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"content": "\u003cp>Oakland Singer Songwriter Dave Deporis, 40, lost his life last week while trying to recover his music from a thief.\u003c/p>\n\u003cp>According to friends, Deporis’ music — including his most recent recordings from a New York studio session — was on his laptop. A thief snatched the computer from a cafe table where Deporis was working near 42\u003csup>nd\u003c/sup> and Telegraph Avenue in Oakland.\u003c/p>\n\u003cp>Deporis gave chase, grabbed hold of the car into which the thief took off, and ended up being dragged along behind the vehicle \u003ca href=\"http://www.nbcbayarea.com/news/local/Oakland-Musician-Killed-After-Being-Robbed-Dragged-From-Car-Remembered-as-Powerful-and-Imaginative-439709423.html\" target=\"_blank\" rel=\"noopener noreferrer\">for 200 yards\u003c/a>. Caught under the car, he suffered traumatic injuries and was pronounced dead last Wednesday.\u003c/p>\n\u003cp>Friends of Deporis erected a memorial of stacked rocks, candles, and a metal sculpture of a man playing the guitar.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.eastbayexpress.com/CultureSpyBlog/archives/2017/08/11/family-friends-launch-gofundme-page-to-release-albums-by-slain-oakland-musician-dave-deporis\" target=\"_blank\" rel=\"noopener noreferrer\">East Bay Express report\u003c/a>ed that Councilman Dan Kalb called Deporis’ death heart wrenching.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Musicians who knew Deporis, like singer songwriter Regina Spektor, posted their remembrances on social media.\u003c/p>\n\u003cp>https://twitter.com/respektor/status/895516937748348929\u003c/p>\n\u003cp>KQED reached out to Brooklyn record producer Gabriel Galvin, a childhood friend of Deporis. Despite Deporis’ folk-tinged voice, Galvin said at his core, the musician was a punk rock artist, and that although he performed alone with his guitar, he had always envisioned the songs being performed and recorded with a band.\u003c/p>\n\u003cp>“Every time he actually went into a studio to record a record, he would try and put a band together,” Galvin said.\u003c/p>\n\u003cp>Galvin said that at the time of his death, Deporis was focused more than ever on getting his new material released and had been taking his laptop with him everywhere to work on it. Galvin said the new album was supposed to include electronic elements and synthesizers and “weird ambient atmospheric nuances.”\u003c/p>\n\u003caside class=\"aligncenter noborder\">\nhttps://vimeo.com/166310331\u003cbr>\n\u003c/aside>\n\u003cp>Other friends of Deporis have started a \u003ca href=\"https://www.gofundme.com/memorial-and-music-fund-for-dave\" target=\"_blank\" rel=\"noopener noreferrer\">GoFundMe site\u003c/a> to raise money to release a posthumous collection of Deporis’ songs.\u003c/p>\n\u003cp>Ian Petrich, a friend of Deporis who started the fundraiser, said Deporis’ family possesses three albums worth of the late musician’s recordings that will be woven together into a compilation album, \u003ca href=\"https://www.eastbayexpress.com/CultureSpyBlog/archives/2017/08/11/family-friends-launch-gofundme-page-to-release-albums-by-slain-oakland-musician-dave-deporis\" target=\"_blank\" rel=\"noopener noreferrer\">to be released on CD and vinyl.\u003c/a> The album will be curated by his family and friends.\u003c/p>\n\u003cp>Galvin said the late musician’s work may not be completely lost as he believes Deporis made a backup. He said last time he saw Deporis in New York in April shortly before returned to California, he had an external hard drive with him. For those organizing an archive of his music, that external hard drive would be an important find.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A public memorial for Deporis has been scheduled \u003ca href=\"https://www.facebook.com/events/1438687246185834/?acontext=%7B%22action_history%22%3A%22%5B%7B%5C%22surface%5C%22%3A%5C%22page%5C%22%2C%5C%22mechanism%5C%22%3A%5C%22page_upcoming_events_card%5C%22%2C%5C%22extra_data%5C%22%3A%5B%5D%7D%5D%22%2C%22has_source%22%3Atrue%7D\" target=\"_blank\" rel=\"noopener noreferrer\">for Saturday, Sept. 9\u003c/a> at Sol Gate Studios in West Oakland. Details about this and other events can be found on this\u003ca href=\"https://www.facebook.com/davewholovesthesky\" target=\"_blank\" rel=\"noopener noreferrer\"> Facebook page\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cp>When you think of the debilitating, painful trauma of Parkinson’s and Alzheimer’s, you probably don’t think of people climbing onstage to belt out feel-good classics from the “Great American Songbook.”\u003c/p>\n\u003cp>But then you’re probably not thinking of The 5th Dementia, a Los Angeles group that keeps folks with neurodegenerative disease in the moment by playing music of the past — with help from a few teenage musicians.\u003c/p>\n\u003caside class=\"pullquote alignright\">‘The brain doesn’t forget music, it forgets everything else but music.’\u003ccite>Kelly Hodell, Marine Corps veteran and 5th Dementia volunteer\u003c/cite>\u003c/aside>\n\u003cp>It’s a Monday afternoon at the Brentwood Presbyterian Church in West Los Angeles, three facts that many of the members of The 5th Dementia are probably unaware of.\u003c/p>\n\u003cp>That’s no joke.\u003c/p>\n\u003cp>Of the dozen or so singers and musicians onstage, most are dealing with some form of cognitive decline. They’re men and women, mostly seniors. Some no longer speak, yet they can still sing songs they heard Frank and Dean croon decades ago, songs that have been embedded in their memories, tucked away in an area of the brain untouched by disease.\u003c/p>\n\u003cfigure id=\"attachment_11611865\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11611865\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/08/5Dementia-800x568.jpg\" alt=\"The 5th Dementia rehearse at Brentwood Presbyterian Church in West Los Angeles. Many of the group suffer from Alzheimer’s, Parkinson’s and other neurodegenerative diseases.\" width=\"800\" height=\"568\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/5Dementia-800x568.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/5Dementia-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/5Dementia-1020x725.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/5Dementia.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/5Dementia-1180x838.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/5Dementia-960x682.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/5Dementia-240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/5Dementia-375x266.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/5Dementia-520x369.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The 5th Dementia rehearse at Brentwood Presbyterian Church in West Los Angeles. Many of the group suffer from Alzheimer’s, Parkinson’s and other neurodegenerative diseases. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Family members and caregivers settle into pews in this cavernous chapel, which features massive karaoke screens on either end displaying lyrics.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Despite the obvious toll disease has taken on band members, many greet each other with hugs. Those who can speak say hello, those who can laugh do that, too. The mood is not what you might expect.\u003c/p>\n\u003cp>“I thought, how am I going to do this? It’s going to depress me and I’m going to see things I don’t want to see,” says singer Diana Davidow, who has Parkinson’s. It’s mild, she says, so she feels lucky. Though she initially loved the idea of the band, joining two years ago was a big step.\u003c/p>\n\u003cp>“After a couple of times I fell in love with this whole group,” Davidow says. “I didn’t see anything but these personalities and their bodies, and it doesn’t matter. We’re all here to support each other, have a few good laughs, which we do, and fool around.”\u003c/p>\n\u003cp>Not everyone in The 5th Dementia is suffering from cognitive issues. The group’s musical vision includes student volunteers from the Windward School in West L.A.\u003c/p>\n\u003cfigure id=\"attachment_11610772\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11610772\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/08/RS26129_5D-4-qut-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/RS26129_5D-4-qut-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/RS26129_5D-4-qut-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/RS26129_5D-4-qut-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/RS26129_5D-4-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/RS26129_5D-4-qut-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/RS26129_5D-4-qut-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/RS26129_5D-4-qut-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/RS26129_5D-4-qut-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/RS26129_5D-4-qut-520x693.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The 5th Dementia student volunteer Spencer Lemann, 17, who’s played bass with the group for three years. \u003ccite>(David Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The kids don’t look at us as the old people, They kinda just have a good time,” offers Davidow. “One of them said, ‘They don’t even look sick. How come they don’t they look sick?’ ”\u003c/p>\n\u003cp>Spencer Lemann is one of the “kids.” The 17-year-old is a gifted upright bassist, and has been a part of The 5th Dementia for almost three years. For Lemann — who literally keeps the musical pulse of the band going — the idea of a teenager playing oldies with the elderly is no stretch.\u003c/p>\n\u003cp>“I’ve never really viewed it that way,” he says. “What we’re really sharing with each other is music. And for a lot of these guys, I’ve learned more about them from playing with them than talking with them.”\u003c/p>\n\u003cp>As far as the playing goes, not everyone’s chops are up to Lemann’s level, but the band’s mission is not to redefine shredding. The amazing thing about The 5th Dementia is that it exists at all.\u003c/p>\n\u003cp>“It is a miracle, it’s magical and it’s given us a life,” says Carol Rosenstein who, along with her husband Irwin, founded \u003ca href=\"http://www.musicmendsminds.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Music Mends Minds\u003c/a> in 2014, the nonprofit organization that spawned The 5th Dementia. Carol had the idea when Irwin was diagnosed with Parkinson’s and dementia.\u003c/p>\n\u003cp>“I noticed when he was playing the piano at home he was resurrected like a plant needing water, and this was coming from playing a musical instrument,” says Rosenstein. “The neurologist said, ‘Carol, you’re looking at the power of music changing brain chemistry.’ ”\u003c/p>\n\u003cfigure id=\"attachment_11611893\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11611893\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/08/Rosenstein-800x563.jpg\" alt=\"Carol Rosenstein, who founded the 5th Dementia with her husband Irwin after he was diagnosed with dementia.\" width=\"800\" height=\"563\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/Rosenstein-800x563.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/Rosenstein-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/Rosenstein-1020x718.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/Rosenstein.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/Rosenstein-1180x831.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/Rosenstein-960x676.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/Rosenstein-240x169.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/Rosenstein-375x264.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/Rosenstein-520x366.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carol Rosenstein, who founded the 5th Dementia with her husband, Irwin, after he was diagnosed with dementia. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The brain doesn’t forget music, it forgets everything else but music,” says Kelly Hodell. He’s a Marine Corps and Navy veteran who served as a medic during the Bay of Pigs invasion in 1961. Now he serves with The 5th Dementia, volunteering on harmonica.\u003c/p>\n\u003cp>“We have people in here that can play all kinds of songs but can barely carry on a conversation,” says Hodell. “I think it wakes up a part of their mind and a part of their memories ’cause music is like a time machine. It takes you back to times and places and people that meant something to you in your life, and also keeps them socialized and active and a part of life.”\u003c/p>\n\u003cp>According to a report in AARP magazine, “music can not only improve the mood of people with neurological diseases, it can boost cognitive skills and reduce the need for antipsychotic drugs.”\u003c/p>\n\u003cp>Right now there are six other bands in California and Washington under the Music Mends Minds umbrella, with five more in the works, including a group in the Philippines. So far, Carol Rosenstein has handed out over 1,000 How to Start a Band kits.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I’ll tell you, when serious disease comes, there’s a lot of isolationism, and now we have people from the community, and they come weekly to be in this musical and healing environment and become happy,” says Rosenstein, as the band kicks into the classic song, \u003cem>As Time Goes By.\u003c/em> “That’s what we’re selling, happiness!”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When you think of the debilitating, painful trauma of Parkinson’s and Alzheimer’s, you probably don’t think of people climbing onstage to belt out feel-good classics from the “Great American Songbook.”\u003c/p>\n\u003cp>But then you’re probably not thinking of The 5th Dementia, a Los Angeles group that keeps folks with neurodegenerative disease in the moment by playing music of the past — with help from a few teenage musicians.\u003c/p>\n\u003caside class=\"pullquote alignright\">‘The brain doesn’t forget music, it forgets everything else but music.’\u003ccite>Kelly Hodell, Marine Corps veteran and 5th Dementia volunteer\u003c/cite>\u003c/aside>\n\u003cp>It’s a Monday afternoon at the Brentwood Presbyterian Church in West Los Angeles, three facts that many of the members of The 5th Dementia are probably unaware of.\u003c/p>\n\u003cp>That’s no joke.\u003c/p>\n\u003cp>Of the dozen or so singers and musicians onstage, most are dealing with some form of cognitive decline. They’re men and women, mostly seniors. Some no longer speak, yet they can still sing songs they heard Frank and Dean croon decades ago, songs that have been embedded in their memories, tucked away in an area of the brain untouched by disease.\u003c/p>\n\u003cfigure id=\"attachment_11611865\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11611865\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/08/5Dementia-800x568.jpg\" alt=\"The 5th Dementia rehearse at Brentwood Presbyterian Church in West Los Angeles. Many of the group suffer from Alzheimer’s, Parkinson’s and other neurodegenerative diseases.\" width=\"800\" height=\"568\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/5Dementia-800x568.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/5Dementia-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/5Dementia-1020x725.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/5Dementia.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/5Dementia-1180x838.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/5Dementia-960x682.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/5Dementia-240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/5Dementia-375x266.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/5Dementia-520x369.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The 5th Dementia rehearse at Brentwood Presbyterian Church in West Los Angeles. Many of the group suffer from Alzheimer’s, Parkinson’s and other neurodegenerative diseases. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Family members and caregivers settle into pews in this cavernous chapel, which features massive karaoke screens on either end displaying lyrics.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Despite the obvious toll disease has taken on band members, many greet each other with hugs. Those who can speak say hello, those who can laugh do that, too. The mood is not what you might expect.\u003c/p>\n\u003cp>“I thought, how am I going to do this? It’s going to depress me and I’m going to see things I don’t want to see,” says singer Diana Davidow, who has Parkinson’s. It’s mild, she says, so she feels lucky. Though she initially loved the idea of the band, joining two years ago was a big step.\u003c/p>\n\u003cp>“After a couple of times I fell in love with this whole group,” Davidow says. “I didn’t see anything but these personalities and their bodies, and it doesn’t matter. We’re all here to support each other, have a few good laughs, which we do, and fool around.”\u003c/p>\n\u003cp>Not everyone in The 5th Dementia is suffering from cognitive issues. The group’s musical vision includes student volunteers from the Windward School in West L.A.\u003c/p>\n\u003cfigure id=\"attachment_11610772\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11610772\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/08/RS26129_5D-4-qut-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/RS26129_5D-4-qut-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/RS26129_5D-4-qut-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/RS26129_5D-4-qut-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/RS26129_5D-4-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/RS26129_5D-4-qut-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/RS26129_5D-4-qut-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/RS26129_5D-4-qut-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/RS26129_5D-4-qut-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/RS26129_5D-4-qut-520x693.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The 5th Dementia student volunteer Spencer Lemann, 17, who’s played bass with the group for three years. \u003ccite>(David Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The kids don’t look at us as the old people, They kinda just have a good time,” offers Davidow. “One of them said, ‘They don’t even look sick. How come they don’t they look sick?’ ”\u003c/p>\n\u003cp>Spencer Lemann is one of the “kids.” The 17-year-old is a gifted upright bassist, and has been a part of The 5th Dementia for almost three years. For Lemann — who literally keeps the musical pulse of the band going — the idea of a teenager playing oldies with the elderly is no stretch.\u003c/p>\n\u003cp>“I’ve never really viewed it that way,” he says. “What we’re really sharing with each other is music. And for a lot of these guys, I’ve learned more about them from playing with them than talking with them.”\u003c/p>\n\u003cp>As far as the playing goes, not everyone’s chops are up to Lemann’s level, but the band’s mission is not to redefine shredding. The amazing thing about The 5th Dementia is that it exists at all.\u003c/p>\n\u003cp>“It is a miracle, it’s magical and it’s given us a life,” says Carol Rosenstein who, along with her husband Irwin, founded \u003ca href=\"http://www.musicmendsminds.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Music Mends Minds\u003c/a> in 2014, the nonprofit organization that spawned The 5th Dementia. Carol had the idea when Irwin was diagnosed with Parkinson’s and dementia.\u003c/p>\n\u003cp>“I noticed when he was playing the piano at home he was resurrected like a plant needing water, and this was coming from playing a musical instrument,” says Rosenstein. “The neurologist said, ‘Carol, you’re looking at the power of music changing brain chemistry.’ ”\u003c/p>\n\u003cfigure id=\"attachment_11611893\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11611893\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/08/Rosenstein-800x563.jpg\" alt=\"Carol Rosenstein, who founded the 5th Dementia with her husband Irwin after he was diagnosed with dementia.\" width=\"800\" height=\"563\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/Rosenstein-800x563.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/Rosenstein-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/Rosenstein-1020x718.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/Rosenstein.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/Rosenstein-1180x831.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/Rosenstein-960x676.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/Rosenstein-240x169.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/Rosenstein-375x264.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/08/Rosenstein-520x366.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carol Rosenstein, who founded the 5th Dementia with her husband, Irwin, after he was diagnosed with dementia. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The brain doesn’t forget music, it forgets everything else but music,” says Kelly Hodell. He’s a Marine Corps and Navy veteran who served as a medic during the Bay of Pigs invasion in 1961. Now he serves with The 5th Dementia, volunteering on harmonica.\u003c/p>\n\u003cp>“We have people in here that can play all kinds of songs but can barely carry on a conversation,” says Hodell. “I think it wakes up a part of their mind and a part of their memories ’cause music is like a time machine. It takes you back to times and places and people that meant something to you in your life, and also keeps them socialized and active and a part of life.”\u003c/p>\n\u003cp>According to a report in AARP magazine, “music can not only improve the mood of people with neurological diseases, it can boost cognitive skills and reduce the need for antipsychotic drugs.”\u003c/p>\n\u003cp>Right now there are six other bands in California and Washington under the Music Mends Minds umbrella, with five more in the works, including a group in the Philippines. So far, Carol Rosenstein has handed out over 1,000 How to Start a Band kits.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I’ll tell you, when serious disease comes, there’s a lot of isolationism, and now we have people from the community, and they come weekly to be in this musical and healing environment and become happy,” says Rosenstein, as the band kicks into the classic song, \u003cem>As Time Goes By.\u003c/em> “That’s what we’re selling, happiness!”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Prince was multi-chromatic; a comedian who said as few words as possible, an androgynous sex symbol, a devout mischief-maker, an artist who fused disparate styles — soul and rhythm and blues and rock solos and reedy electronics — into one squarely his own, painted with a palette no one had even noticed.\u003c/p>\n\u003cp>Regardless, we call him The Purple One for good reason. And now, thanks to a deal between his increasingly license-happy estate and the Pantone Color Institute, he has his own, specific, kingly shade.\u003c/p>\n\u003cfigure id=\"attachment_13805451\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/prince-purple-pantone_custom-2516d901de430e78d04c68ee4128068bbb907ea1.jpg\" alt=\"Love Symbol #2, a color developed by Pantone in collaboration with the estate of Prince Rogers Nelson.\" width=\"200\" height=\"291\" class=\"size-full wp-image-13805451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/prince-purple-pantone_custom-2516d901de430e78d04c68ee4128068bbb907ea1.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/prince-purple-pantone_custom-2516d901de430e78d04c68ee4128068bbb907ea1-160x233.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Love Symbol #2, a color developed by Pantone in collaboration with the estate of Prince Rogers Nelson. \u003ccite>(Courtesy of Pantone)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“While the spectrum of the color purple will still be used in respect to the ‘Purple One,’ Love Symbol #2 will be the official color across the brand he left behind,” a statement reads. The color was inspired by the hue of a piano he’d planned to take on tour, before passing away on April 21, 2016.\u003c/p>\n\u003cp>Love Symbol #2 was the name Prince gave to his copyrighted symbol, which made its first appearance on 1992’s \u003cem>Love Symbol Album\u003c/em>. One year later, after reaching peak frustration with Warner Bros., his label home for many, many years, Prince changed his name to the graphic portmanteau.\u003c/p>\n\u003cp>Not wanting to leave the press out in the lurch with regard to covering him, Prince sent around \u003ca href=\"http://anildash.com/2014/06/my-favorite-floppy-of-all-time.html\">floppy disks\u003c/a> containing\u003cstrong> \u003c/strong>a font that had just one character: his own. They eventually settled, for the most part, on the far-less elegant “Artist Formerly Known As Prince.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=Prince+Gets+His+Own+Purple&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Prince was multi-chromatic; a comedian who said as few words as possible, an androgynous sex symbol, a devout mischief-maker, an artist who fused disparate styles — soul and rhythm and blues and rock solos and reedy electronics — into one squarely his own, painted with a palette no one had even noticed.\u003c/p>\n\u003cp>Regardless, we call him The Purple One for good reason. And now, thanks to a deal between his increasingly license-happy estate and the Pantone Color Institute, he has his own, specific, kingly shade.\u003c/p>\n\u003cfigure id=\"attachment_13805451\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/prince-purple-pantone_custom-2516d901de430e78d04c68ee4128068bbb907ea1.jpg\" alt=\"Love Symbol #2, a color developed by Pantone in collaboration with the estate of Prince Rogers Nelson.\" width=\"200\" height=\"291\" class=\"size-full wp-image-13805451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/prince-purple-pantone_custom-2516d901de430e78d04c68ee4128068bbb907ea1.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/prince-purple-pantone_custom-2516d901de430e78d04c68ee4128068bbb907ea1-160x233.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Love Symbol #2, a color developed by Pantone in collaboration with the estate of Prince Rogers Nelson. \u003ccite>(Courtesy of Pantone)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“While the spectrum of the color purple will still be used in respect to the ‘Purple One,’ Love Symbol #2 will be the official color across the brand he left behind,” a statement reads. The color was inspired by the hue of a piano he’d planned to take on tour, before passing away on April 21, 2016.\u003c/p>\n\u003cp>Love Symbol #2 was the name Prince gave to his copyrighted symbol, which made its first appearance on 1992’s \u003cem>Love Symbol Album\u003c/em>. One year later, after reaching peak frustration with Warner Bros., his label home for many, many years, Prince changed his name to the graphic portmanteau.\u003c/p>\n\u003cp>Not wanting to leave the press out in the lurch with regard to covering him, Prince sent around \u003ca href=\"http://anildash.com/2014/06/my-favorite-floppy-of-all-time.html\">floppy disks\u003c/a> containing\u003cstrong> \u003c/strong>a font that had just one character: his own. They eventually settled, for the most part, on the far-less elegant “Artist Formerly Known As Prince.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=Prince+Gets+His+Own+Purple&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "On Outside Lands, Charlottesville, and Conspicuous Silence",
"headTitle": "On Outside Lands, Charlottesville, and Conspicuous Silence | KQED",
"content": "\u003cp>During her Sunday night set at Outside Lands, Solange paused to acknowledge the violence of the previous day in Charlottesville at the hands of white nationalists. “Stay up. Find your self-care, find your joy,” she implored the audience, specifically shouting out her black, LGBTQ, and Muslim fans.\u003c/p>\n\u003cp>“Hey! What about the white people?” screamed a young, white man behind me.\u003c/p>\n\u003cp>Solange’s remarks were clearly meant to uplift those whose civil rights were threatened by the marchers in Charlottesville — a threat that didn’t apply to him. But when I turned around to explain, he retorted, “So you think I’m a white supremacist just because I’m white?”\u003c/p>\n\u003cfigure id=\"attachment_13805430\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13805430\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Solange.IG_-800x450.jpg\" alt=\"Solange performs Aug. 13, 2017, at the Outside Lands music festival in Golden Gate Park.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Solange.IG_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Solange.IG_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Solange.IG_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Solange.IG_-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Solange.IG_-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Solange.IG_-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Solange.IG_-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Solange.IG_-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Solange.IG_.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Solange performs Aug. 13, 2017, at the Outside Lands music festival in Golden Gate Park. \u003ccite>(via saintheron/Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If the interaction confirmed anything, it was that there’s a clear disconnect between Outside Lands’ mostly white attendees and the nation’s state of affairs — one that was felt through most of this year’s festival.\u003c/p>\n\u003cp>Saturday’s bloody protests, resulting in the death of \u003ca href=\"https://www.nytimes.com/2017/08/13/us/heather-heyer-charlottesville-victim.html\" target=\"_blank\" rel=\"noopener noreferrer\">anti-racist activist Heather Heyer\u003c/a>, dominated news feeds over Outside Lands weekend. In his initial response, President Trump avoided calling out white nationalists, instead condemning hatred and bigotry “on many sides” and \u003ca href=\"http://www.cnn.com/2017/08/12/politics/trump-fails-to-condemn-the-alt-right-white-supremacists/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">refusing to answer reporters\u003c/a> who asked if he wanted white nationalists’ support. On social media, white supremacists, neo-Nazis and former KKK leader \u003ca href=\"https://twitter.com/NBCNews/status/896587138694660096\" target=\"_blank\" rel=\"noopener noreferrer\">David Duke\u003c/a> celebrated that \u003ca href=\"https://twitter.com/soledadobrien/status/896492127911149568\" target=\"_blank\" rel=\"noopener noreferrer\">the president didn’t specifically implicate their movements\u003c/a>. (It’s wasn’t until two days later, after public pressure, that Trump named the KKK, neo-Nazis, and white supremacists, calling their racism “evil” in \u003ca href=\"https://www.nytimes.com/2017/08/14/us/politics/transcript-and-video-president-trump-speaks-about-charlottesville.html\" target=\"_blank\" rel=\"noopener noreferrer\">a White House speech\u003c/a>.)\u003c/p>\n\u003cfigure id=\"attachment_13805382\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13805382\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/MG_6589-800x533.jpg\" alt=\"Young The Giant performs at the Outside Lands music festival in San Francisco, Aug. 13, 2017.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_6589-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_6589-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_6589-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_6589-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_6589.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_6589-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_6589-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_6589-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_6589-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_6589-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Young The Giant performs at the Outside Lands music festival in San Francisco, Aug. 13, 2017. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, at Outside Lands, there was scant acknowledgement of Charlottesville that I saw, apart from comments by Solange, Cage the Elephant, Young the Giant, and a few others. On Friday, before the violent clash took place, Noname and Henry Rollins had spoken against the Trump administration in explicit terms. But on Saturday and Sunday, after a car plowed into a group of people — killing Heyer, and injuring 19 others — the majority of the artists’ silence was deafening. A few bands, including Metallica, Dawes, and Bomba Estéreo, offered vague feel-good sentiments about the power of music to bring people together.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[contextly_sidebar id=”YEUyDXSqgG7gHFwlOmR2v9hxGODZKvcI”]\u003c/p>\n\u003cp>An artists’ impulse to avoid bad news during their performances is understandable. But it’s also possible to put on an entertaining show while taking the time to acknowledge a national trauma. Much like the president’s initial refusal to call white supremacy by name, an artist failing to identify a source of discomfort while offering hollow pleas to “come together” can’t possibly provide the specific healing they claim to want. In that moment, their performance becomes casual diversion.\u003c/p>\n\u003cp>Because of this, artists’ and attendees’ silence made Outside Lands feel like an island, isolated from the news by privilege, rather than what a mass of thousands of people in Golden Gate Park \u003ca href=\"https://apimagesblog.com/blog/2017/3/22/san-franciscos-decades-long-history-of-protest\" target=\"_blank\" rel=\"noopener noreferrer\">has been, historically, during national crises\u003c/a>: a community united against violence and hate.\u003c/p>\n\u003cfigure id=\"attachment_13805397\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13805397\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/MG_6822-800x533.jpg\" alt='Lorde performs at the Outside Lands music festival in San Francisco, Aug. 13, 2017. Lorde took to Twitter before her set to call on white people to \"do better\" after violence erupted in Charlotesville, VA, killing one and injuring many more.' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_6822-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_6822-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_6822-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_6822-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_6822.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_6822-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_6822-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_6822-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_6822-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_6822-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lorde performs at the Outside Lands music festival in San Francisco, Aug. 13, 2017. Lorde took to Twitter before her set to call on white people to “do better” after violence erupted in Charlotesville, VA, killing one and injuring many more. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For the carefree folks enjoying themselves at the festival, the violence in Charlottesville might have seemed like a world away. But it’s not. As \u003ca href=\"https://ww2.kqed.org/news/2017/08/14/californian-who-helped-organize-charlottesville-protests-used-berkeley-as-a-test-run/\" target=\"_blank\" rel=\"noopener noreferrer\">KQED’s John Sepulvado reports\u003c/a>, the man credited with organizing the Charlottesville rally, Nathan Damigo, is a San Jose-raised California resident who brought his group Identity Evropa for a bloody protest to UC Berkeley in April. Another of the Charlottesville protestors was identified as Cole White, \u003ca href=\"https://ww2.kqed.org/news/2017/08/14/berkeleys-top-dog-fires-employee-who-went-to-white-nationalist-rally-in-charlottesville/\" target=\"_blank\" rel=\"noopener noreferrer\">now-former employee\u003c/a> of Top Dog, a popular eatery in liberal Berkeley. And according to \u003cem>Mother Jones\u003c/em> reporter Shane Bauer, a future white supremacist rally is \u003ca href=\"https://twitter.com/shane_bauer/status/896446989629497344\" target=\"_blank\" rel=\"noopener noreferrer\">scheduled in Berkeley\u003c/a> for Aug. 27.\u003c/p>\n\u003cp>We like to think we’re in a progressive bubble in the Bay Area. We take for granted that a huge gathering like Outside Lands implies, by dint of its location, tolerance and acceptance. The man behind me during Solange’s set Sunday proved otherwise: namely, that white people who go to music festivals — and I say this as a white person, who goes to music festivals — have some stepping up to do.\u003c/p>\n\u003cp>As Lorde \u003ca href=\"https://twitter.com/lorde/status/896528771636903936\" target=\"_blank\" rel=\"noopener noreferrer\">tweeted\u003c/a> minutes before her Sunday evening Outside Lands performance, “All white people are responsible for this system’s thrive and fall. We have to do better.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>See more of KQED’s Outside Lands coverage \u003ca href=\"https://ww2.kqed.org/arts/tag/outside-lands/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>During her Sunday night set at Outside Lands, Solange paused to acknowledge the violence of the previous day in Charlottesville at the hands of white nationalists. “Stay up. Find your self-care, find your joy,” she implored the audience, specifically shouting out her black, LGBTQ, and Muslim fans.\u003c/p>\n\u003cp>“Hey! What about the white people?” screamed a young, white man behind me.\u003c/p>\n\u003cp>Solange’s remarks were clearly meant to uplift those whose civil rights were threatened by the marchers in Charlottesville — a threat that didn’t apply to him. But when I turned around to explain, he retorted, “So you think I’m a white supremacist just because I’m white?”\u003c/p>\n\u003cfigure id=\"attachment_13805430\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13805430\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Solange.IG_-800x450.jpg\" alt=\"Solange performs Aug. 13, 2017, at the Outside Lands music festival in Golden Gate Park.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Solange.IG_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Solange.IG_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Solange.IG_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Solange.IG_-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Solange.IG_-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Solange.IG_-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Solange.IG_-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Solange.IG_-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Solange.IG_.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Solange performs Aug. 13, 2017, at the Outside Lands music festival in Golden Gate Park. \u003ccite>(via saintheron/Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If the interaction confirmed anything, it was that there’s a clear disconnect between Outside Lands’ mostly white attendees and the nation’s state of affairs — one that was felt through most of this year’s festival.\u003c/p>\n\u003cp>Saturday’s bloody protests, resulting in the death of \u003ca href=\"https://www.nytimes.com/2017/08/13/us/heather-heyer-charlottesville-victim.html\" target=\"_blank\" rel=\"noopener noreferrer\">anti-racist activist Heather Heyer\u003c/a>, dominated news feeds over Outside Lands weekend. In his initial response, President Trump avoided calling out white nationalists, instead condemning hatred and bigotry “on many sides” and \u003ca href=\"http://www.cnn.com/2017/08/12/politics/trump-fails-to-condemn-the-alt-right-white-supremacists/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">refusing to answer reporters\u003c/a> who asked if he wanted white nationalists’ support. On social media, white supremacists, neo-Nazis and former KKK leader \u003ca href=\"https://twitter.com/NBCNews/status/896587138694660096\" target=\"_blank\" rel=\"noopener noreferrer\">David Duke\u003c/a> celebrated that \u003ca href=\"https://twitter.com/soledadobrien/status/896492127911149568\" target=\"_blank\" rel=\"noopener noreferrer\">the president didn’t specifically implicate their movements\u003c/a>. (It’s wasn’t until two days later, after public pressure, that Trump named the KKK, neo-Nazis, and white supremacists, calling their racism “evil” in \u003ca href=\"https://www.nytimes.com/2017/08/14/us/politics/transcript-and-video-president-trump-speaks-about-charlottesville.html\" target=\"_blank\" rel=\"noopener noreferrer\">a White House speech\u003c/a>.)\u003c/p>\n\u003cfigure id=\"attachment_13805382\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13805382\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/MG_6589-800x533.jpg\" alt=\"Young The Giant performs at the Outside Lands music festival in San Francisco, Aug. 13, 2017.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_6589-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_6589-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_6589-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_6589-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_6589.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_6589-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_6589-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_6589-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_6589-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_6589-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Young The Giant performs at the Outside Lands music festival in San Francisco, Aug. 13, 2017. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, at Outside Lands, there was scant acknowledgement of Charlottesville that I saw, apart from comments by Solange, Cage the Elephant, Young the Giant, and a few others. On Friday, before the violent clash took place, Noname and Henry Rollins had spoken against the Trump administration in explicit terms. But on Saturday and Sunday, after a car plowed into a group of people — killing Heyer, and injuring 19 others — the majority of the artists’ silence was deafening. A few bands, including Metallica, Dawes, and Bomba Estéreo, offered vague feel-good sentiments about the power of music to bring people together.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>An artists’ impulse to avoid bad news during their performances is understandable. But it’s also possible to put on an entertaining show while taking the time to acknowledge a national trauma. Much like the president’s initial refusal to call white supremacy by name, an artist failing to identify a source of discomfort while offering hollow pleas to “come together” can’t possibly provide the specific healing they claim to want. In that moment, their performance becomes casual diversion.\u003c/p>\n\u003cp>Because of this, artists’ and attendees’ silence made Outside Lands feel like an island, isolated from the news by privilege, rather than what a mass of thousands of people in Golden Gate Park \u003ca href=\"https://apimagesblog.com/blog/2017/3/22/san-franciscos-decades-long-history-of-protest\" target=\"_blank\" rel=\"noopener noreferrer\">has been, historically, during national crises\u003c/a>: a community united against violence and hate.\u003c/p>\n\u003cfigure id=\"attachment_13805397\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13805397\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/MG_6822-800x533.jpg\" alt='Lorde performs at the Outside Lands music festival in San Francisco, Aug. 13, 2017. Lorde took to Twitter before her set to call on white people to \"do better\" after violence erupted in Charlotesville, VA, killing one and injuring many more.' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_6822-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_6822-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_6822-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_6822-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_6822.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_6822-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_6822-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_6822-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_6822-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_6822-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lorde performs at the Outside Lands music festival in San Francisco, Aug. 13, 2017. Lorde took to Twitter before her set to call on white people to “do better” after violence erupted in Charlotesville, VA, killing one and injuring many more. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For the carefree folks enjoying themselves at the festival, the violence in Charlottesville might have seemed like a world away. But it’s not. As \u003ca href=\"https://ww2.kqed.org/news/2017/08/14/californian-who-helped-organize-charlottesville-protests-used-berkeley-as-a-test-run/\" target=\"_blank\" rel=\"noopener noreferrer\">KQED’s John Sepulvado reports\u003c/a>, the man credited with organizing the Charlottesville rally, Nathan Damigo, is a San Jose-raised California resident who brought his group Identity Evropa for a bloody protest to UC Berkeley in April. Another of the Charlottesville protestors was identified as Cole White, \u003ca href=\"https://ww2.kqed.org/news/2017/08/14/berkeleys-top-dog-fires-employee-who-went-to-white-nationalist-rally-in-charlottesville/\" target=\"_blank\" rel=\"noopener noreferrer\">now-former employee\u003c/a> of Top Dog, a popular eatery in liberal Berkeley. And according to \u003cem>Mother Jones\u003c/em> reporter Shane Bauer, a future white supremacist rally is \u003ca href=\"https://twitter.com/shane_bauer/status/896446989629497344\" target=\"_blank\" rel=\"noopener noreferrer\">scheduled in Berkeley\u003c/a> for Aug. 27.\u003c/p>\n\u003cp>We like to think we’re in a progressive bubble in the Bay Area. We take for granted that a huge gathering like Outside Lands implies, by dint of its location, tolerance and acceptance. The man behind me during Solange’s set Sunday proved otherwise: namely, that white people who go to music festivals — and I say this as a white person, who goes to music festivals — have some stepping up to do.\u003c/p>\n\u003cp>As Lorde \u003ca href=\"https://twitter.com/lorde/status/896528771636903936\" target=\"_blank\" rel=\"noopener noreferrer\">tweeted\u003c/a> minutes before her Sunday evening Outside Lands performance, “All white people are responsible for this system’s thrive and fall. We have to do better.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>See more of KQED’s Outside Lands coverage \u003ca href=\"https://ww2.kqed.org/arts/tag/outside-lands/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>As the violence in Charlottesville dominated Twitter-checking attendees’ news feeds, Sunday at Outside Lands came with a sense of disconnect. At the same time, it also came with some of the weekend’s best performances, including Solange, Lorde, Young the Giant, Bleachers, The Who and more.\u003c/p>\n\u003cp>See a full photo slideshow from Sunday’s festivities below, and \u003ca href=\"https://ww2.kqed.org/arts/tag/outside-lands/\" target=\"_blank\" rel=\"noopener\">see here for more photos and coverage\u003c/a> from the entire weekend.\u003c/p>\n\u003cp>[gallery type=\"slideshow\" size=\"full\" ids=\"13805410,13805409,13805408,13805407,13805406,13805405,13805400,13805401,13805402,13805403,13805404,13805399,13805398,13805397,13805396,13805395,13805390,13805391,13805392,13805393,13805394,13805389,13805388,13805387,13805386,13805385,13805380,13805381,13805382,13805383,13805384,13805379,13805378,13805377,13805376,13805375,13805369,13805370,13805371,13805372,13805373,13805368,13805363,13805362,13805367,13805366,13805361,13805360,13805365,13805364,13805359,13805357,13805356,13805355,13805353,13805352,13805348,13805349,13805350,13805351\" orderby=\"rand\"]\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 fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"headTitle": "Outside Lands 2017: Saturday’s Music Highlights and Photo Gallery | KQED",
"content": "\u003cp>The second day of Outside Lands was even more eclectic — and hectic — than the first, as the musical lineup brought out interesting cross-sections of Bay Area subcultures. Metalheads partied with ravers in unicorn onesies; college students and first-time festival-goers could both be spotted having sensory overload.\u003c/p>\n\u003cp>Although the \u003ca href=\"https://www.washingtonpost.com/local/fights-in-advance-of-saturday-protest-in-charlottesville/2017/08/12/155fb636-7f13-11e7-83c7-5bd5460f0d7e_story.html?utm_term=.a2b98a9fc2e6\" target=\"_blank\" rel=\"noopener\">tragic news from the Charlottesville protests\u003c/a> was fresh in revelers’ minds, Saturday’s performers were much less bold with their commentary than artists like Noname and Henry Rollins had been on Friday. Instead of specifically calling out white supremacists, or mentioning Donald Trump by name, some bands called for unity through music while many said nothing at all. The lack of overt acknowledgement might have felt disappointing for those checking the news throughout the day, but if anything, the festival offered a momentary escape from turmoil.\u003c/p>\n\u003cp>[gallery type=\"slideshow\" size=\"full\" ids=\"13805324,13805323,13805322,13805321,13805317,13805318,13805319,13805320,13805316,13805315,13805314,13805313,13805309,13805310,13805311,13805312,13805308,13805307,13805306,13805305,13805301,13805302,13805303,13805304,13805300,13805299,13805298,13805297,13805293,13805294,13805295,13805296,13805292,13805291,13805290,13805289,13805284,13805285,13805286,13805287,13805283,13805282,13805281,13805280,13805276,13805277,13805278,13805279\" orderby=\"rand\"]\u003c/p>\n\u003cp>Check out our highlights from Saturday at Outside Lands below, and see coverage from Friday \u003ca href=\"https://ww2.kqed.org/arts/2017/08/12/outside-lands-2017-fridays-music-highlights-and-photo-gallery/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13805308\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Survive-2-800x533.jpg\" alt=\"Survive performs at the Outside Lands music festival in San Francisco, Aug. 12, 2017.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13805308\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Survive-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Survive-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Survive-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Survive-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Survive-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Survive-2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Survive-2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Survive-2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Survive-2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Survive-2-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Survive performs at the Outside Lands music festival in San Francisco, Aug. 12, 2017. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>S U R V I V E\u003c/h2>\n\u003cp>S U R V I V E’s Saturday afternoon set was gear-nerd heaven. The four members of the Austin synthwave quartet stood side-by-side behind forward-facing desks as each musician plugged away at his respective vintage synthesizer. Each looked so lost in what they were doing that they didn’t pay each other — or the audience — much notice. But while they barely communicated, their timing and coordination were impeccable, with pounding electronic instrumentals sounding straight out of an ’80s sci-fi film — calling to mind \u003cem>Blade Runner\u003c/em> and \u003cem>Tron\u003c/em>. (It’s no wonder that S U R V I V E’s Michael Stein and Kyle Dixon composed and performed the \u003ca href=\"https://www.youtube.com/watch?v=5fkN73uEMYw&list=PLHM5aY6TFqReJYC-C_TZ4ftbcs-lYkZEh\" target=\"_blank\" rel=\"noopener\">soundtrack for \u003cem>Stranger Things\u003c/em>\u003c/a>.) As the band’s set progressed, the bass became physically palpable as their synths swelled to epic crescendos. Instead of dancing, the audience stood transfixed, watching the enigmatic musicians in awe.\u003c/p>\n\u003cfigure id=\"attachment_13805280\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/MG_5403-800x533.jpg\" alt=\"The crowd at the Outside Lands music festival in San Francisco, Aug. 12, 2017.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13805280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5403-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5403-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5403-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5403-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5403.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5403-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5403-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5403-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5403-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5403-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the Outside Lands music festival in San Francisco, Aug. 12, 2017. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Kaytranada\u003c/h2>\n\u003cp>While Canadian producer Kaytranada unassumingly bobbed his head behind his laptop, his house-inflected beats sent his audience into an ecstatic frenzy. People crowd-surfed, high-fived strangers, and enthusiastically cheered on each other’s dance moves. A group of 20 or so college bro types joined together in a giant group hug that culminated with one guy trust-falling off his friend’s shoulders into the audience. It’s these kinds of communal exchanges of energy that make trudging through crowds at festivals worth it. Kaytranada played standout tracks from his acclaimed 2016 album, \u003cem>99.9%\u003c/em>, as well as original remixes and instrumentals. His club version of Solange’s “Cranes in the Sky” offered a momentary emotional release (and whetted the audience’s palate for Solange’s Sunday performance). Pulsing, four-on-the-floor beats like “You’re the One” featuring SYD turned the party up yet another notch. Kaytranada’s set was also a rare opportunity to hear the deep-house instrumentals that made his Boiler Room set one of the \u003ca href=\"https://www.youtube.com/watch?v=-5EQIiabJvk\" target=\"_blank\" rel=\"noopener\">most-viewed of all time on YouTube\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13805314\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/The-Avett-Brothers-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-800x533.jpg\" alt=\"The Avett Brothers performs at the Outside Lands music festival in San Francisco, Aug. 12, 2017.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13805314\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/The-Avett-Brothers-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/The-Avett-Brothers-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/The-Avett-Brothers-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/The-Avett-Brothers-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/The-Avett-Brothers-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/The-Avett-Brothers-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/The-Avett-Brothers-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/The-Avett-Brothers-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/The-Avett-Brothers-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/The-Avett-Brothers-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Avett Brothers performs at the Outside Lands music festival in San Francisco, Aug. 12, 2017. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Avett Brothers\u003c/h2>\n\u003cp>The Avett Brothers sure can shred. The North Carolinian seven-piece, led by brothers Scott and Seth Avett, delivered an electrifying performance of country, bluegrass, indie folk, and Southern rock, expanding their twangy melodies into full-out jam sessions. With banjo, guitar, organ, and a full string section, the brothers evolved “Ain’t No Man,” a vigorous stomp with lyrics about independence and self-determination, into a blitz of jovial instrumentation in the vein of Creedence Clearwater Revival and Janis Joplin. During a couple climactic points in the show, Scott Avett sang so fast that his vocals morphed into country-style rapping — an unexpected twist that was met with plenty of cheers. The brothers also nailed \u003ca href=\"https://youtu.be/N5suDkY4kzY\" target=\"_blank\" rel=\"noopener\">a cover of Soundgarden’s “Black Hole Sun”\u003c/a> (“We’re gonna do one by some heroes of ours,” Scott Avett said, in a nod to the \u003ca href=\"http://www.rollingstone.com/music/news/soundgardens-chris-cornell-dead-at-52-w482882\" target=\"_blank\" rel=\"noopener\">recently departed Chris Cornell\u003c/a>) before closing the night with their ballad “No Hard Feelings.”\u003c/p>\n\u003cfigure id=\"attachment_13805303\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Metallica-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-800x533.jpg\" alt=\"Metallica performs at the Outside Lands music festival in San Francisco, Aug. 12, 2017.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13805303\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Metallica-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Metallica-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Metallica-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Metallica-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Metallica-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Metallica-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Metallica-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Metallica-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Metallica-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Metallica-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Metallica performs at the Outside Lands music festival in San Francisco, Aug. 12, 2017. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Metallica\u003c/h2>\n\u003cp>Given the disheartening news from Charlottesville, it was refreshing to hear James Hetfield, the lead singer of Metallica, pointedly declare his gratitude to see “all different styles of music and all kinds of people” at Outside Lands. “We’re here to celebrate life,” he growled into the mic before launching into a two-hour headlining set complete with pyrotechnics, fireworks, and an incredible light show. With 30-plus years in the game, Metallica are masters of entertainment. Hetfield’s onstage demeanor was friendly and effusive — though still tough — and he undoubtedly converted plenty of casual listeners into enthusiastic fans. At one point, he even shouted out two blue- and green-haired elementary schoolers in the front row with their proud metalhead dad. During “Master of Puppets,” red laser beams emanated from the stage, enveloping the audience in a psychedelic grid that changed shape in time with Kirk Hammett’s explosive guitar solo. Sadly, there was no surprise Lady Gaga appearance as rumored for “Moth in the Flame,” which she \u003ca href=\"https://www.youtube.com/watch?v=pdxyVnJMg64\" target=\"_blank\" rel=\"noopener\">performed with the band\u003c/a> at this year’s Grammys. But the ending of Metallica’s set was unforgettable nonetheless, with fireworks and an extended, fiery rendition of “Enter Sandman” that had everyone screaming for an encore.\u003c/p>\n\u003cfigure id=\"attachment_13805282\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/MG_5832-800x533.jpg\" alt=\"The crowd at the Outside Lands music festival in San Francisco, Aug. 12, 2017.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13805282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5832-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5832-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5832-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5832-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5832.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5832-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5832-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5832-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5832-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5832-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the Outside Lands music festival in San Francisco, Aug. 12, 2017. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Bomba Estéreo\u003c/h2>\n\u003cp>Li Saumet, vocalist of Colombian band Bomba Estéreo, shook her neon-orange mane as she danced across the stage in a trailing pink cape. Her colorful look was the personification of Bomba Estéreo’s high-energy set: A fusion of electro-pop, Cumbia, and moombahton that basically sounds like what would happen if The Knife partied in Miami with Pitbull for a weekend. Bomba Estéreo preaches a message of peace and unity through music; the audience pulsated along to “Internacionales,” a track about dance as an international language, as Saumet instructed \u003cem>Baila! Baila!\u003c/em> in Spanish. “It doesn’t matter if you don’t speak Spanish, you can feel it,” she announced to the eager crowd. The audience and band’s enthusiasm created a positive feedback loop that lasted through the duration of the set.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\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_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full 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\n",
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"excerpt": "Saturday's highlights at Outside Lands included Metallica, Kaytranada, the Avett Brothers, Bomba Estéreo and more.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The second day of Outside Lands was even more eclectic — and hectic — than the first, as the musical lineup brought out interesting cross-sections of Bay Area subcultures. Metalheads partied with ravers in unicorn onesies; college students and first-time festival-goers could both be spotted having sensory overload.\u003c/p>\n\u003cp>Although the \u003ca href=\"https://www.washingtonpost.com/local/fights-in-advance-of-saturday-protest-in-charlottesville/2017/08/12/155fb636-7f13-11e7-83c7-5bd5460f0d7e_story.html?utm_term=.a2b98a9fc2e6\" target=\"_blank\" rel=\"noopener\">tragic news from the Charlottesville protests\u003c/a> was fresh in revelers’ minds, Saturday’s performers were much less bold with their commentary than artists like Noname and Henry Rollins had been on Friday. Instead of specifically calling out white supremacists, or mentioning Donald Trump by name, some bands called for unity through music while many said nothing at all. The lack of overt acknowledgement might have felt disappointing for those checking the news throughout the day, but if anything, the festival offered a momentary escape from turmoil.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Check out our highlights from Saturday at Outside Lands below, and see coverage from Friday \u003ca href=\"https://ww2.kqed.org/arts/2017/08/12/outside-lands-2017-fridays-music-highlights-and-photo-gallery/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13805308\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Survive-2-800x533.jpg\" alt=\"Survive performs at the Outside Lands music festival in San Francisco, Aug. 12, 2017.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13805308\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Survive-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Survive-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Survive-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Survive-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Survive-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Survive-2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Survive-2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Survive-2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Survive-2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Survive-2-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Survive performs at the Outside Lands music festival in San Francisco, Aug. 12, 2017. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>S U R V I V E\u003c/h2>\n\u003cp>S U R V I V E’s Saturday afternoon set was gear-nerd heaven. The four members of the Austin synthwave quartet stood side-by-side behind forward-facing desks as each musician plugged away at his respective vintage synthesizer. Each looked so lost in what they were doing that they didn’t pay each other — or the audience — much notice. But while they barely communicated, their timing and coordination were impeccable, with pounding electronic instrumentals sounding straight out of an ’80s sci-fi film — calling to mind \u003cem>Blade Runner\u003c/em> and \u003cem>Tron\u003c/em>. (It’s no wonder that S U R V I V E’s Michael Stein and Kyle Dixon composed and performed the \u003ca href=\"https://www.youtube.com/watch?v=5fkN73uEMYw&list=PLHM5aY6TFqReJYC-C_TZ4ftbcs-lYkZEh\" target=\"_blank\" rel=\"noopener\">soundtrack for \u003cem>Stranger Things\u003c/em>\u003c/a>.) As the band’s set progressed, the bass became physically palpable as their synths swelled to epic crescendos. Instead of dancing, the audience stood transfixed, watching the enigmatic musicians in awe.\u003c/p>\n\u003cfigure id=\"attachment_13805280\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/MG_5403-800x533.jpg\" alt=\"The crowd at the Outside Lands music festival in San Francisco, Aug. 12, 2017.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13805280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5403-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5403-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5403-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5403-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5403.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5403-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5403-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5403-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5403-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5403-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the Outside Lands music festival in San Francisco, Aug. 12, 2017. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Kaytranada\u003c/h2>\n\u003cp>While Canadian producer Kaytranada unassumingly bobbed his head behind his laptop, his house-inflected beats sent his audience into an ecstatic frenzy. People crowd-surfed, high-fived strangers, and enthusiastically cheered on each other’s dance moves. A group of 20 or so college bro types joined together in a giant group hug that culminated with one guy trust-falling off his friend’s shoulders into the audience. It’s these kinds of communal exchanges of energy that make trudging through crowds at festivals worth it. Kaytranada played standout tracks from his acclaimed 2016 album, \u003cem>99.9%\u003c/em>, as well as original remixes and instrumentals. His club version of Solange’s “Cranes in the Sky” offered a momentary emotional release (and whetted the audience’s palate for Solange’s Sunday performance). Pulsing, four-on-the-floor beats like “You’re the One” featuring SYD turned the party up yet another notch. Kaytranada’s set was also a rare opportunity to hear the deep-house instrumentals that made his Boiler Room set one of the \u003ca href=\"https://www.youtube.com/watch?v=-5EQIiabJvk\" target=\"_blank\" rel=\"noopener\">most-viewed of all time on YouTube\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13805314\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/The-Avett-Brothers-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-800x533.jpg\" alt=\"The Avett Brothers performs at the Outside Lands music festival in San Francisco, Aug. 12, 2017.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13805314\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/The-Avett-Brothers-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/The-Avett-Brothers-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/The-Avett-Brothers-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/The-Avett-Brothers-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/The-Avett-Brothers-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/The-Avett-Brothers-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/The-Avett-Brothers-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/The-Avett-Brothers-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/The-Avett-Brothers-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/The-Avett-Brothers-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Avett Brothers performs at the Outside Lands music festival in San Francisco, Aug. 12, 2017. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Avett Brothers\u003c/h2>\n\u003cp>The Avett Brothers sure can shred. The North Carolinian seven-piece, led by brothers Scott and Seth Avett, delivered an electrifying performance of country, bluegrass, indie folk, and Southern rock, expanding their twangy melodies into full-out jam sessions. With banjo, guitar, organ, and a full string section, the brothers evolved “Ain’t No Man,” a vigorous stomp with lyrics about independence and self-determination, into a blitz of jovial instrumentation in the vein of Creedence Clearwater Revival and Janis Joplin. During a couple climactic points in the show, Scott Avett sang so fast that his vocals morphed into country-style rapping — an unexpected twist that was met with plenty of cheers. The brothers also nailed \u003ca href=\"https://youtu.be/N5suDkY4kzY\" target=\"_blank\" rel=\"noopener\">a cover of Soundgarden’s “Black Hole Sun”\u003c/a> (“We’re gonna do one by some heroes of ours,” Scott Avett said, in a nod to the \u003ca href=\"http://www.rollingstone.com/music/news/soundgardens-chris-cornell-dead-at-52-w482882\" target=\"_blank\" rel=\"noopener\">recently departed Chris Cornell\u003c/a>) before closing the night with their ballad “No Hard Feelings.”\u003c/p>\n\u003cfigure id=\"attachment_13805303\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Metallica-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-800x533.jpg\" alt=\"Metallica performs at the Outside Lands music festival in San Francisco, Aug. 12, 2017.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13805303\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Metallica-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Metallica-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Metallica-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Metallica-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Metallica-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Metallica-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Metallica-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Metallica-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Metallica-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Metallica-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Metallica performs at the Outside Lands music festival in San Francisco, Aug. 12, 2017. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Metallica\u003c/h2>\n\u003cp>Given the disheartening news from Charlottesville, it was refreshing to hear James Hetfield, the lead singer of Metallica, pointedly declare his gratitude to see “all different styles of music and all kinds of people” at Outside Lands. “We’re here to celebrate life,” he growled into the mic before launching into a two-hour headlining set complete with pyrotechnics, fireworks, and an incredible light show. With 30-plus years in the game, Metallica are masters of entertainment. Hetfield’s onstage demeanor was friendly and effusive — though still tough — and he undoubtedly converted plenty of casual listeners into enthusiastic fans. At one point, he even shouted out two blue- and green-haired elementary schoolers in the front row with their proud metalhead dad. During “Master of Puppets,” red laser beams emanated from the stage, enveloping the audience in a psychedelic grid that changed shape in time with Kirk Hammett’s explosive guitar solo. Sadly, there was no surprise Lady Gaga appearance as rumored for “Moth in the Flame,” which she \u003ca href=\"https://www.youtube.com/watch?v=pdxyVnJMg64\" target=\"_blank\" rel=\"noopener\">performed with the band\u003c/a> at this year’s Grammys. But the ending of Metallica’s set was unforgettable nonetheless, with fireworks and an extended, fiery rendition of “Enter Sandman” that had everyone screaming for an encore.\u003c/p>\n\u003cfigure id=\"attachment_13805282\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/MG_5832-800x533.jpg\" alt=\"The crowd at the Outside Lands music festival in San Francisco, Aug. 12, 2017.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13805282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5832-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5832-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5832-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5832-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5832.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5832-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5832-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5832-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5832-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5832-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the Outside Lands music festival in San Francisco, Aug. 12, 2017. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Bomba Estéreo\u003c/h2>\n\u003cp>Li Saumet, vocalist of Colombian band Bomba Estéreo, shook her neon-orange mane as she danced across the stage in a trailing pink cape. Her colorful look was the personification of Bomba Estéreo’s high-energy set: A fusion of electro-pop, Cumbia, and moombahton that basically sounds like what would happen if The Knife partied in Miami with Pitbull for a weekend. Bomba Estéreo preaches a message of peace and unity through music; the audience pulsated along to “Internacionales,” a track about dance as an international language, as Saumet instructed \u003cem>Baila! Baila!\u003c/em> in Spanish. “It doesn’t matter if you don’t speak Spanish, you can feel it,” she announced to the eager crowd. The audience and band’s enthusiasm created a positive feedback loop that lasted through the duration of the set.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Outside Lands 2017: Friday’s Music Highlights and Photo Gallery",
"headTitle": "Outside Lands 2017: Friday’s Music Highlights and Photo Gallery | KQED",
"content": "\u003cp>On Friday afternoon, the masses descended upon Golden Gate Park for the annual, three-day marathon of music, comedy, food and mayhem that is Outside Lands. And if the first day was any indication, a little more magic is in the air than usual: After all, this year is \u003ca href=\"https://ww2.kqed.org/arts/2017/08/10/10-years-of-outside-lands-a-look-back-in-pictures/\" target=\"_blank\" rel=\"noopener\">the festival’s 10th anniversary\u003c/a>. The lineup is more star-studded and diverse than ever. And we’re keeping our eyes peeled for surprise guests and \u003ca href=\"https://twitter.com/sirpatstew/status/498589583509311488?lang=en\" target=\"_blank\" rel=\"noopener\">celebrity sightings\u003c/a>.\u003c/p>\n\u003cp>[gallery type=\"slideshow\" size=\"full\" ids=\"13805266,13805265,13805264,13805263,13805259,13805260,13805261,13805262,13805257,13805256,13805255,13805254,13805250,13805251,13805252,13805253,13805249,13805248,13805247,13805246,13805242,13805243,13805244,13805245,13805241,13805240,13805239,13805238,13805234,13805235,13805236,13805237,13805233,13805232,13805231,13805230,13805226,13805227,13805228,13805229,13805225,13805224,13805223,13805222,13805218,13805219,13805220,13805221,13805214,13805215,13805216,13805217,13805213,13805212,13805211,13805210,13805206,13805207,13805208,13805209,13805205\" orderby=\"rand\"]\u003c/p>\n\u003cp>Check out our highlights from the first day of the festival and stay tuned for live updates on Instagram throughout the weekend.\u003c/p>\n\u003cfigure id=\"attachment_13805220\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/MG_4308.jpg\" alt=\"Kali Uchis performs at the Outside Lands music festival in San Francisco, Aug. 11, 2017.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13805220\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4308.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4308-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4308-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4308-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4308-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4308-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4308-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4308-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4308-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4308-520x347.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kali Uchis performs at the Outside Lands music festival in San Francisco, Aug. 11, 2017. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Kali Uchis\u003c/h3>\n\u003cp>Kali Uchis hails from Virginia by way of Colombia, has proven herself to be an artist with vision since her 2013 debut, \u003cem>Drunken Babble\u003c/em>. Her soul-tinged pop, though audibly contemporary, is a direct descendent of lowrider oldies from the ’60s and ’70s. And her pastel-hued wardrobe and music videos complement her vintage sound to a T. Uchis brought all of these elements to life on stage on Friday night at Outside Lands following her sold-out show at the Rickshaw Stop the previous evening. Dressed in all white, she delivered gorgeous vocals in her signature pout, swaying, twirling, and shaking her hips for the audience like the late, great Selena. Tracks from her last project, like “Ridin’ Round,” were audience favorites, but her cover of Elvis Crespo’s “Suavemente” turned into an all-out, Santana-style jam session with a raging dance party to match.\u003c/p>\n\u003cfigure id=\"attachment_13805221\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/MG_4328.jpg\" alt=\"Henry Rollins performs at the Outside Lands music festival in San Francisco, Aug. 11, 2017.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13805221\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4328.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4328-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4328-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4328-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4328-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4328-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4328-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4328-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4328-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4328-520x347.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Henry Rollins performs at the Outside Lands music festival in San Francisco, Aug. 11, 2017. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Henry Rollins\u003c/h3>\n\u003cp>Henry Rollins, the former frontman of legendary ’80s punk band Black Flag, has never had trouble staying in the public eye. After Black Flag disbanded in 1986, he continued a successful solo career with Rollins Band. And in recent years, he’s gained a reputation as an outspoken, progressive media personality with his regular op-eds in the \u003cem>LA Weekly\u003c/em>. Rollins brought his impassioned political viewpoints to the stage at \u003ca href=\"http://lineup.sfoutsidelands.com/?sort=thebarbary\" target=\"_blank\" rel=\"noopener\">The Barbary\u003c/a>, Outside Lands’ comedy tent. In contrast to the hypersensitive stereotype of the liberal “snowflake,” he laid out his progressive politics with plenty of irreverent — and sometimes raunchy — humor. He took jabs at the Trump administration and called out fellow rock legend Ted Nugent for his racism and homophobia. But Rollins remained uproariously self-deprecating throughout, describing in detail how he bombed his comedy show the night of the 2016 election and sharing hilariously humbling experiences from his activist endeavors rather than painting himself as a savior.\u003c/p>\n\u003cfigure id=\"attachment_13805230\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/MG_4474.jpg\" alt=\"Noname performs at the Outside Lands music festival in San Francisco, Aug. 11, 2017.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13805230\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4474.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4474-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4474-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4474-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4474-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4474-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4474-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4474-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4474-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4474-520x347.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Noname performs at the Outside Lands music festival in San Francisco, Aug. 11, 2017. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Noname\u003c/h3>\n\u003cp>Rising Chicago star Noname exuded effortless cool at Outside Lands on Friday night as she strutted across the stage in her denim jacket and halo of curls. The rapper, born Fatimah Warner, got her start competing in poetry slams before acquiring a cult following with her 2016 musical debut, \u003cem>Telefone\u003c/em>. On the mixtape, her rap style is conversational and casual; on stage at Outside Lands, she revved up her motormouth flows and gave her set her all. Tracks like “Yesterday” and “Shadow Man,” both crowd favorites during her performance, were evocative streams of consciousness that prove Noname is a thoughtful — and sometimes pretty funny — observer of the human condition. She has a habit of being plainspoken yet profound: “Casket Pretty,” which she also performed, is a track about losing too many friends to Chicago’s gun violence epidemic. Although Noname admitted that the crowd of mostly white faces made her nervous as she performed the loaded song, the audience gave her reassurance to forge on.\u003c/p>\n\u003cfigure id=\"attachment_10223204\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/Future-Islands-014-e1418851989347.jpg\" alt=\"\" width=\"800\" height=\"480\" class=\"size-full wp-image-10223204\">\u003cfigcaption class=\"wp-caption-text\">Future Islands\u003c/figcaption>\u003c/figure>\n\u003ch3>Future Islands\u003c/h3>\n\u003cp>Baltimore indie rock band Future Islands will probably always be associated with their 2014 performance on \u003cem>The Late Show\u003c/em>, where they managed, in a rare feat, to \u003ca href=\"https://www.youtube.com/watch?v=GK4lD3Uf8_o\" target=\"_blank\" rel=\"noopener\">leave David Letterman astounded.\u003c/a>. Indeed, singer Samuel T. Herring’s emotional delivery is incredibly cathartic; Friday night, he danced, writhed, and clenched his fists as he sang the band’s best-known songs, “Seasons (Waiting On You)” and “Ran,” throwing his entire body into his passionate performance. The band’s driving percussion, punchy bass lines, and melodious synths counterbalanced Herring’s display of raw feeling with the structure of ’80s new wave. Future Islands have one of the most distinct styles out there. And it turns out they’re incredibly fun to dance to, especially if you have a heartbreak you need to shake off.\u003c/p>\n\u003cfigure id=\"attachment_13805257\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/MG_4872.jpg\" alt=\"The crowd watch Gorillaz at the Outside Lands music festival in San Francisco, Aug. 11, 2017.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13805257\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4872.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4872-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4872-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4872-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4872-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4872-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4872-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4872-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4872-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4872-520x347.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The crowd watch Gorillaz at the Outside Lands music festival in San Francisco, Aug. 11, 2017. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Gorillaz\u003c/h3>\n\u003cp>A cartoon band was the perfect way for Damon Albarn, the lead singer of ’90s rock band Blur, to reinvent himself at the start of the new millennium. Gorillaz’ fictional personas gave Albarn the freedom to collaborate with a wide range of musicians, creating a fusion of pop, hip-hop, rock, and even disco and trip-hop that was well ahead of its time. (Calvin Harris, for instance, is currently toping charts with a similarly eclectic, danceable mix of genres.) Gorillaz, whose new album \u003cem>Humanz\u003c/em> came out in April, are now well past the gimmick of a virtual band. During their nearly two-hour headlining set, Albarn rocked out on stage to classics like “Feel Good Inc” and “Clint Eastwood.” But there were also plenty of surprises: Little Dragon, Pusha T, Kali Uchis, Del the Funky Homosapien, and even British rapper Little Simz joined Gorillaz on stage at various points of the evening. Albarn commanded the stage like the spectacle’s ringleader, closing Outside Lands’ first day with panache.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "The 10th annual Outside Lands kicked off with Gorillaz, Future Islands, Noname, Henry Rollins, Kali Uchis and more.",
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"title": "Outside Lands 2017: Friday’s Music Highlights and Photo Gallery | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Friday afternoon, the masses descended upon Golden Gate Park for the annual, three-day marathon of music, comedy, food and mayhem that is Outside Lands. And if the first day was any indication, a little more magic is in the air than usual: After all, this year is \u003ca href=\"https://ww2.kqed.org/arts/2017/08/10/10-years-of-outside-lands-a-look-back-in-pictures/\" target=\"_blank\" rel=\"noopener\">the festival’s 10th anniversary\u003c/a>. The lineup is more star-studded and diverse than ever. And we’re keeping our eyes peeled for surprise guests and \u003ca href=\"https://twitter.com/sirpatstew/status/498589583509311488?lang=en\" target=\"_blank\" rel=\"noopener\">celebrity sightings\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Check out our highlights from the first day of the festival and stay tuned for live updates on Instagram throughout the weekend.\u003c/p>\n\u003cfigure id=\"attachment_13805220\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/MG_4308.jpg\" alt=\"Kali Uchis performs at the Outside Lands music festival in San Francisco, Aug. 11, 2017.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13805220\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4308.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4308-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4308-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4308-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4308-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4308-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4308-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4308-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4308-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4308-520x347.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kali Uchis performs at the Outside Lands music festival in San Francisco, Aug. 11, 2017. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Kali Uchis\u003c/h3>\n\u003cp>Kali Uchis hails from Virginia by way of Colombia, has proven herself to be an artist with vision since her 2013 debut, \u003cem>Drunken Babble\u003c/em>. Her soul-tinged pop, though audibly contemporary, is a direct descendent of lowrider oldies from the ’60s and ’70s. And her pastel-hued wardrobe and music videos complement her vintage sound to a T. Uchis brought all of these elements to life on stage on Friday night at Outside Lands following her sold-out show at the Rickshaw Stop the previous evening. Dressed in all white, she delivered gorgeous vocals in her signature pout, swaying, twirling, and shaking her hips for the audience like the late, great Selena. Tracks from her last project, like “Ridin’ Round,” were audience favorites, but her cover of Elvis Crespo’s “Suavemente” turned into an all-out, Santana-style jam session with a raging dance party to match.\u003c/p>\n\u003cfigure id=\"attachment_13805221\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/MG_4328.jpg\" alt=\"Henry Rollins performs at the Outside Lands music festival in San Francisco, Aug. 11, 2017.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13805221\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4328.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4328-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4328-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4328-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4328-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4328-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4328-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4328-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4328-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4328-520x347.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Henry Rollins performs at the Outside Lands music festival in San Francisco, Aug. 11, 2017. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Henry Rollins\u003c/h3>\n\u003cp>Henry Rollins, the former frontman of legendary ’80s punk band Black Flag, has never had trouble staying in the public eye. After Black Flag disbanded in 1986, he continued a successful solo career with Rollins Band. And in recent years, he’s gained a reputation as an outspoken, progressive media personality with his regular op-eds in the \u003cem>LA Weekly\u003c/em>. Rollins brought his impassioned political viewpoints to the stage at \u003ca href=\"http://lineup.sfoutsidelands.com/?sort=thebarbary\" target=\"_blank\" rel=\"noopener\">The Barbary\u003c/a>, Outside Lands’ comedy tent. In contrast to the hypersensitive stereotype of the liberal “snowflake,” he laid out his progressive politics with plenty of irreverent — and sometimes raunchy — humor. He took jabs at the Trump administration and called out fellow rock legend Ted Nugent for his racism and homophobia. But Rollins remained uproariously self-deprecating throughout, describing in detail how he bombed his comedy show the night of the 2016 election and sharing hilariously humbling experiences from his activist endeavors rather than painting himself as a savior.\u003c/p>\n\u003cfigure id=\"attachment_13805230\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/MG_4474.jpg\" alt=\"Noname performs at the Outside Lands music festival in San Francisco, Aug. 11, 2017.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13805230\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4474.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4474-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4474-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4474-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4474-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4474-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4474-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4474-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4474-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4474-520x347.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Noname performs at the Outside Lands music festival in San Francisco, Aug. 11, 2017. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Noname\u003c/h3>\n\u003cp>Rising Chicago star Noname exuded effortless cool at Outside Lands on Friday night as she strutted across the stage in her denim jacket and halo of curls. The rapper, born Fatimah Warner, got her start competing in poetry slams before acquiring a cult following with her 2016 musical debut, \u003cem>Telefone\u003c/em>. On the mixtape, her rap style is conversational and casual; on stage at Outside Lands, she revved up her motormouth flows and gave her set her all. Tracks like “Yesterday” and “Shadow Man,” both crowd favorites during her performance, were evocative streams of consciousness that prove Noname is a thoughtful — and sometimes pretty funny — observer of the human condition. She has a habit of being plainspoken yet profound: “Casket Pretty,” which she also performed, is a track about losing too many friends to Chicago’s gun violence epidemic. Although Noname admitted that the crowd of mostly white faces made her nervous as she performed the loaded song, the audience gave her reassurance to forge on.\u003c/p>\n\u003cfigure id=\"attachment_10223204\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/Future-Islands-014-e1418851989347.jpg\" alt=\"\" width=\"800\" height=\"480\" class=\"size-full wp-image-10223204\">\u003cfigcaption class=\"wp-caption-text\">Future Islands\u003c/figcaption>\u003c/figure>\n\u003ch3>Future Islands\u003c/h3>\n\u003cp>Baltimore indie rock band Future Islands will probably always be associated with their 2014 performance on \u003cem>The Late Show\u003c/em>, where they managed, in a rare feat, to \u003ca href=\"https://www.youtube.com/watch?v=GK4lD3Uf8_o\" target=\"_blank\" rel=\"noopener\">leave David Letterman astounded.\u003c/a>. Indeed, singer Samuel T. Herring’s emotional delivery is incredibly cathartic; Friday night, he danced, writhed, and clenched his fists as he sang the band’s best-known songs, “Seasons (Waiting On You)” and “Ran,” throwing his entire body into his passionate performance. The band’s driving percussion, punchy bass lines, and melodious synths counterbalanced Herring’s display of raw feeling with the structure of ’80s new wave. Future Islands have one of the most distinct styles out there. And it turns out they’re incredibly fun to dance to, especially if you have a heartbreak you need to shake off.\u003c/p>\n\u003cfigure id=\"attachment_13805257\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/MG_4872.jpg\" alt=\"The crowd watch Gorillaz at the Outside Lands music festival in San Francisco, Aug. 11, 2017.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13805257\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4872.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4872-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4872-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4872-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4872-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4872-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4872-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4872-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4872-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4872-520x347.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The crowd watch Gorillaz at the Outside Lands music festival in San Francisco, Aug. 11, 2017. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Gorillaz\u003c/h3>\n\u003cp>A cartoon band was the perfect way for Damon Albarn, the lead singer of ’90s rock band Blur, to reinvent himself at the start of the new millennium. Gorillaz’ fictional personas gave Albarn the freedom to collaborate with a wide range of musicians, creating a fusion of pop, hip-hop, rock, and even disco and trip-hop that was well ahead of its time. (Calvin Harris, for instance, is currently toping charts with a similarly eclectic, danceable mix of genres.) Gorillaz, whose new album \u003cem>Humanz\u003c/em> came out in April, are now well past the gimmick of a virtual band. During their nearly two-hour headlining set, Albarn rocked out on stage to classics like “Feel Good Inc” and “Clint Eastwood.” But there were also plenty of surprises: Little Dragon, Pusha T, Kali Uchis, Del the Funky Homosapien, and even British rapper Little Simz joined Gorillaz on stage at various points of the evening. Albarn commanded the stage like the spectacle’s ringleader, closing Outside Lands’ first day with panache.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"headTitle": "10 Years of Outside Lands: A Look Back in Photos and Memorable Moments | KQED",
"content": "\u003cp>Outside Lands returns for its 10th year this weekend in Golden Gate Park, and there’s no better time to take a look back at the past decade of music, fashion, and people. There’s been some crazy sights at Outside Lands since 2008 — let’s take a look back, shall we?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003ch2>2008\u003c/h2>\n\u003cp>[gallery type=\"rectangular\" ids=\"13805024,13805025,13805026,13805027,13805028,13805029,13805030,13805031,13805032,13805033,13805034,13805035,13805036,13805037,13805038,13805039,13805040,13805041,13805042,13805043,13805044,13805045,13805046,13805047,13805048\" orderby=\"rand\"]\u003c/p>\n\u003cp>\u003cstrong>In short\u003c/strong>: 2008 was Radiohead’s big year, when the sound famously went out mid-song. Broken Social Scene, Bon Iver and Lupe Fiasco were favorites, and Nellie McKay swore like a sailor when talking about John McCain’s campaign against Barack Obama. Sharon Jones brought a guy from the crowd onstage and taught him how to bump ‘n’ grind. The Somali rapper K’naan played a transcendental set.\u003c/p>\n\u003cp>\u003cstrong>Most Memorable Moment\u003c/strong>: Early in the first day, a 22 oz. can of Budweiser fell on the ground at my feet during Manu Chao’s set. Seconds later, another one came flying over the fence. Then four hands clutched the top of the fence, and the struggling faces of two hopefuls came into view. One guy made it over by sliding head-first into the grass, and the other guy threw himself over in a sideways roll. By that point, a small group of onlookers gathered, and they all applauded while the guys grabbed their cold ones and ran off into the crowd. It would be the first of many attempts — some successful, some not — to \u003cstrong>crash the gates\u003c/strong> at Outside Lands.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003ch2>2009\u003c/h2>\n\u003cp>[gallery type=\"rectangular\" ids=\"13805051,13805052,13805053,13805054,13805055,13805056,13805057,13805058,13805059,13805061,13805062,13805063,13805064,13805065\" orderby=\"rand\"]\u003c/p>\n\u003cp>\u003cstrong>In short\u003c/strong>: 2009 was marked with sadness, as the Beastie Boys had to cancel due to Adam Yauch’s throat cancer. Nobody I knew was happy about their replacement, Tenacious D. The Dead Weather and M.I.A. were both at the height of their powers, and Tom Jones proved an amusing and popular addition — a precursor to the festival’s tradition of booking legacy acts.\u003c/p>\n\u003cp>\u003cstrong>Most Memorable Moment\u003c/strong>: \u003cstrong>Q-Tip’s\u003c/strong> set had already been stellar, and when he started into old Tribe Called Quest favorites — “Scenario,” “Oh My God,” “Check the Rhime” — the crowd lost their collective mind. But that was nothing compared to what happened next, when he brought out surprise guest Phife Dawg — the two weren’t on great terms in those days — for “Award Tour.” Looking back on that moment now, with Phife gone, is pretty emotional:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PTwKWV5Sx94\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003ch2>2010\u003c/h2>\n\u003cp>[gallery type=\"rectangular\" ids=\"13805087,13805086,13805085,13805084,13805080,13805081,13805082,13805083,13805079,13805078,13805077\" orderby=\"rand\"]\u003c/p>\n\u003cp>\u003cstrong>In short\u003c/strong>: Ah, 2010, the year Al Green gave about 10 dozen single roses to ladies in the front row. Phoenix, the Devil Makes Three, and Garage a Trois were highlights. Nas, performing with Damian Marley, accidentally called Africa a “country.” The Budos Band played in the KUSF tent and killed it.\u003c/p>\n\u003cp>\u003cstrong>Most Memorable Moment\u003c/strong>: Fifteen minutes late due to a late flight, \u003cstrong>Janelle Monae\u003c/strong> took to the stage in a black hooded cape, sang the hell out of her songs, danced up a tornado and defied normal human behavior. She even sang Charlie Chaplin’s “Smile,” probably the greatest song about depression ever written. When she ended with “Tightrope,” I walked around the crowd and came upon a dude who was doing backflips and smoking a joint at the same time. Amazing.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003ch2>2011\u003c/h2>\n\u003cp>[gallery type=\"rectangular\" ids=\"13805089,13805090,13805092,13805093,13805094,13805095,13805096,13805097,13805098,13805099,13805100,13805101,13805102,13805103,13805104,13805105,13805106,13805107,13805108,13805109,13805110\" orderby=\"rand\"]\u003c/p>\n\u003cp>\u003cstrong>In short\u003c/strong>: 2011 was the year that Big Boi’s performance was derailed by an unexplained problem with his laptop DJ, and so Dave Chappelle came out for two minutes and placated the crowd. Ellie Goulding was a lesser-known name in the fine print of the lineup, right on the cusp of superstardom. The Meters and tUnE-yArDs were superb, Major Lazer completely destroyed a record-breaking crowd, and Arcade Fire was still capable of generating mass excitement and uplift. For some reason, watermelon-smashing right-wing wacko Gallagher did a comedy set.\u003c/p>\n\u003cp>\u003cstrong>Most Memorable Moment\u003c/strong>: Definitely \u003cstrong>Erykah Badu\u003c/strong>. She opened with “The Healer,” dragging out the chorus at the end: “Hip hop / It’s bigger than the government,” and then led her band into Graham Central Station’s “Happy to See You Again” a capella. Later, they interpolated Freddie Hubbard’s “Red Clay” and Afrika Bambaata’s “Planet Rock.” There were four backup singers, a flute player, a percussionist, the songs were all over the place, it was nuts. Badu herself hovered above, under, in and out of all of it, navigating the shape-shifting arrangements with ease. It was like some miracle from I don’t know where.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003ch2>2012\u003c/h2>\n\u003cp>[gallery type=\"rectangular\" ids=\"13805111,13805112,13805113,13805114,13805115,13805116,13805117,13805118,13805119\" orderby=\"rand\"]\u003c/p>\n\u003cp>\u003cstrong>In short\u003c/strong>: 2012 is when it really start to feel like a banner festival. The first few years of Outside Lands felt music-centered, but Outside Lands was an \u003cem>experience\u003c/em> in 2012, a thing you and all your friends go to, a water-cooler discussion, an Instagram feeding frenzy. “Someday, Another Planet Entertainment may be able to sell it out without even announcing the lineup,” I wrote at the time. Three years later, for early-bird passes, \u003ca href=\"https://ww2.kqed.org/arts/2016/03/30/no-lineup-no-problem-outside-lands-tickets-go-on-sale-anyway/\" target=\"_blank\" rel=\"noopener\">they did\u003c/a>.\u003c/p>\n\u003cp>Neil Young played a long, maddening set with Crazy Horse, Reggie Watts amused a stoned crowd, and Sharon Van Etten was the year’s best surprise. Even Skrillex was outstanding.\u003c/p>\n\u003cp>\u003cstrong>Most Memorable Moment\u003c/strong>: American treasure \u003cstrong>Stevie Wonder\u003c/strong> opened with Marvin Gaye’s “How Sweet It Is,” and then a few songs later did “The Way You Make Me Feel” by Michael Jackson. “It is time to give your love to those who are less fortunate!” he declared, during election season. “It’s time to re-elect Barack Obama!” “Master Blaster,” “Sir Duke,” “My Cherie Amour” and “Living for the City” gave way to “Signed, Sealed, Delivered,” which was perfect in every way. He succeeded in uniting 40,000 people. It was the best way to close out the weekend.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003ch2>2013\u003c/h2>\n\u003cfigure id=\"attachment_13805016\" class=\"wp-caption aligncenter\" style=\"max-width: 612px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/WillieNelson.jpg\" alt=\"Willie Nelson with John Stamos on congas at Outside Lands, 2013. \" width=\"612\" height=\"612\" class=\"size-full wp-image-13805016\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/WillieNelson.jpg 612w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/WillieNelson-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/WillieNelson-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/WillieNelson-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/WillieNelson-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/WillieNelson-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/WillieNelson-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/WillieNelson-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/WillieNelson-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/WillieNelson-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/WillieNelson-150x150.jpg 150w\" sizes=\"(max-width: 612px) 100vw, 612px\">\u003cfigcaption class=\"wp-caption-text\">Willie Nelson with John Stamos on congas at Outside Lands, 2013. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>In short\u003c/strong>: Paul McCartney played in 2013 and, in a \u003ca href=\"http://sanfrancisco.cbslocal.com/2013/08/19/phil-matier-paul-mccartney-to-headline-final-candlestick-concert/\" target=\"_blank\" rel=\"noopener\">backstage meeting\u003c/a> with Mayor Ed Lee, agreed to play the final concert ever at Candlestick Park the next year. The Red Hot Chili Peppers, Nine Inch Nails and Jurassic 5 brought back ’90s vibes. Nile Rodgers showed up with Chic for a dance party.\u003c/p>\n\u003cp>\u003cstrong>Most Memorable Moment\u003c/strong>: Always doing things his way, \u003cstrong>Willie Nelson\u003c/strong> drove to the stage through the crowd in a white van, strapped on his beat-up guitar with a saxophone strap, threw his hat into the audience, and proceeded to play gorgeous song after gorgeous song to the most carefree, fun-loving crowd Outside Lands has seen. John Stamos from \u003cem>Full House\u003c/em> stood to the side of the stage, making eyes and flirting with girls in the crowd before simply joining the band on congas. At the end, the Grateful Dead’s Bob Weir joined in for a finale of “Roll Me Up and Smoke Me When I Die.” Never seen a set at Outside Lands quite like it.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003ch2>2014\u003c/h2>\n\u003cp>[gallery type=\"rectangular\" ids=\"13805121,13805122,13805123,13805124,13805125,13805127,13805128,13805129,13805131,13805132,13805133,13805134,13805135,13805136,13805137,13805138,13805139,13805140,13805141\" orderby=\"rand\"]\u003c/p>\n\u003cp>\u003cstrong>In short\u003c/strong>: Kanye West headlined in 2014 in darkness, with the large TV screens turned off. Haim and Atmosphere attracted giant crowds. Tom Petty returned, while Patrick Stewart showed up for an early appearance with the Improvised Shakespeare Company. And Big Freedia began an annual tradition of “\u003ca href=\"https://www.instagram.com/p/rf6jpLySd6/\" target=\"_blank\" rel=\"noopener\">Booty & Beignets\u003c/a>.”\u003c/p>\n\u003cp>\u003cstrong>Most Memorable Moment\u003c/strong>: Whatever intangible mixture \u003cstrong>Christopher Owens\u003c/strong> used to infuse his set worked beautifully. By far the calmest, most subdued performer all weekend, he also used his band — including an organist and two gospel backup singers — to reach ethereal heights and win over new fans.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003ch2>2015\u003c/h2>\n\u003cp>[gallery type=\"rectangular\" ids=\"10885093,10885096,10885098,10885099,10885100,10885104,10885105,10885108,10886954,10886957,10886958,10886963,10886964,10886970,10886973,10888721,10888719,10886974,10888717,10888727,10888734,10888736,10888737,10888729\" orderby=\"rand\"]\u003c/p>\n\u003cp>\u003cstrong>In short\u003c/strong>: D’Angelo made his mighty return in 2015, while St. Vincent stole hearts. Billy Idol and Elton John held down the Generation X crowd, and a wild tribute to the band from \u003cem>Coming to America\u003c/em> wore powder-blue tuxedos. Fantastic Negrito was detained by the zealous SFPD in a very sketchy situation involving allegations of scalped tickets. Nobody could resist Dan Deacon.\u003c/p>\n\u003cp>https://www.instagram.com/p/6L0CXCSSRC/\u003c/p>\n\u003cp>\u003cstrong>Most Memorable Moment\u003c/strong>: History will not be kind to the scheduling of professional Subaru salesmen the Black Keys on the main stage in the same time slot as \u003cstrong>Kendrick Lamar\u003c/strong>, on the second stage. Though insanely crowded, the whole we’re-all-in-tight-together thing just felt right. Kendrick turned in a festival-friendly set lopsided toward earlier hits instead of dipping deep into the highly politicized, musically experimental material from his just-released masterpiece \u003cem>To Pimp a Butterfly\u003c/em>. But as it stood, he did “i,” “King Kunta,” and for set closer “Alright,” Kendrick dedicated the song to a guy crowd-surfing \u003cem>in a wheelchair\u003c/em>. It was Kendrick’s year. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003ch2>2016\u003c/h2>\n\u003cp>[gallery type=\"rectangular\" ids=\"11901951,11903497,11903671,11903679,11903678,11903682,11903684,11907405,11907960,11907961,11907970,11907966,11907968,11911965,11907977,11911972,11907978,11911976,11911973,11911974,11912298\" orderby=\"rand\"]\u003c/p>\n\u003cp>\u003cstrong>In short\u003c/strong>: The return of LCD Soundsystem in 2016, after just five years of being broken up, was a reminder that nostalgia ain’t what it used to be. 1980s acts like Duran Duran and Lionel Richie were satisfying, as were newer stars like Kehlani, Chance the Rapper, Grimes and Lana Del Rey. Anderson .Paak stole the night from Radiohead, and E-40 played a jam-packed surprise set. \u003c/p>\n\u003cp>\u003cstrong>Most Memorable Moment\u003c/strong>: The hilarious 1970s band from \u003cstrong>The Muppet Show\u003c/strong> (with the help of operators beneath a riser) played a 25-minute set that could have easily been some kind of tech marketing ploy trading on nostalgia. Instead, it felt as pure as the original television shows and movies, with Janice, Dr. Teeth, Animal and the gang joking about operating an “illegal bed and breakfast” in San Franciso’s Haight Street heyday and bringing on the Oakland Interfaith Gospel Choir for a Joe Cocker-inspired version of “With a Little Help from my Friends.” After the smoke settled, the crew of Muppet operators emerged from beneath the riser to a huge burst of screams and applause. \u003c/p>\n\u003cp>Want more recent coverage from 2017 and beyond? \u003ca href=\"https://www.kqed.org/arts/tag/outside-lands\" rel=\"noopener\" target=\"_blank\">See here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Aaaaaaand… that’s a wrap!\u003c/strong> I’ll let local favorites \u003cstrong>Con Brio\u003c/strong>, from the finale of their 2016 set, play us off:\u003c/p>\n\u003cp>https://www.instagram.com/p/BIybAeQg1yd/\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_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full 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>The 10th annual Outside Lands Music Festival runs Friday–Sunday, Aug. 11–13, in Golden Gate Park. \u003ca href=\"https://www.sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. Photos by Gabe Meline, Liz Seward, Estefany Gonzalez, Wendy Goodfriend and David Korman.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Outside Lands returns for its 10th year this weekend, and there's no better time to look back at the past decade of music, fashion, and people at the festival.",
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"description": "Outside Lands returns for its 10th year this weekend, and there's no better time to look back at the past decade of music, fashion, and people at the festival.",
"title": "10 Years of Outside Lands: A Look Back in Photos and Memorable Moments | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Outside Lands returns for its 10th year this weekend in Golden Gate Park, and there’s no better time to take a look back at the past decade of music, fashion, and people. There’s been some crazy sights at Outside Lands since 2008 — let’s take a look back, shall we?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003ch2>2008\u003c/h2>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>In short\u003c/strong>: 2008 was Radiohead’s big year, when the sound famously went out mid-song. Broken Social Scene, Bon Iver and Lupe Fiasco were favorites, and Nellie McKay swore like a sailor when talking about John McCain’s campaign against Barack Obama. Sharon Jones brought a guy from the crowd onstage and taught him how to bump ‘n’ grind. The Somali rapper K’naan played a transcendental set.\u003c/p>\n\u003cp>\u003cstrong>Most Memorable Moment\u003c/strong>: Early in the first day, a 22 oz. can of Budweiser fell on the ground at my feet during Manu Chao’s set. Seconds later, another one came flying over the fence. Then four hands clutched the top of the fence, and the struggling faces of two hopefuls came into view. One guy made it over by sliding head-first into the grass, and the other guy threw himself over in a sideways roll. By that point, a small group of onlookers gathered, and they all applauded while the guys grabbed their cold ones and ran off into the crowd. It would be the first of many attempts — some successful, some not — to \u003cstrong>crash the gates\u003c/strong> at Outside Lands.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>In short\u003c/strong>: 2009 was marked with sadness, as the Beastie Boys had to cancel due to Adam Yauch’s throat cancer. Nobody I knew was happy about their replacement, Tenacious D. The Dead Weather and M.I.A. were both at the height of their powers, and Tom Jones proved an amusing and popular addition — a precursor to the festival’s tradition of booking legacy acts.\u003c/p>\n\u003cp>\u003cstrong>Most Memorable Moment\u003c/strong>: \u003cstrong>Q-Tip’s\u003c/strong> set had already been stellar, and when he started into old Tribe Called Quest favorites — “Scenario,” “Oh My God,” “Check the Rhime” — the crowd lost their collective mind. But that was nothing compared to what happened next, when he brought out surprise guest Phife Dawg — the two weren’t on great terms in those days — for “Award Tour.” Looking back on that moment now, with Phife gone, is pretty emotional:\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/PTwKWV5Sx94'\n title='//www.youtube.com/embed/PTwKWV5Sx94'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003ch2>2010\u003c/h2>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>In short\u003c/strong>: Ah, 2010, the year Al Green gave about 10 dozen single roses to ladies in the front row. Phoenix, the Devil Makes Three, and Garage a Trois were highlights. Nas, performing with Damian Marley, accidentally called Africa a “country.” The Budos Band played in the KUSF tent and killed it.\u003c/p>\n\u003cp>\u003cstrong>Most Memorable Moment\u003c/strong>: Fifteen minutes late due to a late flight, \u003cstrong>Janelle Monae\u003c/strong> took to the stage in a black hooded cape, sang the hell out of her songs, danced up a tornado and defied normal human behavior. She even sang Charlie Chaplin’s “Smile,” probably the greatest song about depression ever written. When she ended with “Tightrope,” I walked around the crowd and came upon a dude who was doing backflips and smoking a joint at the same time. Amazing.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003ch2>2011\u003c/h2>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>In short\u003c/strong>: 2011 was the year that Big Boi’s performance was derailed by an unexplained problem with his laptop DJ, and so Dave Chappelle came out for two minutes and placated the crowd. Ellie Goulding was a lesser-known name in the fine print of the lineup, right on the cusp of superstardom. The Meters and tUnE-yArDs were superb, Major Lazer completely destroyed a record-breaking crowd, and Arcade Fire was still capable of generating mass excitement and uplift. For some reason, watermelon-smashing right-wing wacko Gallagher did a comedy set.\u003c/p>\n\u003cp>\u003cstrong>Most Memorable Moment\u003c/strong>: Definitely \u003cstrong>Erykah Badu\u003c/strong>. She opened with “The Healer,” dragging out the chorus at the end: “Hip hop / It’s bigger than the government,” and then led her band into Graham Central Station’s “Happy to See You Again” a capella. Later, they interpolated Freddie Hubbard’s “Red Clay” and Afrika Bambaata’s “Planet Rock.” There were four backup singers, a flute player, a percussionist, the songs were all over the place, it was nuts. Badu herself hovered above, under, in and out of all of it, navigating the shape-shifting arrangements with ease. It was like some miracle from I don’t know where.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003ch2>2012\u003c/h2>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>In short\u003c/strong>: 2012 is when it really start to feel like a banner festival. The first few years of Outside Lands felt music-centered, but Outside Lands was an \u003cem>experience\u003c/em> in 2012, a thing you and all your friends go to, a water-cooler discussion, an Instagram feeding frenzy. “Someday, Another Planet Entertainment may be able to sell it out without even announcing the lineup,” I wrote at the time. Three years later, for early-bird passes, \u003ca href=\"https://ww2.kqed.org/arts/2016/03/30/no-lineup-no-problem-outside-lands-tickets-go-on-sale-anyway/\" target=\"_blank\" rel=\"noopener\">they did\u003c/a>.\u003c/p>\n\u003cp>Neil Young played a long, maddening set with Crazy Horse, Reggie Watts amused a stoned crowd, and Sharon Van Etten was the year’s best surprise. Even Skrillex was outstanding.\u003c/p>\n\u003cp>\u003cstrong>Most Memorable Moment\u003c/strong>: American treasure \u003cstrong>Stevie Wonder\u003c/strong> opened with Marvin Gaye’s “How Sweet It Is,” and then a few songs later did “The Way You Make Me Feel” by Michael Jackson. “It is time to give your love to those who are less fortunate!” he declared, during election season. “It’s time to re-elect Barack Obama!” “Master Blaster,” “Sir Duke,” “My Cherie Amour” and “Living for the City” gave way to “Signed, Sealed, Delivered,” which was perfect in every way. He succeeded in uniting 40,000 people. It was the best way to close out the weekend.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003ch2>2013\u003c/h2>\n\u003cfigure id=\"attachment_13805016\" class=\"wp-caption aligncenter\" style=\"max-width: 612px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/WillieNelson.jpg\" alt=\"Willie Nelson with John Stamos on congas at Outside Lands, 2013. \" width=\"612\" height=\"612\" class=\"size-full wp-image-13805016\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/WillieNelson.jpg 612w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/WillieNelson-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/WillieNelson-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/WillieNelson-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/WillieNelson-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/WillieNelson-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/WillieNelson-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/WillieNelson-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/WillieNelson-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/WillieNelson-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/WillieNelson-150x150.jpg 150w\" sizes=\"(max-width: 612px) 100vw, 612px\">\u003cfigcaption class=\"wp-caption-text\">Willie Nelson with John Stamos on congas at Outside Lands, 2013. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>In short\u003c/strong>: Paul McCartney played in 2013 and, in a \u003ca href=\"http://sanfrancisco.cbslocal.com/2013/08/19/phil-matier-paul-mccartney-to-headline-final-candlestick-concert/\" target=\"_blank\" rel=\"noopener\">backstage meeting\u003c/a> with Mayor Ed Lee, agreed to play the final concert ever at Candlestick Park the next year. The Red Hot Chili Peppers, Nine Inch Nails and Jurassic 5 brought back ’90s vibes. Nile Rodgers showed up with Chic for a dance party.\u003c/p>\n\u003cp>\u003cstrong>Most Memorable Moment\u003c/strong>: Always doing things his way, \u003cstrong>Willie Nelson\u003c/strong> drove to the stage through the crowd in a white van, strapped on his beat-up guitar with a saxophone strap, threw his hat into the audience, and proceeded to play gorgeous song after gorgeous song to the most carefree, fun-loving crowd Outside Lands has seen. John Stamos from \u003cem>Full House\u003c/em> stood to the side of the stage, making eyes and flirting with girls in the crowd before simply joining the band on congas. At the end, the Grateful Dead’s Bob Weir joined in for a finale of “Roll Me Up and Smoke Me When I Die.” Never seen a set at Outside Lands quite like it.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003ch2>2014\u003c/h2>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>In short\u003c/strong>: Kanye West headlined in 2014 in darkness, with the large TV screens turned off. Haim and Atmosphere attracted giant crowds. Tom Petty returned, while Patrick Stewart showed up for an early appearance with the Improvised Shakespeare Company. And Big Freedia began an annual tradition of “\u003ca href=\"https://www.instagram.com/p/rf6jpLySd6/\" target=\"_blank\" rel=\"noopener\">Booty & Beignets\u003c/a>.”\u003c/p>\n\u003cp>\u003cstrong>Most Memorable Moment\u003c/strong>: Whatever intangible mixture \u003cstrong>Christopher Owens\u003c/strong> used to infuse his set worked beautifully. By far the calmest, most subdued performer all weekend, he also used his band — including an organist and two gospel backup singers — to reach ethereal heights and win over new fans.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003ch2>2015\u003c/h2>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>In short\u003c/strong>: D’Angelo made his mighty return in 2015, while St. Vincent stole hearts. Billy Idol and Elton John held down the Generation X crowd, and a wild tribute to the band from \u003cem>Coming to America\u003c/em> wore powder-blue tuxedos. Fantastic Negrito was detained by the zealous SFPD in a very sketchy situation involving allegations of scalped tickets. Nobody could resist Dan Deacon.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Most Memorable Moment\u003c/strong>: History will not be kind to the scheduling of professional Subaru salesmen the Black Keys on the main stage in the same time slot as \u003cstrong>Kendrick Lamar\u003c/strong>, on the second stage. Though insanely crowded, the whole we’re-all-in-tight-together thing just felt right. Kendrick turned in a festival-friendly set lopsided toward earlier hits instead of dipping deep into the highly politicized, musically experimental material from his just-released masterpiece \u003cem>To Pimp a Butterfly\u003c/em>. But as it stood, he did “i,” “King Kunta,” and for set closer “Alright,” Kendrick dedicated the song to a guy crowd-surfing \u003cem>in a wheelchair\u003c/em>. It was Kendrick’s year. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003ch2>2016\u003c/h2>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>In short\u003c/strong>: The return of LCD Soundsystem in 2016, after just five years of being broken up, was a reminder that nostalgia ain’t what it used to be. 1980s acts like Duran Duran and Lionel Richie were satisfying, as were newer stars like Kehlani, Chance the Rapper, Grimes and Lana Del Rey. Anderson .Paak stole the night from Radiohead, and E-40 played a jam-packed surprise set. \u003c/p>\n\u003cp>\u003cstrong>Most Memorable Moment\u003c/strong>: The hilarious 1970s band from \u003cstrong>The Muppet Show\u003c/strong> (with the help of operators beneath a riser) played a 25-minute set that could have easily been some kind of tech marketing ploy trading on nostalgia. Instead, it felt as pure as the original television shows and movies, with Janice, Dr. Teeth, Animal and the gang joking about operating an “illegal bed and breakfast” in San Franciso’s Haight Street heyday and bringing on the Oakland Interfaith Gospel Choir for a Joe Cocker-inspired version of “With a Little Help from my Friends.” After the smoke settled, the crew of Muppet operators emerged from beneath the riser to a huge burst of screams and applause. \u003c/p>\n\u003cp>Want more recent coverage from 2017 and beyond? \u003ca href=\"https://www.kqed.org/arts/tag/outside-lands\" rel=\"noopener\" target=\"_blank\">See here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Aaaaaaand… that’s a wrap!\u003c/strong> I’ll let local favorites \u003cstrong>Con Brio\u003c/strong>, from the finale of their 2016 set, play us off:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Green Day may have just celebrated its storied past \u003ca href=\"https://ww2.kqed.org/arts/2017/05/16/the-definitive-documentary-on-east-bay-punk-is-coming-pit-warning/\" target=\"_blank\" rel=\"noopener noreferrer\">by producing a documentary on East Bay punk,\u003c/a> but as of Thursday, they’re abandoning another part of their history.\u003c/p>\n\u003cp>\u003ca href=\"http://variety.com/2017/music/news/green-day-manager-pat-magnarella-split-after-21-years-1202522141/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Variety\u003c/em>\u003c/a> reports that, after 21 years, Green Day is no longer being represented by longtime manager Pat Magnarella. The band will now be represented by Crush Music, who manages the likes of Lorde, Courtney Love and Weezer. As for the move, neither the band or Magnarella have commented publicly on why it happened.\u003c/p>\n\u003caside class=\"alignright\">\u003ca id=\"3NeOjrErR8tIrBA57CUsEg\" class=\"gie-single\" href=\"http://www.gettyimages.com/detail/107817213\" target=\"_blank\" style=\"color:#a7a7a7;text-decoration:none;font-weight:normal !important;border:none;display:inline-block;\" rel=\"noopener\">Embed from Getty Images\u003c/a>\u003cscript>window.gie=window.gie||function(c){(gie.q=gie.q||[]).push(c)};gie(function(){gie.widgets.load({id:'3NeOjrErR8tIrBA57CUsEg',sig:'7QNqZZhQBG_mX2UG9IOql0pUlzfIT_TP9l29v9Qn-F8=',w:'392px',h:'594px',items:'107817213',caption: true ,tld:'com',is360: false })});\u003c/script>\u003cscript src=\"//embed-cdn.gettyimages.com/widgets.js\" charset=\"utf-8\" async>\u003c/script>\u003c/aside>\n\u003cp>Magnarella and Green Day’s partnership began a year after the release of its second major-label album, 1995’s \u003cem>Insomniac\u003c/em>. Since then, Magnarella guided the band’s rise from pop-punk prodigies to arena-rock fixtures.\u003c/p>\n\u003cp>In addition to his managerial duties, Magnarella left his mark on Green Day’s multimedia work. He has producer credits on their tour documentary, 2005’s \u003cem>Bullet in a Bible\u003c/em>, and their Broadway rock opera \u003cem>American Idiot\u003c/em>. He’s also managed other alt-rock staples, such as Goo Goo Dolls and the All-American Rejects.\u003c/p>\n\u003cp>Green Day’s twelfth album, \u003cem>Revolution Radio\u003c/em>, was released in 2016. The band are currently on tour in support of the record, playing a homecoming show at the Oakland Coliseum last Saturday.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
"meta": {
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
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}
},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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},
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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},
"freakonomics-radio": {
"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"here-and-now": {
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"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. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"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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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"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",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"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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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"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>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"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?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. 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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"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
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