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Balancing fun, toughness and honest reflection, ‘The Big Chang Theory’ is a compelling snapshot of Nef the Pharaoh’s life. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Throughout the album, Nef does plenty of punchline-oriented flexing, but \u003cem>The Big Chang Theory\u003c/em> also goes deep into his real-life struggles—being a young dad, escaping poverty by virtue of his talents, navigating the pitfalls of fame. With Hercules’ DTB and Sacramento’s Juneonnabeat as producers, the project positions Nef as an heir to Northern California’s mobb music sound—which his mentor, E-40, helped pioneer in the ’80s and ’90s.\u003c/p>\n\u003cp>That balance of fun, toughness and honest reflection throughout \u003cem>The Big Chang Theory\u003c/em> gives Nef a chameleon-like quality, appealing to suburban kids and those from the hood alike. He sounds just as natural on a love song with silky-voiced Dej Loaf (“What We Have”) as he does on his recent mixtape with 03 Greedo, the L.A. rapper who recently went to prison on a 20-year sentence for trafficking meth.\u003c/p>\n\u003cp>But as much as Nef chases success, broad appeal comes with a price, and he remains wary of fame. “Knock Down a Fan” is a warning to hangers-on with bad intentions—a testament to the lessons he’s learned on tour.\u003c/p>\n\u003cp>“Now I know how to be prepared for the road more: keep my dick in my pants,” Nef says. “Even though I’m single, it’s not safe, gambling with life. I could have another baby. I could catch an STD. Everybody’s gonna come up to you with a smile, but they’re not going to show you the jealousy and envy. The demons that’s holding the sides of them cheeks up—those are invisible.”\u003c/p>\n\u003cfigure id=\"attachment_13838178\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13838178 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_6717-800x533.jpg\" alt=\"Nef the Pharaoh at his ranch in Vacaville on August 1, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6717-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6717-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6717-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6717-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6717-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6717.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6717-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6717-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6717-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6717-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6717-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Wariness of fame and life on the road is a major theme in Nef the Pharaoh’s latest music. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nef the Pharaoh has always been precocious. He knew he wanted to be a rapper after winning a talent contest at four years old, and later dropped out of high school in Sacramento to pursue his dream. (He comes from a musical family: his uncle was a member of the pioneering Chicano rap group Funky Aztecs). On one of his early features, on Corn’s “\u003ca href=\"https://youtu.be/XWDDenNx0Y0\" target=\"_blank\" rel=\"noopener\">Old School Hyphy\u003c/a>,” he brags about out-earning his teachers via the streets.\u003c/p>\n\u003cp>Now, he’s focused on building wealth that will weather the ups and downs of the notoriously fickle music industry. Like E-40, who preaches the value of persistence and diversifying one’s income, Nef is slowly building his business empire and a better future for his son.\u003c/p>\n\u003cp>“If I get something, it’s going to be land, a vehicle—something that’s going to last me long-term that I can invest in,” he says, mentioning his brand of pre-rolled joints, called Pharaohs, that he sells at cannabis clubs across the Bay Area. He’s also working on his own weed strain, called Chang’s Hii Chew (named after the Japanese candy), and is starting a French bulldog-breeding business on the ranch with his dad.\u003c/p>\n\u003cp>Nef is also writing a cartoon that he hopes to pitch to Adult Swim. And his own label, KILFMB (Keep it Lit for My Brothers, a motto for living life to the fullest in honor of those who’ve passed), is also on the rise: his first signee, OMB Peezy, has been gaining national attention for his Sacramento-by-way-of-Alabama swag in recent years. The two of them will hit the road with E-40 later this month for the \u003ca href=\"https://twitter.com/E40/status/1019181904828874753\" target=\"_blank\" rel=\"noopener\">Gift of Gab tour\u003c/a>, which Nef plans to follow up with a tour of his own.\u003c/p>\n\u003cp>Nef says goodbye to his grandfather, who’s inside watching the news at high volume with no air conditioning. It’s time to escape the unforgiving Vacaville heat, he says, and go back to the condo to finish binge-watching the new season of \u003cem>Orange is the New Black\u003c/em>. He’s savoring his days off before hitting the road again for several weeks.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“After this album drops, it’s foot on the gas,” he says, determined, and hops in his Mercedes to cruise down the desolate country highway.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "this-little-light-of-mine-shines-on-a-timeless-tool-of-resistance",
"title": "'This Little Light Of Mine' Shines On, A Timeless Tool Of Resistance",
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"headTitle": "‘This Little Light Of Mine’ Shines On, A Timeless Tool Of Resistance | KQED",
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"content": "\u003cp>Ask Freedom Singer Rutha Mae Harris, and she’ll tell you plainly: You can’t just \u003cem>sing \u003c/em>“This Little Light of Mine.” You gotta shout it:\u003c/p>\n\u003cp>“\u003cem>Everywhere I go, Lord, I’m gonna let it shine\u003cbr>\nLet it shine, let it shine, let it shine!”\u003c/em>\u003c/p>\n\u003cp>On a Monday morning, Harris’ powerful voice fills the small church right next to the Albany Civil Rights Institute in Georgia. She’s showing them how she and her fellow Freedom Singers — a renowned quartet that raised money for student activists during the civil rights movement — belted out songs to get through dangerous protests.\u003c/p>\n\u003cp>A muscular version of “This Little Light of Mine” is the emotional high point of Harris’ presentation: a unifying affirmation that gives the crowd a taste of that feeling from the 1960s. She says the song helped steady protestors’ nerves as abusive police officers threatened to beat them or worse.\u003c/p>\n\u003cp>“Music was an anchor. It kept us from being afraid,” Harris says. “You start singing a song, and somehow, those billy clubs would not hit you. It played a very important role in the movement.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Fans know “This Little Light of Mine” as a beloved children’s tune, recognized around the world. But it’s also a spiritual, which was transformed by the nation’s civil rights movement into an anthem of singular power. And the song has the same impact in today’s times, where demonstrators still leverage its message to push back against injustice.\u003c/p>\n\u003cp>Last year, Reverend Osagyefo Sekou used “This Little Light of Mine” to curb passions during a counter-protest, before a crowd of white supremacists and alt-right supporters gathered for the Unite the Right rally in Charlottesville, Va.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Reverend Sekou, Dr. Cornell West, Charlottesville & united clergies sing This little light of mine\" width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/HsK7gC4noJU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>“We had originally said we were going to stand silently,” says Rev. Sekou, a recording artist, author, theologian and activist who helped train volunteers at the counter-protest. “But the Nazis were marching past us in these various battalions, cursing and yelling — mostly homophobic slurs — at us. And you could feel the energy of the people who weren’t with us, who we had not trained. [They] were getting amped up.”\u003c/p>\n\u003cp>Sekou says he knew, in that moment, he had to change the atmosphere. “I know song can do that. So I just broke into ‘This Little Light of Mine.’ ”\u003c/p>\n\u003cp>In a moment captured on video, the clergy and volunteers who sang — a group that included famed academic and activist Cornel West — are shown standing in a line, their voices rising over the chants of “You will not replace us” from the rally crowd. “The tensions went down … and it shook the Nazis,” Sekou says. “They didn’t know what to do with all that joy. We weren’t going to let the darkness have the last word.”\u003c/p>\n\u003cp>It makes sense that a song with this much power would also be one of the most versatile anthems around, inspiring all kinds of musical artists. Rev. Sekou brought a different version of the song to \u003ca href=\"https://www.youtube.com/watch?v=4Majbw74o1I\">NPR’s Tiny Desk Concert series\u003c/a> in July. Before that, Bruce Springsteen used it to take his audiences to church, \u003ca href=\"https://www.youtube.com/watch?v=7gYkh2fYjrQ\">playing a gospelized version\u003c/a> during his tour with The Seeger Sessions Band. The Disney Channel built a 2012 movie around the song, called \u003cem>Let It Shine\u003c/em>, that \u003ca href=\"https://www.youtube.com/watch?v=CyQX91rJpTg\">added rap\u003c/a>. The tune even brought a little soul music to the last \u003ca href=\"https://www.youtube.com/watch?v=dOHA_6oP32w\">royal wedding\u003c/a>, courtesy of British gospel artists Karen Gibson and the Kingdom Choir.\u003c/p>\n\u003cp>Sometimes, experts say, such folk songs become spirituals over the years, sung everywhere from churches to prison work camps. That might explain a version of the song sung by Doris McMurray, an inmate at a Texas prison, recorded by folklorists John and Ruby Lomax in 1939. McMurray’s tone is both plaintive and mournful as she sings without accompaniment, insisting that “\u003cem>In my neighbor’s home, I’m gonna let it shine / Let it shine let it shine, let it shine.\u003c/em>”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"American Folk Music (Southern): This Little Light o' Mine\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/Kmg34_dv9sw?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>So who created “This Little Light of Mine”? Some books credit Harry Dixon Loes, a teacher and composer born in 1892 who edited at least a dozen hymnals and songbooks and wrote more than 3,000 songs, according to his 1965 obituary.\u003c/p>\n\u003cp>That would be an interesting cross-pollination: a white composer creating a song popular in black churches. But researchers at Moody Bible Institute, where Loes taught for 21 years, say they found no evidence he wrote the song or claimed to write it. They note that he did create a popular arrangement of it in the 1940s: Singers like George Beverly Shea and Helen McAlerney Barth recorded versions of it.\u003c/p>\n\u003cp>But once the song was popular, it belonged to everyone. As the civil rights movement grew in the 1950s and ’60s, singers changed the lyrics to reference their struggles. These new versions were known as “freedom songs.”\u003c/p>\n\u003cp>“They are simple melodies that can be sung by a small group or a large group,” says Robert Darden, a gospel music historian and professor at Baylor University in Texas. “And the lyrics are composed in a way that the names of who they are protesting against can easily be inserted. They can be personalized and set to a place.”\u003c/p>\n\u003cp>Fannie Lou Hamer, Zilphia Horton and other legendary activists sang “freedom song” versions of “This Little Light of Mine” and passed them on for others to use. One place where a lot of this sharing occurred was the Highlander Folk School (now known as the Highlander Research and Education Center), a cultural center in Tennessee where activists including Rosa Parks, Pete Seeger and Martin Luther King Jr. gathered to trade ideas.\u003c/p>\n\u003cp>Candie Carawan — who worked with her late husband Guy, Highlander’s former music director — says songs like “This Little Light of Mine” could be nonviolent weapons. “It’s a way to speak to power in way that’s not going to get you shot,” Carawan says with a chuckle. “It’s a way to say, ‘This is what we think. This is what we feel.’ But, you know, you’re singing it.”\u003c/p>\n\u003cp>“Some of my favorite spirituals are the once that have an implied defiance to them,” Robert Darden adds.\u003c/p>\n\u003cp>It might seem odd to call such an innocent-sounding song defiant. But that’s exactly how blues singer Bettie Mae Fikes says she felt when creating her classic version of “This Little Light of Mine” in 1963. She improvised the lyrics after a protest in which several of her friends had been attacked.\u003c/p>\n\u003cp>“And I’m thinking, ‘How is the light [going to] shine, when they’re trying to put our lights out?'” Fikes says. “So everybody was taking verses — and in order to come in, I just went into the slave call.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"This Little Light of Mine\" width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/5FgBb3u8p9U?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>The result was a long, melismatic vocal run that turned into verses where she named specific officials — such as the former sheriff of Selma, Ala.”I just started adding our oppressors in the song: ‘\u003cem>Tell Jim Clark, I’m gonna let it shine\u003c/em>,’ ” Fikes says. “And as I added my oppressors, other people in the audience began to shout out: ‘Tell the KKK!’ “Tell our president!’ It was like being free.”\u003c/p>\n\u003cp>Fast forward a half-century and the song is still unifying people. Consider the Christian electronic dance music band LZ7, which had a hit single in 2010 with an amped-up version of the song, inspired a bit by the Black Eyed Peas’ “Where Is the Love?” Frontman Lindz West says the track is an attempt to inspire youth who won’t necessarily respond to a traditional spiritual or hymn.\u003c/p>\n\u003cp>“I love the old hymns. I love ‘Amazing Grace.’ But how does that connect to a 12-year-old kid in inner-city London?” he says. “This is written for the kids that would never step into a church, but they’d step into a club with us and have a dance.”\u003c/p>\n\u003cp>West says the group has performed its version of “This Little Light of Mine” before thousands of fans across the world. For him, it’s an anthem because it sticks in people’s heads — including his own during recording, he notes with a laugh — but also because it inspires, something West sees when he visits schools in Britain.\u003c/p>\n\u003cp>“Anthems are uplifting and game-changing, and they set standards. Something like ‘This Little Light’ is just that,” he says. “What makes it anthemic is, you see lives transformed. You see kids saying, ‘I’m not giving up on life,’ or, ‘I’m not cutting anymore.'”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"LZ7 - This Little Light: FULL HD (NEW 2010 OFFICIAL)\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/_C4XwH7UitU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Still, a question persists: Why has “This Little Light of Mine” survived so long, in so many different settings? Robert Darden, who has written about the song in at least two books, has a theory.\u003c/p>\n\u003cp>“Ask some of the survivors of the civil rights movement, as I have — survivors who sang these songs for protection and for courage — why ‘This Little Light of Mine’ survives and is still sung in the #MeToo movement and women’s movement,” he says. “They look at me straight in the eye and they say, ‘It is because those songs are anointed.’ As an academic, I have no way to refute that. Nor do I want to.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Whether or not you believe the song is blessed, it’s obvious this American anthem sparks a powerful feeling, which has made so many who sing it feel a little less alone and a little more free. That probably explains the enduring power of “This Little Light of Mine” better than any other reason.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27This+Little+Light+Of+Mine%27+Shines+On%2C+A+Timeless+Tool+Of+Resistance&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ask Freedom Singer Rutha Mae Harris, and she’ll tell you plainly: You can’t just \u003cem>sing \u003c/em>“This Little Light of Mine.” You gotta shout it:\u003c/p>\n\u003cp>“\u003cem>Everywhere I go, Lord, I’m gonna let it shine\u003cbr>\nLet it shine, let it shine, let it shine!”\u003c/em>\u003c/p>\n\u003cp>On a Monday morning, Harris’ powerful voice fills the small church right next to the Albany Civil Rights Institute in Georgia. She’s showing them how she and her fellow Freedom Singers — a renowned quartet that raised money for student activists during the civil rights movement — belted out songs to get through dangerous protests.\u003c/p>\n\u003cp>A muscular version of “This Little Light of Mine” is the emotional high point of Harris’ presentation: a unifying affirmation that gives the crowd a taste of that feeling from the 1960s. She says the song helped steady protestors’ nerves as abusive police officers threatened to beat them or worse.\u003c/p>\n\u003cp>“Music was an anchor. It kept us from being afraid,” Harris says. “You start singing a song, and somehow, those billy clubs would not hit you. It played a very important role in the movement.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Fans know “This Little Light of Mine” as a beloved children’s tune, recognized around the world. But it’s also a spiritual, which was transformed by the nation’s civil rights movement into an anthem of singular power. And the song has the same impact in today’s times, where demonstrators still leverage its message to push back against injustice.\u003c/p>\n\u003cp>Last year, Reverend Osagyefo Sekou used “This Little Light of Mine” to curb passions during a counter-protest, before a crowd of white supremacists and alt-right supporters gathered for the Unite the Right rally in Charlottesville, Va.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Reverend Sekou, Dr. Cornell West, Charlottesville & united clergies sing This little light of mine\" width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/HsK7gC4noJU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>“We had originally said we were going to stand silently,” says Rev. Sekou, a recording artist, author, theologian and activist who helped train volunteers at the counter-protest. “But the Nazis were marching past us in these various battalions, cursing and yelling — mostly homophobic slurs — at us. And you could feel the energy of the people who weren’t with us, who we had not trained. [They] were getting amped up.”\u003c/p>\n\u003cp>Sekou says he knew, in that moment, he had to change the atmosphere. “I know song can do that. So I just broke into ‘This Little Light of Mine.’ ”\u003c/p>\n\u003cp>In a moment captured on video, the clergy and volunteers who sang — a group that included famed academic and activist Cornel West — are shown standing in a line, their voices rising over the chants of “You will not replace us” from the rally crowd. “The tensions went down … and it shook the Nazis,” Sekou says. “They didn’t know what to do with all that joy. We weren’t going to let the darkness have the last word.”\u003c/p>\n\u003cp>It makes sense that a song with this much power would also be one of the most versatile anthems around, inspiring all kinds of musical artists. Rev. Sekou brought a different version of the song to \u003ca href=\"https://www.youtube.com/watch?v=4Majbw74o1I\">NPR’s Tiny Desk Concert series\u003c/a> in July. Before that, Bruce Springsteen used it to take his audiences to church, \u003ca href=\"https://www.youtube.com/watch?v=7gYkh2fYjrQ\">playing a gospelized version\u003c/a> during his tour with The Seeger Sessions Band. The Disney Channel built a 2012 movie around the song, called \u003cem>Let It Shine\u003c/em>, that \u003ca href=\"https://www.youtube.com/watch?v=CyQX91rJpTg\">added rap\u003c/a>. The tune even brought a little soul music to the last \u003ca href=\"https://www.youtube.com/watch?v=dOHA_6oP32w\">royal wedding\u003c/a>, courtesy of British gospel artists Karen Gibson and the Kingdom Choir.\u003c/p>\n\u003cp>Sometimes, experts say, such folk songs become spirituals over the years, sung everywhere from churches to prison work camps. That might explain a version of the song sung by Doris McMurray, an inmate at a Texas prison, recorded by folklorists John and Ruby Lomax in 1939. McMurray’s tone is both plaintive and mournful as she sings without accompaniment, insisting that “\u003cem>In my neighbor’s home, I’m gonna let it shine / Let it shine let it shine, let it shine.\u003c/em>”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"American Folk Music (Southern): This Little Light o' Mine\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/Kmg34_dv9sw?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>So who created “This Little Light of Mine”? Some books credit Harry Dixon Loes, a teacher and composer born in 1892 who edited at least a dozen hymnals and songbooks and wrote more than 3,000 songs, according to his 1965 obituary.\u003c/p>\n\u003cp>That would be an interesting cross-pollination: a white composer creating a song popular in black churches. But researchers at Moody Bible Institute, where Loes taught for 21 years, say they found no evidence he wrote the song or claimed to write it. They note that he did create a popular arrangement of it in the 1940s: Singers like George Beverly Shea and Helen McAlerney Barth recorded versions of it.\u003c/p>\n\u003cp>But once the song was popular, it belonged to everyone. As the civil rights movement grew in the 1950s and ’60s, singers changed the lyrics to reference their struggles. These new versions were known as “freedom songs.”\u003c/p>\n\u003cp>“They are simple melodies that can be sung by a small group or a large group,” says Robert Darden, a gospel music historian and professor at Baylor University in Texas. “And the lyrics are composed in a way that the names of who they are protesting against can easily be inserted. They can be personalized and set to a place.”\u003c/p>\n\u003cp>Fannie Lou Hamer, Zilphia Horton and other legendary activists sang “freedom song” versions of “This Little Light of Mine” and passed them on for others to use. One place where a lot of this sharing occurred was the Highlander Folk School (now known as the Highlander Research and Education Center), a cultural center in Tennessee where activists including Rosa Parks, Pete Seeger and Martin Luther King Jr. gathered to trade ideas.\u003c/p>\n\u003cp>Candie Carawan — who worked with her late husband Guy, Highlander’s former music director — says songs like “This Little Light of Mine” could be nonviolent weapons. “It’s a way to speak to power in way that’s not going to get you shot,” Carawan says with a chuckle. “It’s a way to say, ‘This is what we think. This is what we feel.’ But, you know, you’re singing it.”\u003c/p>\n\u003cp>“Some of my favorite spirituals are the once that have an implied defiance to them,” Robert Darden adds.\u003c/p>\n\u003cp>It might seem odd to call such an innocent-sounding song defiant. But that’s exactly how blues singer Bettie Mae Fikes says she felt when creating her classic version of “This Little Light of Mine” in 1963. She improvised the lyrics after a protest in which several of her friends had been attacked.\u003c/p>\n\u003cp>“And I’m thinking, ‘How is the light [going to] shine, when they’re trying to put our lights out?'” Fikes says. “So everybody was taking verses — and in order to come in, I just went into the slave call.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"This Little Light of Mine\" width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/5FgBb3u8p9U?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>The result was a long, melismatic vocal run that turned into verses where she named specific officials — such as the former sheriff of Selma, Ala.”I just started adding our oppressors in the song: ‘\u003cem>Tell Jim Clark, I’m gonna let it shine\u003c/em>,’ ” Fikes says. “And as I added my oppressors, other people in the audience began to shout out: ‘Tell the KKK!’ “Tell our president!’ It was like being free.”\u003c/p>\n\u003cp>Fast forward a half-century and the song is still unifying people. Consider the Christian electronic dance music band LZ7, which had a hit single in 2010 with an amped-up version of the song, inspired a bit by the Black Eyed Peas’ “Where Is the Love?” Frontman Lindz West says the track is an attempt to inspire youth who won’t necessarily respond to a traditional spiritual or hymn.\u003c/p>\n\u003cp>“I love the old hymns. I love ‘Amazing Grace.’ But how does that connect to a 12-year-old kid in inner-city London?” he says. “This is written for the kids that would never step into a church, but they’d step into a club with us and have a dance.”\u003c/p>\n\u003cp>West says the group has performed its version of “This Little Light of Mine” before thousands of fans across the world. For him, it’s an anthem because it sticks in people’s heads — including his own during recording, he notes with a laugh — but also because it inspires, something West sees when he visits schools in Britain.\u003c/p>\n\u003cp>“Anthems are uplifting and game-changing, and they set standards. Something like ‘This Little Light’ is just that,” he says. “What makes it anthemic is, you see lives transformed. You see kids saying, ‘I’m not giving up on life,’ or, ‘I’m not cutting anymore.'”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"LZ7 - This Little Light: FULL HD (NEW 2010 OFFICIAL)\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/_C4XwH7UitU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Still, a question persists: Why has “This Little Light of Mine” survived so long, in so many different settings? Robert Darden, who has written about the song in at least two books, has a theory.\u003c/p>\n\u003cp>“Ask some of the survivors of the civil rights movement, as I have — survivors who sang these songs for protection and for courage — why ‘This Little Light of Mine’ survives and is still sung in the #MeToo movement and women’s movement,” he says. “They look at me straight in the eye and they say, ‘It is because those songs are anointed.’ As an academic, I have no way to refute that. Nor do I want to.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Whether or not you believe the song is blessed, it’s obvious this American anthem sparks a powerful feeling, which has made so many who sing it feel a little less alone and a little more free. That probably explains the enduring power of “This Little Light of Mine” better than any other reason.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27This+Little+Light+Of+Mine%27+Shines+On%2C+A+Timeless+Tool+Of+Resistance&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Demi Lovato: Addiction Is 'Not Something That Disappears'",
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"content": "\u003cp>\u003ca href=\"https://www.npr.org/artists/554475953/demi-lovato\">Demi Lovato\u003c/a>, who was hospitalized in late July following an unspecified overdose, has issued a statement addressing her ongoing struggles with addiction.\u003c/p>\n\u003cp>“I have always been transparent about my journey with addiction,” Lovato wrote in a statement \u003ca href=\"https://www.instagram.com/p/BmHH69KlY3L/\">posted to Instagram\u003c/a> on Aug. 5. “What I’ve learned is that this illness is not something that disappears or fades with time. It is something I must continue to overcome and have not done yet.\u003c/p>\n\u003cp>“I want to thank my family, my team, and the staff at Cedars-Sinai who have been by my side the entire time,” Lovato continues. “Without them I wouldn’t be here writing this letter to all of you. I now need time to heal and focus on my sobriety and road to recovery. The love you have all shown me will never be forgotten and I look forward to the day where I can say I came out on the other side.”\u003c/p>\n\u003cp>https://www.instagram.com/p/BmHH69KlY3L/\u003c/p>\n\u003cp>In late June, Lovato released a new single, “\u003ca href=\"https://www.youtube.com/watch?v=vORIohoI4m0\">Sober\u003c/a>,” in which she admitted to breaking the six years of sobriety she marked \u003ca href=\"https://www.billboard.com/articles/columns/pop/8249297/demi-lovato-celebrates-6-years-sober-brooklyn-show-speech-video\">on March 15\u003c/a>. “Momma, I’m so sorry, I’m not sober anymore,” the chorus of “Sober” begins. Later in the song, she apologizes to letting down her fans: “I’m sorry for the fans I lost who watched me fall again / I wanna be a role model, but I’m only human.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/vORIohoI4m0\u003c/p>\n\u003cp>After TMZ broke the story of Lovato’s hospitalization, \u003ca href=\"http://www.tmz.com/2018/07/24/demi-lovato-heroin-overdose/\">claiming\u003c/a> it was due to an overdose of heroin, a statement from her representative on behalf of her family, \u003ca href=\"https://twitter.com/alloveranthony/status/1021922230354292738?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1021922230354292738&ref_url=http%3A%2F%2Fwww.thefader.com%2F2018%2F07%2F24%2Fdemi-lovato-overdose-family-statement\">issued July 24\u003c/a>, appeared to contradict that initial report. “Some of the information being reported is incorrect and [Lovato’s family] respectfully ask for privacy and not speculation as her health and recovery is the most important thing right now.”\u003c/p>\n\u003cp>Lovato was first admitted to treatment after \u003ca href=\"https://abcnews.go.com/Entertainment/actress-singer-demi-lovato-treatment-emotional-physical-issues/story?id=12038895\">dropping out\u003c/a> of a Jonas Brothers tour in 2010, when she was 18 years old. After completing treatment, Lovato admitted to hiding her drug use from those around her. “I went on a bender of like, two months,” Lovato admitted in the 2017 documentary \u003cem>Demi Lovato: Simply Complicated\u003c/em>. “There was one night where I used a bunch of coke and I popped a few Xanax bars and I started to choke a little bit, and my heart started racing. And I remember thinking ‘Oh my God, I might be overdosing right now.’ ”\u003c/p>\n\u003cp>“I remember we were in New York, and she clearly was on something — and she was on-air promoting this new way of life, and I was like ‘You’re so full of it,’ ” Lovato’s manager at the time, Phil McIntyre, said in \u003cem>Simply Complicated\u003c/em>. “I wasn’t equipped to be able to handle that situation — and so I got a list of several recommendations of people that specialize in this. And I ended up connected and speaking with [life coach] Mike Bayer.”\u003c/p>\n\u003cp>“It’s embarrassing to look back at the person that I was,” Lovato said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In early July, reports claimed Lovato had split with both\u003cstrong> \u003c/strong>McIntyre — who had accepted a role as Roc Nation’s president of management \u003ca href=\"https://variety.com/2018/music/news/roc-nation-phil-mcintyre-demi-lovato-manager-1202785732/\">in April\u003c/a> — and \u003ca href=\"https://people.com/music/demi-lovato-shade-life-coach-cryptic-tweet/\">Bayer\u003c/a>. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Demi+Lovato%3A+Addiction+Is+%27Not+Something+That+Disappears%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In late June, Lovato released a new single, “\u003ca href=\"https://www.youtube.com/watch?v=vORIohoI4m0\">Sober\u003c/a>,” in which she admitted to breaking the six years of sobriety she marked \u003ca href=\"https://www.billboard.com/articles/columns/pop/8249297/demi-lovato-celebrates-6-years-sober-brooklyn-show-speech-video\">on March 15\u003c/a>. “Momma, I’m so sorry, I’m not sober anymore,” the chorus of “Sober” begins. Later in the song, she apologizes to letting down her fans: “I’m sorry for the fans I lost who watched me fall again / I wanna be a role model, but I’m only human.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"order": 9
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"order": 18
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
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"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"source": "American Public Media"
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"masters-of-scale": {
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"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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},
"mindshift": {
"id": "mindshift",
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"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
"id": "morning-edition",
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"order": 11
},
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"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"link": "/radio/program/on-the-media",
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},
"pbs-newshour": {
"id": "pbs-newshour",
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"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
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},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
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},
"perspectives": {
"id": "perspectives",
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"order": 14
},
"link": "/perspectives",
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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},
"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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"rss": "https://feeds.npr.org/510289/podcast.xml"
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
},
"link": "/podcasts/politicalbreakdown",
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
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"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
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"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": {
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"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
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