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"content": "\u003cp>A new film starring Meryl Streep, which opens in the U.S. Friday, tells the improbable story of Florence Foster Jenkins, a real-life New York socialite who pronounced herself a coloratura soprano despite a distinct lack of talent. Who could’ve guessed that Jenkins, who favored elaborate costumes and strangled phrases with abandon, would resurface with such gusto decades after her death in 1944. She’s been the subject of a \u003ca href=\"https://www.youtube.com/watch?v=sRW-zxTpLxQ\" target=\"_blank\" rel=\"noopener\">Broadway play\u003c/a> starring Judy Kaye, a new biography, a \u003ca href=\"https://www.youtube.com/watch?v=UVcatZDdaIY\" target=\"_blank\" rel=\"noopener\">documentary\u003c/a> and now two movies released in the U.S. within the span of six months.\u003c/p>\n\u003cp>The film, \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=HszfdNS0JSc\" target=\"_blank\" rel=\"noopener\">Florence Foster Jenkins\u003c/a>\u003c/em>, directed by Stephen Frears (\u003cem>My Beautiful Laundrette\u003c/em>, \u003cem>Dangerous Liasons\u003c/em>, \u003cem>The Queen\u003c/em>), is an affectionate portrait of the elderly heiress, her aspirations and her illusions — both as singer and lover — as she ramps up to a Carnegie Hall debut.\u003c/p>\n\u003cp>Thanks to Frears, and a bravura performance by Streep, Jenkins’ stock is poised to rise again. A new set of fans will be laughing at the pseudo-soprano’s hilarious original 1940s recordings, which have never been out of print yet have just been reissued once more.\u003c/p>\n\u003cp>Jenkins was in her early 70s when she made the records as a vanity project at the Melotone Recording Studio in Manhattan. By this time, she was a visible presence in New York society, having joined dozens of women’s clubs, many of which she served as music director.\u003c/p>\n\u003cp>\u003cstrong>Musical Dreams\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Born into a wealthy Wilkes-Barre, Pa. family in 1868, Jenkins moved to Manhattan after a failed marriage (to Frank Thornton Jenkins, from whom she contracted syphilis) and the death of her father in 1909. As explained in Donald Collop’s documentary \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=UVcatZDdaIY\" target=\"_blank\" rel=\"noopener\">Florence Foster Jenkins: A World of Her Own\u003c/a>\u003c/em>, her father had suppressed her dreams of becoming a musician, even after her success playing at the White House as a child. Her mother was more sympathetic, joining her in New York and encouraging her pursuits as a socialite and a singer.\u003c/p>\n\u003cp>Not long after their arrival, Jenkins met St. Clair Bayfield, an unemployed British actor. Bayfield quickly became her perceived lover and the manager of her many social affairs, which included producing musical programs, staging operatic scenes and presenting talented young singers at the many women’s clubs. The relationship between Jenkins and Bayfield, complicated by the latter’s secret affair and the fact that the two never lived together, gets tender treatment in Frears’ film, thanks to a nuanced performance by Hugh Grant.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DMu9PKWthLE\u003c/p>\n\u003cp>Jenkins took singing lessons and little by little began to perform at her clubs, at invitation-only recitals at Manhattan’s Ritz-Carlton and as far afield as Newport, R.I. and Washington, D.C. No serious music critics reviewed these performances. In some trade papers like the \u003cem>Musical Courier\u003c/em>, however, notices were surprisingly positive. Some said these might have been penned by the singer’s friends or Jenkins herself. That brings to the front some inevitable questions: Did Jenkins understand how badly she sang, and were her friends and patrons genuinely enthusiastic or just humoring her?\u003c/p>\n\u003cp>\u003cstrong>How Could She Not Have Known?\u003c/strong>\u003c/p>\n\u003cp>Frears’ movie portrays her associates as protective and Jenkins as oblivious. But acclaimed voice teacher Bill Schuman, who has a compelling connection to Jenkins, says she was too smart.\u003c/p>\n\u003cp>“There’s no way she could \u003cem>not\u003c/em> have known,” Schuman said in a telephone interview. “No one is that unaware, especially a person who has developed so much of her time and resources to helping young, really good singers.”\u003c/p>\n\u003cp>One of those young singers Jenkins supported was Louise Frances Bickford, who later became Schuman’s teacher and steered him toward his current profession. Bickford “said that Florence was in on the joke,” Schuman said. “She loved the audience reaction and she loved singing. But she knew.”\u003c/p>\n\u003cp>Mezzo-soprano \u003ca href=\"http://www.npr.org/sections/deceptivecadence/2014/01/16/262473452/marilyn-horne-operas-agile-advocate-turns-80\" target=\"_blank\" rel=\"noopener\">Marilyn Horne\u003c/a> isn’t so sure. “I would say that she maybe didn’t know,” Horne said by phone from her home in Santa Barbara, Calif. “First of all, we can’t hear ourselves as others hear us. We have to go by a series of sensations. We have to feel where it is.” Like hearing an off-key whistler on the street, apparently deaf to errant tones, we can’t always tell how good or bad we sound.\u003c/p>\n\u003cp>Schuman said the inability to hear pitches correctly is not uncommon: “One of the greatest instruments I ever had the honor of teaching unfortunately had a faulty ear. It couldn’t be corrected and it stopped his career. The voice was unbelievable, but the ear was faulty.”\u003c/p>\n\u003cp>Then there’s the issue of Jenkins’ illness, which is also addressed in the film. A long-term syphilis patient, she took regular does of mercury and arsenic, two routine remedies of the day, according to Collop.\u003c/p>\n\u003cp>“It affected her hearing,” he \u003ca href=\"http://www.cbsnews.com/news/meryl-streep-on-playing-the-worlds-worst-singer/\" target=\"_blank\" rel=\"noopener\">told \u003cem>CBS Sunday Morning\u003c/em>\u003c/a>. “And more than likely she had tinnitus, which is a constant hum in her head. It prevented her from singing in tune.”\u003c/p>\n\u003cp>\u003cstrong>The Unforgettable Voice \u003c/strong>\u003c/p>\n\u003cp>No matter what the cause, the voice itself, and what Jenkins did with it, is startling. Horne, who first heard Jenkins’ recordings when she was in her 20s, said that if someone like her would show up at a master class, she’d tell her to “go home.”\u003c/p>\n\u003cp>“No,” Horne added, chuckling, “I would kindly tell her that I think she ought to look elsewhere for her musical kicks, however she wanted them.” Horne believes some people are blessed with good voices, others not so much. “They call it a gift,” she said. “To have a great voice, usually — and I would say 99 percent of the time — you have to be born with it.”\u003c/p>\n\u003cp>Was a voice like Jenkins’ salvageable at all? Schuman says that in Mozart’s Queen of the Night aria, what Jenkins gets wrong comes down to a single word: everything. “There’s no way to even pedagogically discuss it,” he added. “It’s amazing that she’s even attempting to sing that music.”\u003c/p>\n\u003cp>For the movie, Streep, \u003ca href=\"https://www.youtube.com/watch?v=rEhOVT5SaEQ\" target=\"_blank\" rel=\"noopener\">a trained singer\u003c/a>, attempted an imitation of Jenkins’ Mozart aria more often that she might have liked. “I sang it eight times one day,” she \u003ca href=\"https://www.youtube.com/watch?v=Ny9JHVUaW_c\" target=\"_blank\" rel=\"noopener\">told an audience\u003c/a> at New York’s 92nd Street Y. “And then came back and sang it eight times the next day.”\u003c/p>\n\u003cp>For \u003ca href=\"https://www.youtube.com/watch?v=l9uckZU41FQ\" target=\"_blank\" rel=\"noopener\">British morning television\u003c/a>, Streep described what Jenkins did on her recordings: “She’d go off in the weirdest places and it was the particularity of her getting things wrong that was so funny. You can hear her getting ready to sing something and she spends all of her voice on the beginning of the phrase and there’s nothing left at the end and she trails off.”\u003c/p>\n\u003cp>\u003cstrong>A Comic Cottage Industry\u003c/strong>\u003c/p>\n\u003cp>Whether Jenkins was in on the joke or not, she ultimately might have the last laugh. Although there have been musical humorists for centuries (see Mozart’s \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=wzaQixVGoQg\" target=\"_blank\" rel=\"noopener\">A Musical Joke\u003c/a>\u003c/em>), Jenkins’ fame was followed by a virtual cottage industry of mid-century comedic musicians who performed badly for laughs.\u003c/p>\n\u003cp>Perhaps the most apropos example is Michael Flanders and Donald Swann’s “\u003ca href=\"https://www.youtube.com/watch?v=TsnramISJVY\" target=\"_blank\" rel=\"noopener\">A Word on My Ear\u003c/a>,” a song about a tone-deaf diva from around 1950. Among the best was the team of singer Jo Stafford and her husband, the pianist and arranger Paul Weston. Beginning in 1957, as Jonathan and Darlene Edwards, they cut a series of wickedly funny \u003ca href=\"https://www.youtube.com/watch?v=ck_OsaNptC8\" target=\"_blank\" rel=\"noopener\">and purposefully terrible recordings\u003c/a>. That same year saw the release of \u003cem>Music to Suffer By\u003c/em> from Leona Anderson, a \u003ca href=\"https://www.youtube.com/watch?v=78YpG3070XY\" target=\"_blank\" rel=\"noopener\">wobbly-voiced\u003c/a> former silent film actress, while in 1960, Mrs. Miller’s ear-warping renditions of songs like “\u003ca href=\"https://www.youtube.com/watch?v=fw07CDid0JM\" target=\"_blank\" rel=\"noopener\">Downtown\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=o2wheSpxL94\" target=\"_blank\" rel=\"noopener\">A Hard Day’s Night\u003c/a>” began to appear.\u003c/p>\n\u003cp>\u003cstrong>An Improbable Legacy\u003c/strong>\u003c/p>\n\u003cp>Unlikely as it may seem for someone routinely hailed as the world’s worst singer, Jenkins has a legacy that lives on in some of today’s finest opera artists. One could argue that had Jenkins not sponsored Bickford all those years ago, Schuman might have taken quite a different path. And if that’s so, who knows where some his award-winning students would be. Beginning in 2009 Schuman’s protégés won the prestigious Richard Tucker Award four years in a row — tenors \u003ca href=\"http://www.nytimes.com/2015/10/22/arts/music/review-rigoletto-goes-to-the-metropolitan-opera-with-a-chaperone.html\" target=\"_blank\" rel=\"noopener\">Stephen Costello\u003c/a> and James Valenti, and sopranos \u003ca href=\"http://www.npr.org/sections/deceptivecadence/2013/10/07/228542276/guest-dj-angela-meade-hitting-the-big-time-with-help-from-verdi\" target=\"_blank\" rel=\"noopener\">Angela Meade\u003c/a> and Ailyn Pérez.\u003c/p>\n\u003cp>Jenkins finally decided to go big time in 1944 when she rented Carnegie Hall, giving her first truly public recital Oct. 25. By this time her fame in New York was widespread and the hall was filled to capacity, including luminaries like Cole Porter, Gian Carlo Menotti, Lily Pons, Andre Kostelanetz, Tallulah Bankhead and Kitty Carlisle. The following day in the \u003cem>New York Post\u003c/em>, gossip and entertainment columnist Earl Wilson wrote that the concert was “one of the weirdest mass jokes New York has ever seen.”\u003c/p>\n\u003cp>It’s not entirely clear whether such words crushed Jenkins or not. In Frears’ film, we’re to believe the review essentially killed her off the next day. In real life, Jenkins suffered a heart attack five days later while shopping in G. Schirmer’s music store. She died a month after her Carnegie performance, on Nov. 26, at age 76.\u003c/p>\n\u003cp>Somehow, Jenkins’ story still resonates. For Horne, a lot of it has to do with humor: “I think it’s because she was so outrageous, right? She put herself out there and people like to laugh, and that’s what it’s all about.”\u003c/p>\n\u003cp>Schuman thinks Jenkins may trigger the amateur and the fantasist in all of us. “I think everyone’s an aspiring singer,” he said. “You look at \u003cem>American Idol\u003c/em>, you look at all those auditions.” And then there’s Schuman’s personal connection.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I wish we could go back and meet her,” Schuman said. “I just know that my teacher loved her as a person and admired her. She changed my teacher’s whole life, so I owe her, actually, my teaching career. Because of her, my life’s changed and many generations of singers. So, if that’s her impact, that’s an incredible impact.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Killing+Me+Sharply+With+Her+Song%3A+The+Improbable+Story+Of+Florence+Foster+Jenkins&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Born into a wealthy Wilkes-Barre, Pa. family in 1868, Jenkins moved to Manhattan after a failed marriage (to Frank Thornton Jenkins, from whom she contracted syphilis) and the death of her father in 1909. As explained in Donald Collop’s documentary \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=UVcatZDdaIY\" target=\"_blank\" rel=\"noopener\">Florence Foster Jenkins: A World of Her Own\u003c/a>\u003c/em>, her father had suppressed her dreams of becoming a musician, even after her success playing at the White House as a child. Her mother was more sympathetic, joining her in New York and encouraging her pursuits as a socialite and a singer.\u003c/p>\n\u003cp>Not long after their arrival, Jenkins met St. Clair Bayfield, an unemployed British actor. Bayfield quickly became her perceived lover and the manager of her many social affairs, which included producing musical programs, staging operatic scenes and presenting talented young singers at the many women’s clubs. The relationship between Jenkins and Bayfield, complicated by the latter’s secret affair and the fact that the two never lived together, gets tender treatment in Frears’ film, thanks to a nuanced performance by Hugh Grant.\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/DMu9PKWthLE'\n title='//www.youtube.com/embed/DMu9PKWthLE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Jenkins took singing lessons and little by little began to perform at her clubs, at invitation-only recitals at Manhattan’s Ritz-Carlton and as far afield as Newport, R.I. and Washington, D.C. No serious music critics reviewed these performances. In some trade papers like the \u003cem>Musical Courier\u003c/em>, however, notices were surprisingly positive. Some said these might have been penned by the singer’s friends or Jenkins herself. That brings to the front some inevitable questions: Did Jenkins understand how badly she sang, and were her friends and patrons genuinely enthusiastic or just humoring her?\u003c/p>\n\u003cp>\u003cstrong>How Could She Not Have Known?\u003c/strong>\u003c/p>\n\u003cp>Frears’ movie portrays her associates as protective and Jenkins as oblivious. But acclaimed voice teacher Bill Schuman, who has a compelling connection to Jenkins, says she was too smart.\u003c/p>\n\u003cp>“There’s no way she could \u003cem>not\u003c/em> have known,” Schuman said in a telephone interview. “No one is that unaware, especially a person who has developed so much of her time and resources to helping young, really good singers.”\u003c/p>\n\u003cp>One of those young singers Jenkins supported was Louise Frances Bickford, who later became Schuman’s teacher and steered him toward his current profession. Bickford “said that Florence was in on the joke,” Schuman said. “She loved the audience reaction and she loved singing. But she knew.”\u003c/p>\n\u003cp>Mezzo-soprano \u003ca href=\"http://www.npr.org/sections/deceptivecadence/2014/01/16/262473452/marilyn-horne-operas-agile-advocate-turns-80\" target=\"_blank\" rel=\"noopener\">Marilyn Horne\u003c/a> isn’t so sure. “I would say that she maybe didn’t know,” Horne said by phone from her home in Santa Barbara, Calif. “First of all, we can’t hear ourselves as others hear us. We have to go by a series of sensations. We have to feel where it is.” Like hearing an off-key whistler on the street, apparently deaf to errant tones, we can’t always tell how good or bad we sound.\u003c/p>\n\u003cp>Schuman said the inability to hear pitches correctly is not uncommon: “One of the greatest instruments I ever had the honor of teaching unfortunately had a faulty ear. It couldn’t be corrected and it stopped his career. The voice was unbelievable, but the ear was faulty.”\u003c/p>\n\u003cp>Then there’s the issue of Jenkins’ illness, which is also addressed in the film. A long-term syphilis patient, she took regular does of mercury and arsenic, two routine remedies of the day, according to Collop.\u003c/p>\n\u003cp>“It affected her hearing,” he \u003ca href=\"http://www.cbsnews.com/news/meryl-streep-on-playing-the-worlds-worst-singer/\" target=\"_blank\" rel=\"noopener\">told \u003cem>CBS Sunday Morning\u003c/em>\u003c/a>. “And more than likely she had tinnitus, which is a constant hum in her head. It prevented her from singing in tune.”\u003c/p>\n\u003cp>\u003cstrong>The Unforgettable Voice \u003c/strong>\u003c/p>\n\u003cp>No matter what the cause, the voice itself, and what Jenkins did with it, is startling. Horne, who first heard Jenkins’ recordings when she was in her 20s, said that if someone like her would show up at a master class, she’d tell her to “go home.”\u003c/p>\n\u003cp>“No,” Horne added, chuckling, “I would kindly tell her that I think she ought to look elsewhere for her musical kicks, however she wanted them.” Horne believes some people are blessed with good voices, others not so much. “They call it a gift,” she said. “To have a great voice, usually — and I would say 99 percent of the time — you have to be born with it.”\u003c/p>\n\u003cp>Was a voice like Jenkins’ salvageable at all? Schuman says that in Mozart’s Queen of the Night aria, what Jenkins gets wrong comes down to a single word: everything. “There’s no way to even pedagogically discuss it,” he added. “It’s amazing that she’s even attempting to sing that music.”\u003c/p>\n\u003cp>For the movie, Streep, \u003ca href=\"https://www.youtube.com/watch?v=rEhOVT5SaEQ\" target=\"_blank\" rel=\"noopener\">a trained singer\u003c/a>, attempted an imitation of Jenkins’ Mozart aria more often that she might have liked. “I sang it eight times one day,” she \u003ca href=\"https://www.youtube.com/watch?v=Ny9JHVUaW_c\" target=\"_blank\" rel=\"noopener\">told an audience\u003c/a> at New York’s 92nd Street Y. “And then came back and sang it eight times the next day.”\u003c/p>\n\u003cp>For \u003ca href=\"https://www.youtube.com/watch?v=l9uckZU41FQ\" target=\"_blank\" rel=\"noopener\">British morning television\u003c/a>, Streep described what Jenkins did on her recordings: “She’d go off in the weirdest places and it was the particularity of her getting things wrong that was so funny. You can hear her getting ready to sing something and she spends all of her voice on the beginning of the phrase and there’s nothing left at the end and she trails off.”\u003c/p>\n\u003cp>\u003cstrong>A Comic Cottage Industry\u003c/strong>\u003c/p>\n\u003cp>Whether Jenkins was in on the joke or not, she ultimately might have the last laugh. Although there have been musical humorists for centuries (see Mozart’s \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=wzaQixVGoQg\" target=\"_blank\" rel=\"noopener\">A Musical Joke\u003c/a>\u003c/em>), Jenkins’ fame was followed by a virtual cottage industry of mid-century comedic musicians who performed badly for laughs.\u003c/p>\n\u003cp>Perhaps the most apropos example is Michael Flanders and Donald Swann’s “\u003ca href=\"https://www.youtube.com/watch?v=TsnramISJVY\" target=\"_blank\" rel=\"noopener\">A Word on My Ear\u003c/a>,” a song about a tone-deaf diva from around 1950. Among the best was the team of singer Jo Stafford and her husband, the pianist and arranger Paul Weston. Beginning in 1957, as Jonathan and Darlene Edwards, they cut a series of wickedly funny \u003ca href=\"https://www.youtube.com/watch?v=ck_OsaNptC8\" target=\"_blank\" rel=\"noopener\">and purposefully terrible recordings\u003c/a>. That same year saw the release of \u003cem>Music to Suffer By\u003c/em> from Leona Anderson, a \u003ca href=\"https://www.youtube.com/watch?v=78YpG3070XY\" target=\"_blank\" rel=\"noopener\">wobbly-voiced\u003c/a> former silent film actress, while in 1960, Mrs. Miller’s ear-warping renditions of songs like “\u003ca href=\"https://www.youtube.com/watch?v=fw07CDid0JM\" target=\"_blank\" rel=\"noopener\">Downtown\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=o2wheSpxL94\" target=\"_blank\" rel=\"noopener\">A Hard Day’s Night\u003c/a>” began to appear.\u003c/p>\n\u003cp>\u003cstrong>An Improbable Legacy\u003c/strong>\u003c/p>\n\u003cp>Unlikely as it may seem for someone routinely hailed as the world’s worst singer, Jenkins has a legacy that lives on in some of today’s finest opera artists. One could argue that had Jenkins not sponsored Bickford all those years ago, Schuman might have taken quite a different path. And if that’s so, who knows where some his award-winning students would be. Beginning in 2009 Schuman’s protégés won the prestigious Richard Tucker Award four years in a row — tenors \u003ca href=\"http://www.nytimes.com/2015/10/22/arts/music/review-rigoletto-goes-to-the-metropolitan-opera-with-a-chaperone.html\" target=\"_blank\" rel=\"noopener\">Stephen Costello\u003c/a> and James Valenti, and sopranos \u003ca href=\"http://www.npr.org/sections/deceptivecadence/2013/10/07/228542276/guest-dj-angela-meade-hitting-the-big-time-with-help-from-verdi\" target=\"_blank\" rel=\"noopener\">Angela Meade\u003c/a> and Ailyn Pérez.\u003c/p>\n\u003cp>Jenkins finally decided to go big time in 1944 when she rented Carnegie Hall, giving her first truly public recital Oct. 25. By this time her fame in New York was widespread and the hall was filled to capacity, including luminaries like Cole Porter, Gian Carlo Menotti, Lily Pons, Andre Kostelanetz, Tallulah Bankhead and Kitty Carlisle. The following day in the \u003cem>New York Post\u003c/em>, gossip and entertainment columnist Earl Wilson wrote that the concert was “one of the weirdest mass jokes New York has ever seen.”\u003c/p>\n\u003cp>It’s not entirely clear whether such words crushed Jenkins or not. In Frears’ film, we’re to believe the review essentially killed her off the next day. In real life, Jenkins suffered a heart attack five days later while shopping in G. Schirmer’s music store. She died a month after her Carnegie performance, on Nov. 26, at age 76.\u003c/p>\n\u003cp>Somehow, Jenkins’ story still resonates. For Horne, a lot of it has to do with humor: “I think it’s because she was so outrageous, right? She put herself out there and people like to laugh, and that’s what it’s all about.”\u003c/p>\n\u003cp>Schuman thinks Jenkins may trigger the amateur and the fantasist in all of us. “I think everyone’s an aspiring singer,” he said. “You look at \u003cem>American Idol\u003c/em>, you look at all those auditions.” And then there’s Schuman’s personal connection.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I wish we could go back and meet her,” Schuman said. “I just know that my teacher loved her as a person and admired her. She changed my teacher’s whole life, so I owe her, actually, my teaching career. Because of her, my life’s changed and many generations of singers. So, if that’s her impact, that’s an incredible impact.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Killing+Me+Sharply+With+Her+Song%3A+The+Improbable+Story+Of+Florence+Foster+Jenkins&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Lawsuit: Ed Sheeran Copied R&B Classic 'Let's Get It On'",
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"content": "\u003cp>The family of a co-writer of Marvin Gaye’s “Let’s Get It On” is suing Ed Sheeran, claiming the British singer-songwriter’s hit, “Thinking Out Loud,” sounds too much like the soul classic.\u003c/p>\n\u003cp>The lawsuit filed by the family of Ed Townsend claims Sheeran copied the “heart” of “Let’s Get It On” and repeated it continuously throughout “Thinking Out Loud.” It says Sheeran continued to perform the song even after he was notified of the copyright infringement claim last year.\u003c/p>\n\u003cp>The family is demanding a jury trial and compensation for damages.\u003c/p>\n\u003cp>The suit also names “Thinking Out Loud” co-writer Amy Wadge, producer Jake Gosling, Sony/ATV Music Publishing, Atlantic Records, Warner Bros. and others.\u003c/p>\n\u003cp>Sheeran’s representatives didn’t immediately respond to a request for comment.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The family of a co-writer of Marvin Gaye’s “Let’s Get It On” is suing Ed Sheeran, claiming the British singer-songwriter’s hit, “Thinking Out Loud,” sounds too much like the soul classic.\u003c/p>\n\u003cp>The lawsuit filed by the family of Ed Townsend claims Sheeran copied the “heart” of “Let’s Get It On” and repeated it continuously throughout “Thinking Out Loud.” It says Sheeran continued to perform the song even after he was notified of the copyright infringement claim last year.\u003c/p>\n\u003cp>The family is demanding a jury trial and compensation for damages.\u003c/p>\n\u003cp>The suit also names “Thinking Out Loud” co-writer Amy Wadge, producer Jake Gosling, Sony/ATV Music Publishing, Atlantic Records, Warner Bros. and others.\u003c/p>\n\u003cp>Sheeran’s representatives didn’t immediately respond to a request for comment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "In Which We Are Vaguely Depressed About Snoop Dogg and Martha Stewart's Cooking Show",
"title": "In Which We Are Vaguely Depressed About Snoop Dogg and Martha Stewart's Cooking Show",
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"content": "\u003cp>In September 1993, the rapper then-known as Snoop Doggy Dogg was in the middle of what would prove to be the most fraught and controversial month of his entire career. He'd been \u003ca href=\"http://articles.latimes.com/1993-09-04/local/me-31460_1_rap-singer-snoop-doggy-dogg\">charged with murder\u003c/a>, and only turned himself in to the cops after he'd had the chance to award the Best R&B Video moonman to En Vogue at that year's VMAs.\u003c/p>\n\u003cp>Snoop was still up-and-coming at the time and to miss that prominent MTV spotlight, alongside his friend Dr. Dre, would've cost him some serious prime-time exposure. Legend has it, he drove to the police station to hand himself in directly from the award show.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-hIjgofcuWU\u003c/p>\n\u003cp>Meanwhile, on the other side of the country, a tightly wound white lady by the name of Martha Stewart also found her public profile expanding. September 1993 was when her first TV show (named after her then-quarterly magazine) launched; little did she know that \u003ca href=\"http://www.tv.com/shows/martha-stewart-living/\">\u003cem>Martha Stewart Living\u003c/em>\u003c/a> was just the start of a multi-million dollar empire.\u003c/p>\n\u003cp>In the mid-1990s, the idea that Snoop and Martha would ever so much as be in the same room as each other was utterly laughable. Around the same time that a UK newspaper was splashing Snoop's mug next to the headline \"\u003ca href=\"http://cdn-03.independent.ie/incoming/article31254782.ece/f34fe/AUTOCROP/w620/Dg%20daily%20star.jpg\">KICK THIS EVIL BASTARD OUT!\u003c/a>\", Martha Stewart was puttering about in wood-paneled rooms, talking to a national audience of homemakers about \u003ca href=\"http://a%20national%20audience%20of%20homemakers.\">table centerpieces\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But here we are, two decades later, and the news that Martha and Snoop have just been hired by VH1 to host a cooking show together (titled \u003cem>\u003ca href=\"http://variety.com/2016/tv/news/martha-stewart-snoop-dogg-vh1-dinner-party-1201832529/\">Martha & Snoop’s Dinner Party\u003c/a>\u003c/em>) doesn't actually seem completely insane. Which is, in and of itself, kind of insane. Maybe the world might look at these two very different humans, making this probably-comedic show together, and take it as an example of how success levels the social and cultural playing field ... but there's also something about \u003cem>Martha & Snoop's Dinner Party\u003c/em> that's a little depressing.\u003c/p>\n\u003cp>After her arrest, 2004 conviction for insider trading, and subsequent prison sentence, Stewart had to shift some major gears before she could make her return to the public eye a successful one. Given that most of the people who liked her brand pre-jail-time declared her career over as soon as she was convicted, Stewart did the smartest thing she could: Post-release, she started juxtaposing her squeaky clean WASP image of old with a very palpable edge.\u003c/p>\n\u003cp>Snoop is not the kind of guest Martha Stewart could invite onto her show before she'd done some time, but a 2008 clip in which Snoop goes rogue on Martha as she's showing him how to make the most fattening mashed potatoes in the world remains a YouTube favorite. By the time the two got back together in 2015, under the guise of making Christmas brownies, the double act was almost entirely centered around \u003ca href=\"https://www.youtube.com/watch?v=pubH1prBf84\">weed jokes\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-Ocre0kXgvg\u003c/p>\n\u003cp>Last year also saw Stewart resorting to joining in on Comedy Central's \u003ca href=\"https://www.youtube.com/watch?v=9V3PhXNNMGg\">roast of Justin Bieber\u003c/a>, even though her presence there made absolutely no sense whatsoever. \"Look!\" the joke seemed to be, \"Martha Stewart says mean things too! What a crazy badass!\"\u003c/p>\n\u003cp>Snoop has, of course, also adapted and changed over the last 20 years, but it feels altogether more organic. The biggest shift for the rapper came 10 years into his career, when he was finally permitted to show the world that he had an endearingly dorky, highly self-aware sense of humor. This came in the form of MTV's\u003cem> \u003ca href=\"https://www.youtube.com/watch?v=lSjf2M8xSIU\">Doggy Fizzle Televizzle\u003c/a>\u003c/em> in 2002 -- the first time he realized that people liked it when he put himself next to non-\"hood\" things and carried on being Snoop. (The first episode of \u003cem>Televizzle\u003c/em> put him in a bus full of senior citizens and gave him a microphone.)\u003c/p>\n\u003cp>Snoop's non-music profile peaked with the role of Huggy Bear in 2004's \u003ca href=\"https://en.wikipedia.org/wiki/Starsky_%26_Hutch_(film)\">\u003cem>Starsky & Hutch\u003c/em> \u003c/a>remake -- a role that was probably supposed to be amusing because pre-fame Snoop literally \u003ca href=\"http://www.rollingstone.com/music/news/snoop-lion-opens-up-about-his-pimp-past-20130508\">worked as a pimp.\u003c/a> (\u003cem>Hilarious\u003c/em>, obviously.) Even with that in mind, he was still one of the best things in the movie.\u003c/p>\n\u003cp>Since then, Snoop's done everything from \u003ca href=\"https://www.youtube.com/watch?v=Kgjy-k5mOqA\">GPS voiceover\u003c/a> work to a \u003ca href=\"https://www.youtube.com/channel/UC-OO324clObi3H-U0bP77dw\">GGN radio\u003c/a> show to inventing a new reggae-based persona for himself named \u003ca href=\"https://www.youtube.com/watch?v=-MI3CKL4NMI\">Snoop Lion\u003c/a>. One gets the impression that Snoop has a hard time saying no to anything; that if something looks like it might be fun for him to do, and that he might make some money out of it, that's an automatic yes. His brand is far from delicate.\u003c/p>\n\u003cp>Martha Stewart's reasoning for signing on to a cooking show co-hosted by Snoop Dogg looks considerably more contrived. Stewart's whole brand has been under siege for a few years now, thanks to new competition from high-end companies started by a new wave of rich-white-lady homemakers. It's clear she's feeling threatened: she's \u003ca href=\"http://www.huffingtonpost.com/2014/10/13/martha-stewart-gwyneth-paltrow_n_5966142.html\">talked some sh*t\u003c/a> about \u003ca href=\"http://ww2.kqed.org/pop/2016/05/06/deep-breaths-a-dispatch-from-the-gwyneth-paltrow-industrial-complex/\" target=\"_blank\">Goop's Gwyneth Paltrow\u003c/a> several times, when she would be much better off trying to collaborate with her.\u003c/p>\n\u003cp>To make matters worse, Martha is having difficulty keeping up her down-with-the-kids image -- which is not surprising when that's not, naturally, who she's ever really been. Stewart's recent \u003ca href=\"http://nymag.com/thecut/2016/07/martha-stewart-millennials-tomato-plant.html\">outburst about millennials\u003c/a>, in which she labeled an entire generation lazy and stupid doesn't exactly endear her to a younger audience. It's really hard to like someone, even ironically, when they've just said about you: \"They don’t know anything… They know how to make money and how to develop software, but they don’t know how to plant a tree.\"\u003c/p>\n\u003cp>In the end, Martha Stewart needs this TV show more than Snoop does, because she desperately needs people to like her more right now -- something Snoop's never really had a problem with. Stewart needs to show the world she still has something to offer, and if Snoop's by her side, she knows people will tune in for the odd couple act. Snoop's laid-back presence is just about the only thing on Earth that genuinely makes Martha Stewart seem not so uptight.\u003c/p>\n\u003cp>In the end, this might be a good show. It might be a funny show. But Snoop and Martha (and their writers) should keep in mind that it's hard to keep a single joke going for an entire season of anything, and make plans accordingly. Snoop has the ability to move onto the next thing and be just fine; he's the personification of going with the flow. Stewart's proven herself to be a survivor before, but she's scraping at the bottom of something for laughs here, and instinct says you don't bounce back quite so easily from failed self-parody.\u003c/p>\n\u003cp>Are we not giving her enough credit? Is Martha suddenly going to seem down-to-earth in a cool, street-smart, yet not desperate way? It'd be lovely to be surprised -- but either way, joke's on us: We'll just have to tune in this fall to find out.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In September 1993, the rapper then-known as Snoop Doggy Dogg was in the middle of what would prove to be the most fraught and controversial month of his entire career. He'd been \u003ca href=\"http://articles.latimes.com/1993-09-04/local/me-31460_1_rap-singer-snoop-doggy-dogg\">charged with murder\u003c/a>, and only turned himself in to the cops after he'd had the chance to award the Best R&B Video moonman to En Vogue at that year's VMAs.\u003c/p>\n\u003cp>Snoop was still up-and-coming at the time and to miss that prominent MTV spotlight, alongside his friend Dr. Dre, would've cost him some serious prime-time exposure. Legend has it, he drove to the police station to hand himself in directly from the award show.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/-hIjgofcuWU'\n title='//www.youtube.com/embed/-hIjgofcuWU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Meanwhile, on the other side of the country, a tightly wound white lady by the name of Martha Stewart also found her public profile expanding. September 1993 was when her first TV show (named after her then-quarterly magazine) launched; little did she know that \u003ca href=\"http://www.tv.com/shows/martha-stewart-living/\">\u003cem>Martha Stewart Living\u003c/em>\u003c/a> was just the start of a multi-million dollar empire.\u003c/p>\n\u003cp>In the mid-1990s, the idea that Snoop and Martha would ever so much as be in the same room as each other was utterly laughable. Around the same time that a UK newspaper was splashing Snoop's mug next to the headline \"\u003ca href=\"http://cdn-03.independent.ie/incoming/article31254782.ece/f34fe/AUTOCROP/w620/Dg%20daily%20star.jpg\">KICK THIS EVIL BASTARD OUT!\u003c/a>\", Martha Stewart was puttering about in wood-paneled rooms, talking to a national audience of homemakers about \u003ca href=\"http://a%20national%20audience%20of%20homemakers.\">table centerpieces\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But here we are, two decades later, and the news that Martha and Snoop have just been hired by VH1 to host a cooking show together (titled \u003cem>\u003ca href=\"http://variety.com/2016/tv/news/martha-stewart-snoop-dogg-vh1-dinner-party-1201832529/\">Martha & Snoop’s Dinner Party\u003c/a>\u003c/em>) doesn't actually seem completely insane. Which is, in and of itself, kind of insane. Maybe the world might look at these two very different humans, making this probably-comedic show together, and take it as an example of how success levels the social and cultural playing field ... but there's also something about \u003cem>Martha & Snoop's Dinner Party\u003c/em> that's a little depressing.\u003c/p>\n\u003cp>After her arrest, 2004 conviction for insider trading, and subsequent prison sentence, Stewart had to shift some major gears before she could make her return to the public eye a successful one. Given that most of the people who liked her brand pre-jail-time declared her career over as soon as she was convicted, Stewart did the smartest thing she could: Post-release, she started juxtaposing her squeaky clean WASP image of old with a very palpable edge.\u003c/p>\n\u003cp>Snoop is not the kind of guest Martha Stewart could invite onto her show before she'd done some time, but a 2008 clip in which Snoop goes rogue on Martha as she's showing him how to make the most fattening mashed potatoes in the world remains a YouTube favorite. By the time the two got back together in 2015, under the guise of making Christmas brownies, the double act was almost entirely centered around \u003ca href=\"https://www.youtube.com/watch?v=pubH1prBf84\">weed jokes\u003c/a>.\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/-Ocre0kXgvg'\n title='//www.youtube.com/embed/-Ocre0kXgvg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Last year also saw Stewart resorting to joining in on Comedy Central's \u003ca href=\"https://www.youtube.com/watch?v=9V3PhXNNMGg\">roast of Justin Bieber\u003c/a>, even though her presence there made absolutely no sense whatsoever. \"Look!\" the joke seemed to be, \"Martha Stewart says mean things too! What a crazy badass!\"\u003c/p>\n\u003cp>Snoop has, of course, also adapted and changed over the last 20 years, but it feels altogether more organic. The biggest shift for the rapper came 10 years into his career, when he was finally permitted to show the world that he had an endearingly dorky, highly self-aware sense of humor. This came in the form of MTV's\u003cem> \u003ca href=\"https://www.youtube.com/watch?v=lSjf2M8xSIU\">Doggy Fizzle Televizzle\u003c/a>\u003c/em> in 2002 -- the first time he realized that people liked it when he put himself next to non-\"hood\" things and carried on being Snoop. (The first episode of \u003cem>Televizzle\u003c/em> put him in a bus full of senior citizens and gave him a microphone.)\u003c/p>\n\u003cp>Snoop's non-music profile peaked with the role of Huggy Bear in 2004's \u003ca href=\"https://en.wikipedia.org/wiki/Starsky_%26_Hutch_(film)\">\u003cem>Starsky & Hutch\u003c/em> \u003c/a>remake -- a role that was probably supposed to be amusing because pre-fame Snoop literally \u003ca href=\"http://www.rollingstone.com/music/news/snoop-lion-opens-up-about-his-pimp-past-20130508\">worked as a pimp.\u003c/a> (\u003cem>Hilarious\u003c/em>, obviously.) Even with that in mind, he was still one of the best things in the movie.\u003c/p>\n\u003cp>Since then, Snoop's done everything from \u003ca href=\"https://www.youtube.com/watch?v=Kgjy-k5mOqA\">GPS voiceover\u003c/a> work to a \u003ca href=\"https://www.youtube.com/channel/UC-OO324clObi3H-U0bP77dw\">GGN radio\u003c/a> show to inventing a new reggae-based persona for himself named \u003ca href=\"https://www.youtube.com/watch?v=-MI3CKL4NMI\">Snoop Lion\u003c/a>. One gets the impression that Snoop has a hard time saying no to anything; that if something looks like it might be fun for him to do, and that he might make some money out of it, that's an automatic yes. His brand is far from delicate.\u003c/p>\n\u003cp>Martha Stewart's reasoning for signing on to a cooking show co-hosted by Snoop Dogg looks considerably more contrived. Stewart's whole brand has been under siege for a few years now, thanks to new competition from high-end companies started by a new wave of rich-white-lady homemakers. It's clear she's feeling threatened: she's \u003ca href=\"http://www.huffingtonpost.com/2014/10/13/martha-stewart-gwyneth-paltrow_n_5966142.html\">talked some sh*t\u003c/a> about \u003ca href=\"http://ww2.kqed.org/pop/2016/05/06/deep-breaths-a-dispatch-from-the-gwyneth-paltrow-industrial-complex/\" target=\"_blank\">Goop's Gwyneth Paltrow\u003c/a> several times, when she would be much better off trying to collaborate with her.\u003c/p>\n\u003cp>To make matters worse, Martha is having difficulty keeping up her down-with-the-kids image -- which is not surprising when that's not, naturally, who she's ever really been. Stewart's recent \u003ca href=\"http://nymag.com/thecut/2016/07/martha-stewart-millennials-tomato-plant.html\">outburst about millennials\u003c/a>, in which she labeled an entire generation lazy and stupid doesn't exactly endear her to a younger audience. It's really hard to like someone, even ironically, when they've just said about you: \"They don’t know anything… They know how to make money and how to develop software, but they don’t know how to plant a tree.\"\u003c/p>\n\u003cp>In the end, Martha Stewart needs this TV show more than Snoop does, because she desperately needs people to like her more right now -- something Snoop's never really had a problem with. Stewart needs to show the world she still has something to offer, and if Snoop's by her side, she knows people will tune in for the odd couple act. Snoop's laid-back presence is just about the only thing on Earth that genuinely makes Martha Stewart seem not so uptight.\u003c/p>\n\u003cp>In the end, this might be a good show. It might be a funny show. But Snoop and Martha (and their writers) should keep in mind that it's hard to keep a single joke going for an entire season of anything, and make plans accordingly. Snoop has the ability to move onto the next thing and be just fine; he's the personification of going with the flow. Stewart's proven herself to be a survivor before, but she's scraping at the bottom of something for laughs here, and instinct says you don't bounce back quite so easily from failed self-parody.\u003c/p>\n\u003cp>Are we not giving her enough credit? Is Martha suddenly going to seem down-to-earth in a cool, street-smart, yet not desperate way? It'd be lovely to be surprised -- but either way, joke's on us: We'll just have to tune in this fall to find out.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Why Taylor Swift is Asking Congress to Update Copyright Laws",
"headTitle": "Why Taylor Swift is Asking Congress to Update Copyright Laws | KQED",
"content": "\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/487291905/489218091\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>Congress is in the midst of a review of the copyright laws to make sure they’re up to date. Some of the recording industry’s biggest stars, among them Taylor Swift, Katy Perry and Paul McCartney, recently \u003ca href=\"http://www.billboard.com/articles/news/7408970/taylor-swift-paul-mccartney-180-artists-signing-petition-digital\" target=\"_blank\" rel=\"noopener\">signed a letter\u003c/a> urging lawmakers to make reforms.\u003c/p>\n\u003cp>The artists say that aspects of the law, which were written in the late 1990s, make it too easy for tech companies to ignore rampant piracy on their sites and put too much responsibility on the artists themselves to find the illegal music files.\u003c/p>\n\u003cp>It may be hard to feel sorry for high-profile artists like Taylor Swift — but you might feel bad for Sam Rosenthal, who runs a small independent label, Projekt Records. He’s been making a living as a musician and producer of electronic music for 30 years. Over the last decade, he says he’s struggled to keep his business alive.\u003c/p>\n\u003cp>“It involves continuously finding more ways to save and downsizing. And trying to keep ahead of the decline basically,” Rosenthal says. “I had 11 people working for me in the ’90s and now I have two part-time people working for me.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Like a lot of people in the music business, Rosenthal puts the blame on rampant online piracy. He points to one of the electronic musicians that he produces, \u003ca href=\"http://www.steveroach.com/\">Steve Roach\u003c/a>.\u003c/p>\n\u003cp>“He’s pretty much lived his life to create art. He is really dedicated to it,” Rosenthal says. “He puts a lot of time into his work and also money into the studio to have the best possible album.”\u003c/p>\n\u003cp>And that used to pay. Rosenthal says Roach’s albums regularly sold 50,000 to 60,000 copies. But that was before the days of massive file sharing on the Internet. Now, a quick search on Google will take you to sites where you can download copies of Roach’s music for free.\u003c/p>\n\u003cp>And here’s where Rosenthal gets angry about copyright law: Google is not responsible for taking down links to the pirated song unless Roach or his label let Google know it’s there. Rosenthal says it’s tough to play Internet detective for all the artists on his label, especially when every time one illegal link gets taken down another one pops up.\u003c/p>\n\u003cp>“It’s a really unreasonable expectation,” he says, “that I would have the time to chase people all day when I should be running a business and making music.”\u003c/p>\n\u003cp>The problem, he says, is the “safe harbor” provision of the Digital Millennium Copyright Act. It was written when Congress was revising the copyright laws in 1998 to account for the growing presence of the Internet and protects Internet services from financial liability if people use them to post unauthorized copyrighted material.\u003c/p>\n\u003cp>\u003cstrong>“Designed for a different age”\u003c/strong>\u003c/p>\n\u003cp>“It was a system designed for a different age,” admits Jim Burger, a copyright attorney who represented tech companies at the time. “It’s like traffic rules for carriages with horses, and you have autonomous cars now.”\u003c/p>\n\u003cp>When the law was being written, Google had just been founded and YouTube didn’t exist. “The concern that Congress clearly had in mind was it did not want to throttle or chill innovation and expansion of the Internet,” Burger says. “And they didn’t want the overhang of copyright lawsuits.”\u003c/p>\n\u003cp>Of course, now Google is one of the most valuable companies in the world. That is why Rosenthal and many other artists think Google and other Internet giants should be made legally responsible for finding unauthorized files and taking them down.\u003c/p>\n\u003cp>“Google could solve this problem — 90 percent of this problem — with one switch,” Rosenthal says. “And if they were really on the side of the creators they would do something about that.”\u003c/p>\n\u003cp>Actually, representatives of Google’s YouTube say the video service does do something. Artists can register their songs with Google’s Content ID, which locates uploads of their music and lets artists run ads over those videos. “Ninety-five percent of the time they’re choosing to monetize it, which means they share the revenue,” says Katherine Oyama, legal counsel at YouTube.\u003c/p>\n\u003cp>Since YouTube launched Content ID a decade ago, the program has paid $2 billion to rights holders — but that includes other copyright owners such as filmmakers as well as musicians. \u003c/p>\n\u003cp>But according to the Recording Industry Association of America, YouTube saw a more than 100-percent increase in the number of video plays last year, but the music industry only saw a 17 percent increase in the revenue sent to artists. The organization says these figures show that the tech companies gain more from the artists than the artists get in return.\u003c/p>\n\u003cp>Plus, Content ID tracking doesn’t work for Google search, which artists say continues to bring up links to sites that list pirated versions of their songs.\u003c/p>\n\u003cp>\u003cstrong>“Hand \u003c/strong>\u003cstrong>in every cookie jar possible”\u003c/strong>\u003c/p>\n\u003cp>There could be a generational difference in the way artists approach the Internet to make a living.\u003c/p>\n\u003cp>A cappella singer \u003ca href=\"https://www.youtube.com/watch?v=BSLPH9d-jsI\" target=\"_blank\" rel=\"noopener\">Peter Hollens\u003c/a>, whose YouTube videos have been viewed tens of millions of times, thinks the Internet opened the door for him to reach fans and turn it into a living. “The fact that I can do it as a dorky dad,” says the 34-year-old. “I truly believe that anyone with the gumption and the drive can make this happen.”\u003c/p>\n\u003cp>Hollens thinks people who’ve been in the business for a long time just need to learn how to get their music in all the right places and bring in different streams of income.\u003c/p>\n\u003cp>“To make a living as a musician most people know … you need to have your hand in every cookie jar possible,” he says. That includes Spotify, SoundCloud, commercials, video games and just about anywhere that music can be found.\u003c/p>\n\u003cp>In fact, Hollens credits the safe harbor provision itself with his success. He fears that if Congress made Internet companies responsible for finding and taking down unauthorized music files, they would begin to err heavily on the side of caution and censor musicians out of fear that their music might violate the copyright laws and the company would be responsible for millions of dollars in fines. Under U.S. copyright law, violators can be fined up to $150,000 for each work infringed.\u003c/p>\n\u003cp>It may be that it’s just too hard for older musicians to learn the new business. But Rosenthal and others say that it should still be up to them to control where the music they’ve worked so hard to create shows up. Rosenthal doesn’t think he and other artists should have to bear all the responsibility for finding every place on the Internet where their music is put up against their will.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Congress will likely hear from musicians like Hollens and Steve Roach and his producer Sam Rosenthal as it continues its review of the copyright laws. Lawmakers are expected to unveil an outline for reforms in the fall. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Why+Taylor+Swift+Is+Asking+Congress+To+Update+Copyright+Laws&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"audioUrl": "http://pd.npr.org/anon.npr-mp3/npr/atc/2016/08/20160808_atc_taylor_swift_and_paul_mccartney_want_congress_to_reform_copyright_laws.mp3?orgId=1&topicId=1006&d=273&p=2&story=487291905&t=progseg&e=489170406&seg=4&ft=nprml&f=487291905",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/487291905/489218091\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>Congress is in the midst of a review of the copyright laws to make sure they’re up to date. Some of the recording industry’s biggest stars, among them Taylor Swift, Katy Perry and Paul McCartney, recently \u003ca href=\"http://www.billboard.com/articles/news/7408970/taylor-swift-paul-mccartney-180-artists-signing-petition-digital\" target=\"_blank\" rel=\"noopener\">signed a letter\u003c/a> urging lawmakers to make reforms.\u003c/p>\n\u003cp>The artists say that aspects of the law, which were written in the late 1990s, make it too easy for tech companies to ignore rampant piracy on their sites and put too much responsibility on the artists themselves to find the illegal music files.\u003c/p>\n\u003cp>It may be hard to feel sorry for high-profile artists like Taylor Swift — but you might feel bad for Sam Rosenthal, who runs a small independent label, Projekt Records. He’s been making a living as a musician and producer of electronic music for 30 years. Over the last decade, he says he’s struggled to keep his business alive.\u003c/p>\n\u003cp>“It involves continuously finding more ways to save and downsizing. And trying to keep ahead of the decline basically,” Rosenthal says. “I had 11 people working for me in the ’90s and now I have two part-time people working for me.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Like a lot of people in the music business, Rosenthal puts the blame on rampant online piracy. He points to one of the electronic musicians that he produces, \u003ca href=\"http://www.steveroach.com/\">Steve Roach\u003c/a>.\u003c/p>\n\u003cp>“He’s pretty much lived his life to create art. He is really dedicated to it,” Rosenthal says. “He puts a lot of time into his work and also money into the studio to have the best possible album.”\u003c/p>\n\u003cp>And that used to pay. Rosenthal says Roach’s albums regularly sold 50,000 to 60,000 copies. But that was before the days of massive file sharing on the Internet. Now, a quick search on Google will take you to sites where you can download copies of Roach’s music for free.\u003c/p>\n\u003cp>And here’s where Rosenthal gets angry about copyright law: Google is not responsible for taking down links to the pirated song unless Roach or his label let Google know it’s there. Rosenthal says it’s tough to play Internet detective for all the artists on his label, especially when every time one illegal link gets taken down another one pops up.\u003c/p>\n\u003cp>“It’s a really unreasonable expectation,” he says, “that I would have the time to chase people all day when I should be running a business and making music.”\u003c/p>\n\u003cp>The problem, he says, is the “safe harbor” provision of the Digital Millennium Copyright Act. It was written when Congress was revising the copyright laws in 1998 to account for the growing presence of the Internet and protects Internet services from financial liability if people use them to post unauthorized copyrighted material.\u003c/p>\n\u003cp>\u003cstrong>“Designed for a different age”\u003c/strong>\u003c/p>\n\u003cp>“It was a system designed for a different age,” admits Jim Burger, a copyright attorney who represented tech companies at the time. “It’s like traffic rules for carriages with horses, and you have autonomous cars now.”\u003c/p>\n\u003cp>When the law was being written, Google had just been founded and YouTube didn’t exist. “The concern that Congress clearly had in mind was it did not want to throttle or chill innovation and expansion of the Internet,” Burger says. “And they didn’t want the overhang of copyright lawsuits.”\u003c/p>\n\u003cp>Of course, now Google is one of the most valuable companies in the world. That is why Rosenthal and many other artists think Google and other Internet giants should be made legally responsible for finding unauthorized files and taking them down.\u003c/p>\n\u003cp>“Google could solve this problem — 90 percent of this problem — with one switch,” Rosenthal says. “And if they were really on the side of the creators they would do something about that.”\u003c/p>\n\u003cp>Actually, representatives of Google’s YouTube say the video service does do something. Artists can register their songs with Google’s Content ID, which locates uploads of their music and lets artists run ads over those videos. “Ninety-five percent of the time they’re choosing to monetize it, which means they share the revenue,” says Katherine Oyama, legal counsel at YouTube.\u003c/p>\n\u003cp>Since YouTube launched Content ID a decade ago, the program has paid $2 billion to rights holders — but that includes other copyright owners such as filmmakers as well as musicians. \u003c/p>\n\u003cp>But according to the Recording Industry Association of America, YouTube saw a more than 100-percent increase in the number of video plays last year, but the music industry only saw a 17 percent increase in the revenue sent to artists. The organization says these figures show that the tech companies gain more from the artists than the artists get in return.\u003c/p>\n\u003cp>Plus, Content ID tracking doesn’t work for Google search, which artists say continues to bring up links to sites that list pirated versions of their songs.\u003c/p>\n\u003cp>\u003cstrong>“Hand \u003c/strong>\u003cstrong>in every cookie jar possible”\u003c/strong>\u003c/p>\n\u003cp>There could be a generational difference in the way artists approach the Internet to make a living.\u003c/p>\n\u003cp>A cappella singer \u003ca href=\"https://www.youtube.com/watch?v=BSLPH9d-jsI\" target=\"_blank\" rel=\"noopener\">Peter Hollens\u003c/a>, whose YouTube videos have been viewed tens of millions of times, thinks the Internet opened the door for him to reach fans and turn it into a living. “The fact that I can do it as a dorky dad,” says the 34-year-old. “I truly believe that anyone with the gumption and the drive can make this happen.”\u003c/p>\n\u003cp>Hollens thinks people who’ve been in the business for a long time just need to learn how to get their music in all the right places and bring in different streams of income.\u003c/p>\n\u003cp>“To make a living as a musician most people know … you need to have your hand in every cookie jar possible,” he says. That includes Spotify, SoundCloud, commercials, video games and just about anywhere that music can be found.\u003c/p>\n\u003cp>In fact, Hollens credits the safe harbor provision itself with his success. He fears that if Congress made Internet companies responsible for finding and taking down unauthorized music files, they would begin to err heavily on the side of caution and censor musicians out of fear that their music might violate the copyright laws and the company would be responsible for millions of dollars in fines. Under U.S. copyright law, violators can be fined up to $150,000 for each work infringed.\u003c/p>\n\u003cp>It may be that it’s just too hard for older musicians to learn the new business. But Rosenthal and others say that it should still be up to them to control where the music they’ve worked so hard to create shows up. Rosenthal doesn’t think he and other artists should have to bear all the responsibility for finding every place on the Internet where their music is put up against their will.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Congress will likely hear from musicians like Hollens and Steve Roach and his producer Sam Rosenthal as it continues its review of the copyright laws. Lawmakers are expected to unveil an outline for reforms in the fall. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Why+Taylor+Swift+Is+Asking+Congress+To+Update+Copyright+Laws&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Outside Lands 2016: Sunday's Music Highlights and Photo Gallery",
"headTitle": "Outside Lands 2016: Sunday’s Music Highlights and Photo Gallery | KQED",
"content": "\u003cp>Sunday at Outside Lands always feels a little more subdued, with the majority of the 70,000-thick crowd tired and/or hungover from the previous two days’ worth of revelry. Much to the chagrin of the bleary-eyed, the sun chose to make an appearance on Sunday in the otherwise foggy and overcast Golden Gate Park. And it actually may have kept some away — while Major Lazer and Chance the Rapper drew huge crowds, audiences the rest of the day were graciously sparse.\u003c/p>\n\u003cp>See our roundups of Outside Lands from \u003ca href=\"https://ww2.kqed.org/arts/2016/08/06/outside-lands-2016-fridays-music-highlights-and-photo-gallery/\" target=\"_blank\" rel=\"noopener\">Friday\u003c/a> and \u003ca href=\"http://ww2.kqed.org/arts/2016/08/07/outside-lands-2016-saturdays-music-highlights-and-photo-gallery/\" target=\"_blank\" rel=\"noopener\">Saturday\u003c/a>, and read what sent the festival off in style on Sunday below.\u003c/p>\n\u003cp>\u003cem>Scroll down for full photo gallery.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11911976\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Mupet-04-800x508.jpg\" alt=\"The Muppets' Dr. Teeth and the Electric Mayhem perform at the 2016 Outside Lands Festival in Golden Gate Park.\" width=\"800\" height=\"508\" class=\"size-medium wp-image-11911976\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Mupet-04-800x508.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Mupet-04-400x254.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Mupet-04-768x488.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Mupet-04-1180x749.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Mupet-04.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Mupet-04-960x610.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Muppets’ Dr. Teeth and the Electric Mayhem perform at the 2016 Outside Lands Festival in Golden Gate Park. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>1. Dr. Teeth & the Electric Mayhem\u003c/h3>\n\u003cp>Like you, I am weary of the modern day’s \u003ca href=\"http://ww2.kqed.org/pop/2016/07/14/nintendo-to-produce-tiny-retro-nes-because-nostalgia-is-an-oil-well-that-never-runs-dry/\" target=\"_blank\" rel=\"noopener\">pervasive nostalgia economy\u003c/a>, but I can’t lie: there was nothing to hate on here. Announced as “the only stop on our world tour,” the hilarious 1970s band from \u003cem>The Muppet Show\u003c/em> (with the help of operators beneath a riser) played a 25-minute set that could have easily been some kind of crass tech marketing ploy. 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 — after opening with their classic “Can You Picture That?” — playing songs by the Band and Edward Sharpe & the Magnetic Zeros.\u003c/p>\n\u003cp>Then, just when I thought it couldn’t get any nuttier, the Oakland Interfaith Gospel Choir strolled on stage for \u003ca href=\"https://twitter.com/gmeline/status/762406814851801088\" target=\"_blank\" rel=\"noopener\">a Joe Cocker-inspired version of “With a Little Help from my Friends,”\u003c/a> and the entire over-the-top ridiculous \u003cem>fun\u003c/em> of the whole thing blew through the entire crowd. For what was just a short one-time show, it had to have been a ton of work, and after the smoke settled, the crew of Muppet operators emerged from beneath the riser… to a \u003cem>huge\u003c/em> burst of screams and applause for being zany enough to pull this off. (Watch the whole set \u003ca href=\"https://ww2.kqed.org/pop/2016/08/07/heres-muppet-band-dr-teeth-and-the-electric-mayhem-performing-at-outside-lands/\" target=\"_blank\" rel=\"noopener\">here\u003c/a> at KQED Pop.)\u003c/p>\n\u003cfigure id=\"attachment_11911965\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Kehlani-01-800x551.jpg\" alt=\"Kehlani performs at the 2016 Outside Lands Festival in Golden Gate Park.\" width=\"800\" height=\"551\" class=\"size-medium wp-image-11911965\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Kehlani-01-800x551.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Kehlani-01-400x276.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Kehlani-01-768x529.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Kehlani-01-1180x813.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Kehlani-01.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Kehlani-01-960x662.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kehlani performs at the 2016 Outside Lands Festival in Golden Gate Park. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>2. Kehlani\u003c/h3>\n\u003cp>Making her first hometown appearance in eight months, Kehlani wasted no time talking about Oakland; growing up in the Town, singing on BART, and eventually going on a world tour. Throughout a gymnastic set heavy on her 2015 mixtape \u003cem>You Should Be Here\u003c/em>, the 21-year-old repeatedly doled out inspirational advice and messages of self-love while running through the audience and \u003ca href=\"https://twitter.com/gmeline/status/762432160556908549\" target=\"_blank\" rel=\"noopener\">getting close to her fans\u003c/a>. And while a much-anticipated guest spot by Chance the Rapper on “The Way” failed to materialize, Kehlani still brought it hard for her home turf. “There’s so much talent here in the Bay Area!” she said. “Don’t let anybody tell you that you can’t do what you want and make it! Go out there and get it all and bring it back to the Bay!”\u003c/p>\n\u003cfigure id=\"attachment_11911410\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/chance-the-rapper2-800x533.jpg\" alt=\"Chance The Rapper at OSL. (Wendy Goodfriend)\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11911410\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/chance-the-rapper2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/chance-the-rapper2-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/chance-the-rapper2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/chance-the-rapper2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/chance-the-rapper2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/chance-the-rapper2-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chance The Rapper at OSL. (Wendy Goodfriend) \u003ccite>(Wendy Goodfriend)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>3. Chance the Rapper\u003c/h3>\n\u003cp>In 2013, Chance the Rapper was exploding in every direction. That year, during a neutron blast of a show at the Regency Ballroom in San Francisco, I witnessed the guy run through tracks from his then-new mixtape \u003cem>Acid Rap\u003c/em> with a raw ferociousness, blending amphetamine jazz and rapid-fire rapping on a stage too crowded with talent to fathomably conceive. Since then, the stages have gotten bigger, the songs’ rough edges have been smoothed, and Chance the Rapper’s broad appeal is guaranteed: he’s positive, uplifting, melodic, and continues to be insanely skilled on the mic.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That helps explain why Chance drew an even larger crowd on Sunday afternoon than Radiohead did the night before, in a set pulled almost exclusively from his latest album, \u003cem>Coloring Book\u003c/em>. His show-stopping \u003ca href=\"https://twitter.com/gmeline/status/762443273596080128\" target=\"_blank\" rel=\"noopener\">verse\u003c/a> from Kanye West’s “Ultralight Beam” killed, too, and the lines about God in that song as well as from \u003cem>Coloring Book\u003c/em> aren’t just talk: he explained that he nearly missed his set because he’d been volunteering for his grandma’s church organization earlier in the day. Doncha just want to pinch the guy’s cheeks?\u003c/p>\n\u003cfigure id=\"attachment_11911971\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Miguel-04-800x537.jpg\" alt=\"Miguel performs at the 2016 Outside Lands Festival in Golden Gate Park.\" width=\"800\" height=\"537\" class=\"size-medium wp-image-11911971\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Miguel-04-800x537.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Miguel-04-400x268.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Miguel-04-768x515.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Miguel-04-1180x792.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Miguel-04.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Miguel-04-960x644.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Miguel performs at the 2016 Outside Lands Festival in Golden Gate Park. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>4. Miguel\u003c/h3>\n\u003cp>After a one-two of “The Thrill” and “Ride that Wave,” Miguel weaved a thread that led from his father, born in Michocán, to his mother, “a beautiful black woman from Los Angeles,” on to the racial upheaval of late. “We’re living in such a crazy time, it feels like a paradigm shift,” he said. “All around the world, and at home, it feels like shit is slowly unraveling. And I ain’t gonna ruin the moment by pretending that I know the solution.” This led into a speech on the unifying power of music, the need for curiosity, and — hey, it’s a music festival — a rousing chorus of “Do You Like Drugs?” At his best, Miguel channels strains of Prince, Michael Jackson, and James Brown (those \u003cem>moves\u003c/em>), and he intertwined all three on Sunday.\u003c/p>\n\u003cfigure id=\"attachment_11912298\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Lionel-800x531.jpg\" alt=\"Lionel Richie performs at the 2016 Outside Lands Festival in San Francisco.\" width=\"800\" height=\"531\" class=\"size-medium wp-image-11912298\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lionel-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lionel-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lionel-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lionel-1180x784.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lionel.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lionel-960x638.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lionel Richie performs at the 2016 Outside Lands Festival in San Francisco. \u003ccite>(Photo via @LionelRichie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>5. Lionel Richie\u003c/h3>\n\u003cp>I’m biased when it comes to Lionel Richie: I grew up on his music, and the fact that I knew almost every word of his headlining set is evidence that young brains are absorbent musical sponges. But I wasn’t the only one amazed at how lithe, energetic and powerful he appeared to be while fulfilling an early promise of “all the hits!” “Runnin’ With the Night,” “Say You, Say Me,” “Dancin’ on the Ceiling,” “Lady,” “Penny Lover,” and \u003ca href=\"https://twitter.com/gmeline/status/762504340359700481\" target=\"_blank\" rel=\"noopener\">on and on\u003c/a> until the inevitable closers “Hello” and “All Night Long” — the guy really gave his all, and the crowd gave it back. “I may need security!” he joked at one point, “This crowd is out of control!” I remember when, after a long career hiatus, Lionel Richie at last turned up to headline the Paramount Theater in Oakland several years ago; then all of a sudden he was a country singer, with a lifetime tribute at the Academy of Country Music Awards to boot. Glad he ditched the pedal steel and brought the soul on Sunday.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>[gallery type=\"slideshow\" size=\"full\" ids=\"11911976,11911972,11911967,11911624,11911609,11911605,11911589,11911411,11911410,11911407,11912298,11911977,11911970,11911968,11911975,11911965,11911969,11911621,11911615,11911613,11911608,11911612,11911594,11911529,11911979,11911974,11911971,11911973,11911966,11911597,11911409\"]\u003c/p>\n\n",
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"excerpt": "Sunday at Outside Lands is often calm, but sets by Kehlani, Chance the Rapper, Lionel Richie, the Muppets (yes, those Muppets) and more kept things lively in Golden Gate Park.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sunday at Outside Lands always feels a little more subdued, with the majority of the 70,000-thick crowd tired and/or hungover from the previous two days’ worth of revelry. Much to the chagrin of the bleary-eyed, the sun chose to make an appearance on Sunday in the otherwise foggy and overcast Golden Gate Park. And it actually may have kept some away — while Major Lazer and Chance the Rapper drew huge crowds, audiences the rest of the day were graciously sparse.\u003c/p>\n\u003cp>See our roundups of Outside Lands from \u003ca href=\"https://ww2.kqed.org/arts/2016/08/06/outside-lands-2016-fridays-music-highlights-and-photo-gallery/\" target=\"_blank\" rel=\"noopener\">Friday\u003c/a> and \u003ca href=\"http://ww2.kqed.org/arts/2016/08/07/outside-lands-2016-saturdays-music-highlights-and-photo-gallery/\" target=\"_blank\" rel=\"noopener\">Saturday\u003c/a>, and read what sent the festival off in style on Sunday below.\u003c/p>\n\u003cp>\u003cem>Scroll down for full photo gallery.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11911976\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Mupet-04-800x508.jpg\" alt=\"The Muppets' Dr. Teeth and the Electric Mayhem perform at the 2016 Outside Lands Festival in Golden Gate Park.\" width=\"800\" height=\"508\" class=\"size-medium wp-image-11911976\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Mupet-04-800x508.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Mupet-04-400x254.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Mupet-04-768x488.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Mupet-04-1180x749.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Mupet-04.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Mupet-04-960x610.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Muppets’ Dr. Teeth and the Electric Mayhem perform at the 2016 Outside Lands Festival in Golden Gate Park. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>1. Dr. Teeth & the Electric Mayhem\u003c/h3>\n\u003cp>Like you, I am weary of the modern day’s \u003ca href=\"http://ww2.kqed.org/pop/2016/07/14/nintendo-to-produce-tiny-retro-nes-because-nostalgia-is-an-oil-well-that-never-runs-dry/\" target=\"_blank\" rel=\"noopener\">pervasive nostalgia economy\u003c/a>, but I can’t lie: there was nothing to hate on here. Announced as “the only stop on our world tour,” the hilarious 1970s band from \u003cem>The Muppet Show\u003c/em> (with the help of operators beneath a riser) played a 25-minute set that could have easily been some kind of crass tech marketing ploy. 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 — after opening with their classic “Can You Picture That?” — playing songs by the Band and Edward Sharpe & the Magnetic Zeros.\u003c/p>\n\u003cp>Then, just when I thought it couldn’t get any nuttier, the Oakland Interfaith Gospel Choir strolled on stage for \u003ca href=\"https://twitter.com/gmeline/status/762406814851801088\" target=\"_blank\" rel=\"noopener\">a Joe Cocker-inspired version of “With a Little Help from my Friends,”\u003c/a> and the entire over-the-top ridiculous \u003cem>fun\u003c/em> of the whole thing blew through the entire crowd. For what was just a short one-time show, it had to have been a ton of work, and after the smoke settled, the crew of Muppet operators emerged from beneath the riser… to a \u003cem>huge\u003c/em> burst of screams and applause for being zany enough to pull this off. (Watch the whole set \u003ca href=\"https://ww2.kqed.org/pop/2016/08/07/heres-muppet-band-dr-teeth-and-the-electric-mayhem-performing-at-outside-lands/\" target=\"_blank\" rel=\"noopener\">here\u003c/a> at KQED Pop.)\u003c/p>\n\u003cfigure id=\"attachment_11911965\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Kehlani-01-800x551.jpg\" alt=\"Kehlani performs at the 2016 Outside Lands Festival in Golden Gate Park.\" width=\"800\" height=\"551\" class=\"size-medium wp-image-11911965\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Kehlani-01-800x551.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Kehlani-01-400x276.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Kehlani-01-768x529.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Kehlani-01-1180x813.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Kehlani-01.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Kehlani-01-960x662.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kehlani performs at the 2016 Outside Lands Festival in Golden Gate Park. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>2. Kehlani\u003c/h3>\n\u003cp>Making her first hometown appearance in eight months, Kehlani wasted no time talking about Oakland; growing up in the Town, singing on BART, and eventually going on a world tour. Throughout a gymnastic set heavy on her 2015 mixtape \u003cem>You Should Be Here\u003c/em>, the 21-year-old repeatedly doled out inspirational advice and messages of self-love while running through the audience and \u003ca href=\"https://twitter.com/gmeline/status/762432160556908549\" target=\"_blank\" rel=\"noopener\">getting close to her fans\u003c/a>. And while a much-anticipated guest spot by Chance the Rapper on “The Way” failed to materialize, Kehlani still brought it hard for her home turf. “There’s so much talent here in the Bay Area!” she said. “Don’t let anybody tell you that you can’t do what you want and make it! Go out there and get it all and bring it back to the Bay!”\u003c/p>\n\u003cfigure id=\"attachment_11911410\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/chance-the-rapper2-800x533.jpg\" alt=\"Chance The Rapper at OSL. (Wendy Goodfriend)\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11911410\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/chance-the-rapper2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/chance-the-rapper2-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/chance-the-rapper2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/chance-the-rapper2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/chance-the-rapper2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/chance-the-rapper2-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chance The Rapper at OSL. (Wendy Goodfriend) \u003ccite>(Wendy Goodfriend)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>3. Chance the Rapper\u003c/h3>\n\u003cp>In 2013, Chance the Rapper was exploding in every direction. That year, during a neutron blast of a show at the Regency Ballroom in San Francisco, I witnessed the guy run through tracks from his then-new mixtape \u003cem>Acid Rap\u003c/em> with a raw ferociousness, blending amphetamine jazz and rapid-fire rapping on a stage too crowded with talent to fathomably conceive. Since then, the stages have gotten bigger, the songs’ rough edges have been smoothed, and Chance the Rapper’s broad appeal is guaranteed: he’s positive, uplifting, melodic, and continues to be insanely skilled on the mic.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That helps explain why Chance drew an even larger crowd on Sunday afternoon than Radiohead did the night before, in a set pulled almost exclusively from his latest album, \u003cem>Coloring Book\u003c/em>. His show-stopping \u003ca href=\"https://twitter.com/gmeline/status/762443273596080128\" target=\"_blank\" rel=\"noopener\">verse\u003c/a> from Kanye West’s “Ultralight Beam” killed, too, and the lines about God in that song as well as from \u003cem>Coloring Book\u003c/em> aren’t just talk: he explained that he nearly missed his set because he’d been volunteering for his grandma’s church organization earlier in the day. Doncha just want to pinch the guy’s cheeks?\u003c/p>\n\u003cfigure id=\"attachment_11911971\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Miguel-04-800x537.jpg\" alt=\"Miguel performs at the 2016 Outside Lands Festival in Golden Gate Park.\" width=\"800\" height=\"537\" class=\"size-medium wp-image-11911971\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Miguel-04-800x537.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Miguel-04-400x268.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Miguel-04-768x515.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Miguel-04-1180x792.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Miguel-04.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Miguel-04-960x644.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Miguel performs at the 2016 Outside Lands Festival in Golden Gate Park. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>4. Miguel\u003c/h3>\n\u003cp>After a one-two of “The Thrill” and “Ride that Wave,” Miguel weaved a thread that led from his father, born in Michocán, to his mother, “a beautiful black woman from Los Angeles,” on to the racial upheaval of late. “We’re living in such a crazy time, it feels like a paradigm shift,” he said. “All around the world, and at home, it feels like shit is slowly unraveling. And I ain’t gonna ruin the moment by pretending that I know the solution.” This led into a speech on the unifying power of music, the need for curiosity, and — hey, it’s a music festival — a rousing chorus of “Do You Like Drugs?” At his best, Miguel channels strains of Prince, Michael Jackson, and James Brown (those \u003cem>moves\u003c/em>), and he intertwined all three on Sunday.\u003c/p>\n\u003cfigure id=\"attachment_11912298\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Lionel-800x531.jpg\" alt=\"Lionel Richie performs at the 2016 Outside Lands Festival in San Francisco.\" width=\"800\" height=\"531\" class=\"size-medium wp-image-11912298\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lionel-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lionel-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lionel-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lionel-1180x784.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lionel.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lionel-960x638.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lionel Richie performs at the 2016 Outside Lands Festival in San Francisco. \u003ccite>(Photo via @LionelRichie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>5. Lionel Richie\u003c/h3>\n\u003cp>I’m biased when it comes to Lionel Richie: I grew up on his music, and the fact that I knew almost every word of his headlining set is evidence that young brains are absorbent musical sponges. But I wasn’t the only one amazed at how lithe, energetic and powerful he appeared to be while fulfilling an early promise of “all the hits!” “Runnin’ With the Night,” “Say You, Say Me,” “Dancin’ on the Ceiling,” “Lady,” “Penny Lover,” and \u003ca href=\"https://twitter.com/gmeline/status/762504340359700481\" target=\"_blank\" rel=\"noopener\">on and on\u003c/a> until the inevitable closers “Hello” and “All Night Long” — the guy really gave his all, and the crowd gave it back. “I may need security!” he joked at one point, “This crowd is out of control!” I remember when, after a long career hiatus, Lionel Richie at last turned up to headline the Paramount Theater in Oakland several years ago; then all of a sudden he was a country singer, with a lifetime tribute at the Academy of Country Music Awards to boot. Glad he ditched the pedal steel and brought the soul on Sunday.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Of all the festival lineup announcements I've received in my life -- both as a music-loving citizen and as a music writer -- perhaps none has made me actually yelp with surprised delight so much as when I saw \"Dr. Teeth and the Electric Mayhem\" on \u003ca href=\"http://ww2.kqed.org/pop/2016/04/05/outside-lands-2016-radiohead-lcd-soundsystem-lionel-richie-and-muppets/\" target=\"_blank\">this year's Outside Lands bill\u003c/a>.\u003c/p>\n\u003cp>If you grew up on the storied rock 'n' roll five-piece -- that's Dr. Teeth, Floyd Pepper, Janice, Zoot, and of course Animal on drums -- you already know the singular pleasure of watching our felt-covered friends perform songs that tease out exactly what makes the Muppets so genius to begin with: a graceful, perhaps unmatched ability to walk the fine line between thoughtful children's entertainment and deeply weird, subversive sh*t.\u003c/p>\n\u003cp>In any event: The band's early-evening set on Sunday, Aug. 7 at Outside Lands was billed as its \"first live performance\" ever, and if you were wondering what San Francisco did to get so lucky, the band members tossed out a few hints in their between-song banter -- not to mention their cover of The Mowgli's song \"San Francisco.\" Have you ever wanted to hear Muppets making weed jokes while psychedelic Summer of Love-influenced animation ebbed and flowed behind them? Now's your chance.\u003c/p>\n\u003cp>The whole set ran just under half an hour in total; check back with KQED Arts' music editor Gabe Meline (who's been posting \u003ca href=\"http://ww2.kqed.org/arts/2016/08/07/outside-lands-2016-saturdays-music-highlights-and-photo-gallery/\" target=\"_blank\">updates from the fest all weekend\u003c/a>) for more tomorrow.\u003c/p>\n\u003cp>For now? This YouTuber managed to catch most of the set -- be sure to watch until the end for a lovely cameo from the Oakland Interfaith Gospel Choir. Kids' stuff? Maybe. But I dare you not to smile.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qByRZd0nW3I\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Of all the festival lineup announcements I've received in my life -- both as a music-loving citizen and as a music writer -- perhaps none has made me actually yelp with surprised delight so much as when I saw \"Dr. Teeth and the Electric Mayhem\" on \u003ca href=\"http://ww2.kqed.org/pop/2016/04/05/outside-lands-2016-radiohead-lcd-soundsystem-lionel-richie-and-muppets/\" target=\"_blank\">this year's Outside Lands bill\u003c/a>.\u003c/p>\n\u003cp>If you grew up on the storied rock 'n' roll five-piece -- that's Dr. Teeth, Floyd Pepper, Janice, Zoot, and of course Animal on drums -- you already know the singular pleasure of watching our felt-covered friends perform songs that tease out exactly what makes the Muppets so genius to begin with: a graceful, perhaps unmatched ability to walk the fine line between thoughtful children's entertainment and deeply weird, subversive sh*t.\u003c/p>\n\u003cp>In any event: The band's early-evening set on Sunday, Aug. 7 at Outside Lands was billed as its \"first live performance\" ever, and if you were wondering what San Francisco did to get so lucky, the band members tossed out a few hints in their between-song banter -- not to mention their cover of The Mowgli's song \"San Francisco.\" Have you ever wanted to hear Muppets making weed jokes while psychedelic Summer of Love-influenced animation ebbed and flowed behind them? Now's your chance.\u003c/p>\n\u003cp>The whole set ran just under half an hour in total; check back with KQED Arts' music editor Gabe Meline (who's been posting \u003ca href=\"http://ww2.kqed.org/arts/2016/08/07/outside-lands-2016-saturdays-music-highlights-and-photo-gallery/\" target=\"_blank\">updates from the fest all weekend\u003c/a>) for more tomorrow.\u003c/p>\n\u003cp>For now? This YouTuber managed to catch most of the set -- be sure to watch until the end for a lovely cameo from the Oakland Interfaith Gospel Choir. Kids' stuff? Maybe. But I dare you not to smile.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Thirteen-year-old Jose Ramon Gonzalez Chavez usually spends summers lying on his bed at home or on his cellphone.\u003c/p>\n\u003cp>But this year, he’s at Cook Middle School in Santa Rosa learning how to strum the \u003cem>guitarron – \u003c/em>the big bass guitar that’s a trademark of mariachi music\u003cem>. \u003c/em>\u003c/p>\n\u003cp>“The \u003cem>guitarron\u003c/em> is what holds the song in place,” Chavez says as he clutches the instrument. “It’s the bass. You play two strings or one string at a time. And that’s the bom bom bom.”\u003c/p>\n\u003cp>Chavez is one of 50 kids attending California’s only Mariachi Summer Camp for beginners.\u003c/p>\n\u003cp>Many of them come from Mexican families and have heard mariachi music at parties and gatherings, but never picked up an instrument. Their parents can’t afford it or their schools just don’t teach music.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/277036737\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>At camp, the students -- who range in age from 9 to 15 -- receive three weeks of intense instruction and learn how to play five traditional ballads. It all culminates with a community performance.\u003c/p>\n\u003cp>Jose Soto, a Sonoma State University student and mariachi musician, created the camp two years ago with the help of the Luther Burbank Center for the Arts in Santa Rosa.\u003c/p>\n\u003cp>Soto wanted to offer a program where money didn’t matter.\u003c/p>\n\u003cp>“[The students] don’t have to pay anything,” Soto says. “They don’t have to have an instrument. They get to choose what they want to play.”\u003c/p>\n\u003cp>All the instruments -- the guitars, violins and trumpets -- are on loan through the center’s Instrument Lending Library. Soto also enlisted the help of several other musicians to teach the kids in small groups.\u003c/p>\n\u003cp>“I want them to explore the world and explore what’s in the music. I tell them, ‘Try one instrument, if you don’t like it, just try another one. See if you can fit it into your life.’ \u003cstrong>” \u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11041295\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11041295\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/08/jose-soto-800x450.jpg\" alt=\"Mariachi summer camp's program director, Jose Soto, conducts about 50 campers during a recent practice.\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/08/jose-soto-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/jose-soto-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/jose-soto.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/jose-soto-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/jose-soto-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mariachi summer camp's program director, Jose Soto, conducts about 50 campers during a recent practice. \u003ccite>(Nailah Morgan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Soto is from Guadalajara, which is home to some of the finest mariachi bands in Mexico. His father was a mariachi and even formed a family band featuring Soto and his brothers and sisters.\u003c/p>\n\u003cp>But when the family came to the United States eight years ago, Soto couldn’t find a program to help hone his talent. Instead, he learned how to play the trumpet in a high school band, and practiced mariachi music on his own.\u003c/p>\n\u003cp>Soto hopes his camp will give kids the skills and the confidence to perform and share this music with others.\u003c/p>\n\u003cp>\u003cstrong>A New Generation of Mariachi Enthusiasts\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cp>Nine-year-old Yuritzi Guerrero is one of the many girls at camp who is learning to play the violin.\u003c/p>\n\u003cp>She’s also a talented vocalist, but typically sings in the shower or when her mom turns on the radio.\u003c/p>\n\u003cp>Now she is harmonizing with other girls in Spanish.\u003c/p>\n\u003cp>“The songs are just so pretty and they express feelings,” Guerrero says, wearing a ponytail with large bow on top. “When there’s more voices, it sounds beautiful that way.”\u003c/p>\n\u003cfigure id=\"attachment_11041294\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11041294\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/08/yuritzi_violin-1-800x450.jpg\" alt=\"Yuritzi Guerrero practices violin with several other campers.\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/08/yuritzi_violin-1-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/yuritzi_violin-1-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/yuritzi_violin-1-1920x1080.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/yuritzi_violin-1-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/yuritzi_violin-1-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yuritzi Guerrero practices violin with several other campers. \u003ccite>(Nailah Morgan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Throughout camp, Soto reminds the kids this music emerged from the ranches and small towns of Mexico’s colonial past and symbolizes Mexico’s cultural identity.\u003c/p>\n\u003cp>Before the kids even pick up any instruments, they learn to find their voice so they can express happiness, sadness and joy.\u003c/p>\n\u003cp>One of the classics they’re practicing is \"De Colores,\" a children’s folk song about giving thanks for the all the colors in the world.\u003c/p>\n\u003cp>Many of the students say they’re happy to a have a better understanding of their families’ homeland. But for 13-year-old Rebecca Humphreys, the culture and the music are new.\u003c/p>\n\u003cp>Humphreys is the only student at camp with no ties to Mexico. She wanted to learn the trumpet but quickly realized it was \"too hard to get sounds out of it.”\u003c/p>\n\u003cp>So the middle school student switched to guitar and enjoys how this music tells stories and how all the instruments come together.\u003c/p>\n\u003cp>“Compared to some other music, it has a lot of soul and spirit in it,” Humphreys says. “The strumming patterns on mariachi guitars are also very different. Mariachis strum very fast.”\u003c/p>\n\u003cp>\u003cstrong>An Instant Success\u003c/strong>\u003c/p>\n\u003cp>After practicing all day in separate instrumental groups, Soto finally brings the students together to rehearse for the upcoming performance.\u003c/p>\n\u003cp>But first, the kids try on their mariachi suits, which have been donated by local bands.\u003c/p>\n\u003cp>“It’s tight,” says Chavez, who is donning a maroon suit with gold stitching and chains. “Actually, it’s really snug and cozy. I feel like I could wear this all day.”\u003c/p>\n\u003cp>Soto gets the roughly 50 students into their positions and gives them his cue to begin one of the musical pieces.\u003c/p>\n\u003cp>A melodic burst of music fills the small school auditorium and Soto beams with pride as he conducts the students. It’s not perfect, he says, but it's progress.\u003c/p>\n\u003cfigure id=\"attachment_11041291\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11041291\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/08/RS20536_IMG_0002-800x600.jpg\" alt=\"Mariachi summer campers practice a traditional Mexican ballad at Lawrence Cook Middle School in Santa Rosa.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20536_IMG_0002-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20536_IMG_0002-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20536_IMG_0002-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20536_IMG_0002.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mariachi summer campers practice a traditional Mexican ballad at Lawrence Cook Middle School in Santa Rosa. \u003ccite>(Ana Tintocalis/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The kids stare back at him, focused, concentrating on the music. They say the past three weeks have been hard, but feel like it’s finally beginning to pay off. In fact, most of the kids say they plan to be back next summer.\u003c/p>\n\u003cp>Demand for the camp was almost instantaneous after it was first offered last year.\u003c/p>\n\u003cp>The Luther Burbank Center for the Arts responded this summer by expanding the program to Washington Middle School in Cloverdale. Another 50 students have signed up at that location.\u003c/p>\n\u003cp>Soto says he’s excited to share his love and appreciation for this music with a new generation.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I don’t know what I like most -- being a mariachi or seeing my community come together like this. Maybe it’s a little of both because I feel happy with what I’m doing.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Thirteen-year-old Jose Ramon Gonzalez Chavez usually spends summers lying on his bed at home or on his cellphone.\u003c/p>\n\u003cp>But this year, he’s at Cook Middle School in Santa Rosa learning how to strum the \u003cem>guitarron – \u003c/em>the big bass guitar that’s a trademark of mariachi music\u003cem>. \u003c/em>\u003c/p>\n\u003cp>“The \u003cem>guitarron\u003c/em> is what holds the song in place,” Chavez says as he clutches the instrument. “It’s the bass. You play two strings or one string at a time. And that’s the bom bom bom.”\u003c/p>\n\u003cp>Chavez is one of 50 kids attending California’s only Mariachi Summer Camp for beginners.\u003c/p>\n\u003cp>Many of them come from Mexican families and have heard mariachi music at parties and gatherings, but never picked up an instrument. Their parents can’t afford it or their schools just don’t teach music.\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>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/277036737&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/277036737'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>At camp, the students -- who range in age from 9 to 15 -- receive three weeks of intense instruction and learn how to play five traditional ballads. It all culminates with a community performance.\u003c/p>\n\u003cp>Jose Soto, a Sonoma State University student and mariachi musician, created the camp two years ago with the help of the Luther Burbank Center for the Arts in Santa Rosa.\u003c/p>\n\u003cp>Soto wanted to offer a program where money didn’t matter.\u003c/p>\n\u003cp>“[The students] don’t have to pay anything,” Soto says. “They don’t have to have an instrument. They get to choose what they want to play.”\u003c/p>\n\u003cp>All the instruments -- the guitars, violins and trumpets -- are on loan through the center’s Instrument Lending Library. Soto also enlisted the help of several other musicians to teach the kids in small groups.\u003c/p>\n\u003cp>“I want them to explore the world and explore what’s in the music. I tell them, ‘Try one instrument, if you don’t like it, just try another one. See if you can fit it into your life.’ \u003cstrong>” \u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11041295\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11041295\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/08/jose-soto-800x450.jpg\" alt=\"Mariachi summer camp's program director, Jose Soto, conducts about 50 campers during a recent practice.\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/08/jose-soto-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/jose-soto-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/jose-soto.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/jose-soto-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/jose-soto-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mariachi summer camp's program director, Jose Soto, conducts about 50 campers during a recent practice. \u003ccite>(Nailah Morgan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Soto is from Guadalajara, which is home to some of the finest mariachi bands in Mexico. His father was a mariachi and even formed a family band featuring Soto and his brothers and sisters.\u003c/p>\n\u003cp>But when the family came to the United States eight years ago, Soto couldn’t find a program to help hone his talent. Instead, he learned how to play the trumpet in a high school band, and practiced mariachi music on his own.\u003c/p>\n\u003cp>Soto hopes his camp will give kids the skills and the confidence to perform and share this music with others.\u003c/p>\n\u003cp>\u003cstrong>A New Generation of Mariachi Enthusiasts\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cp>Nine-year-old Yuritzi Guerrero is one of the many girls at camp who is learning to play the violin.\u003c/p>\n\u003cp>She’s also a talented vocalist, but typically sings in the shower or when her mom turns on the radio.\u003c/p>\n\u003cp>Now she is harmonizing with other girls in Spanish.\u003c/p>\n\u003cp>“The songs are just so pretty and they express feelings,” Guerrero says, wearing a ponytail with large bow on top. “When there’s more voices, it sounds beautiful that way.”\u003c/p>\n\u003cfigure id=\"attachment_11041294\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11041294\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/08/yuritzi_violin-1-800x450.jpg\" alt=\"Yuritzi Guerrero practices violin with several other campers.\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/08/yuritzi_violin-1-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/yuritzi_violin-1-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/yuritzi_violin-1-1920x1080.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/yuritzi_violin-1-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/yuritzi_violin-1-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yuritzi Guerrero practices violin with several other campers. \u003ccite>(Nailah Morgan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Throughout camp, Soto reminds the kids this music emerged from the ranches and small towns of Mexico’s colonial past and symbolizes Mexico’s cultural identity.\u003c/p>\n\u003cp>Before the kids even pick up any instruments, they learn to find their voice so they can express happiness, sadness and joy.\u003c/p>\n\u003cp>One of the classics they’re practicing is \"De Colores,\" a children’s folk song about giving thanks for the all the colors in the world.\u003c/p>\n\u003cp>Many of the students say they’re happy to a have a better understanding of their families’ homeland. But for 13-year-old Rebecca Humphreys, the culture and the music are new.\u003c/p>\n\u003cp>Humphreys is the only student at camp with no ties to Mexico. She wanted to learn the trumpet but quickly realized it was \"too hard to get sounds out of it.”\u003c/p>\n\u003cp>So the middle school student switched to guitar and enjoys how this music tells stories and how all the instruments come together.\u003c/p>\n\u003cp>“Compared to some other music, it has a lot of soul and spirit in it,” Humphreys says. “The strumming patterns on mariachi guitars are also very different. Mariachis strum very fast.”\u003c/p>\n\u003cp>\u003cstrong>An Instant Success\u003c/strong>\u003c/p>\n\u003cp>After practicing all day in separate instrumental groups, Soto finally brings the students together to rehearse for the upcoming performance.\u003c/p>\n\u003cp>But first, the kids try on their mariachi suits, which have been donated by local bands.\u003c/p>\n\u003cp>“It’s tight,” says Chavez, who is donning a maroon suit with gold stitching and chains. “Actually, it’s really snug and cozy. I feel like I could wear this all day.”\u003c/p>\n\u003cp>Soto gets the roughly 50 students into their positions and gives them his cue to begin one of the musical pieces.\u003c/p>\n\u003cp>A melodic burst of music fills the small school auditorium and Soto beams with pride as he conducts the students. It’s not perfect, he says, but it's progress.\u003c/p>\n\u003cfigure id=\"attachment_11041291\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11041291\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/08/RS20536_IMG_0002-800x600.jpg\" alt=\"Mariachi summer campers practice a traditional Mexican ballad at Lawrence Cook Middle School in Santa Rosa.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20536_IMG_0002-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20536_IMG_0002-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20536_IMG_0002-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20536_IMG_0002.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mariachi summer campers practice a traditional Mexican ballad at Lawrence Cook Middle School in Santa Rosa. \u003ccite>(Ana Tintocalis/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The kids stare back at him, focused, concentrating on the music. They say the past three weeks have been hard, but feel like it’s finally beginning to pay off. In fact, most of the kids say they plan to be back next summer.\u003c/p>\n\u003cp>Demand for the camp was almost instantaneous after it was first offered last year.\u003c/p>\n\u003cp>The Luther Burbank Center for the Arts responded this summer by expanding the program to Washington Middle School in Cloverdale. Another 50 students have signed up at that location.\u003c/p>\n\u003cp>Soto says he’s excited to share his love and appreciation for this music with a new generation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Latin Artists Pay Tribute to CCR on 'Quiero Creedence'",
"title": "Latin Artists Pay Tribute to CCR on 'Quiero Creedence'",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>The East Bay city of El Cerrito is small. It's home to about 24,000 people. But for music fans, it's best known as the birthplace of \u003ca href=\"http://www.rollingstone.com/music/artists/creedence-clearwater-revival/biography\">Creedence Clearwater Revival\u003c/a>.\u003c/p>\n\u003cp>Although the band was together only from 1967 to 1972, CCR's hits were radio staples. Songs like \"Suzie Q,\" \"Bad Moon Rising,\" Fortunate Son,\" \"Green River\" and many others were heard around the world -- and especially beloved in Latin America.\u003c/p>\n\u003cp>\u003cimg class=\"alignleft wp-image-11042520\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/08/RS20589_QueiroCreedence_RGB-qut-400x400.jpg\" alt=\"RS20589_QueiroCreedence_RGB-qut\" width=\"277\" height=\"277\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20589_QueiroCreedence_RGB-qut-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20589_QueiroCreedence_RGB-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20589_QueiroCreedence_RGB-qut-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20589_QueiroCreedence_RGB-qut-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20589_QueiroCreedence_RGB-qut-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20589_QueiroCreedence_RGB-qut-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20589_QueiroCreedence_RGB-qut-150x150.jpg 150w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20589_QueiroCreedence_RGB-qut.jpg 635w\" sizes=\"(max-width: 277px) 100vw, 277px\">\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://www.quierocreedence.com/\">Quiero Creedence\u003c/a>,\u003c/em> a new compilation album of Latin artists covering CCR, has just been released.\u003c/p>\n\u003cp>One of the project's producers is Juan Manuel Caipo, who along with his bandmate, Deuce Eclipse, is also featured on the album with their band, Oakland's \u003ca href=\"http://www.bangdata.com/\">Bang Data\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>How did this project come together?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Juan Manuel Caipo\u003c/strong>: I came up with this idea five years ago. I was in Oakland, grabbing a beer, and I remember hearing Creedence and it just hit me: a tribute album with all these bands from all over the world. The whole idea was to discover new artists, along with the classic artists from all over Latin America.\u003c/p>\n\u003cp>I recall meeting Diana Rodriguez, who’s a partner and executive producer, at the Elbo Room. She’s more of a label person, she worked for EMI Capitol. And I remember going, ‘I have this idea, I want to run it by you,’ and her eyes popped and she said “I love Creedence.” That’s where the conversation started and we just little by little started organically figuring out how we were going to do this.\u003c/p>\n\u003cfigure id=\"attachment_11045100\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11045100\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/08/EclipseCaipo-800x557.jpg\" alt=\"Deuce Eclipse and Juan Manuel Caipo of the Oakland band Bang Data. Caipo is one of the executive producers of the new compilation 'Quiero Creedence.'\" width=\"800\" height=\"557\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/08/EclipseCaipo-800x557.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/EclipseCaipo-400x279.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/EclipseCaipo.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/EclipseCaipo-1180x822.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/EclipseCaipo-960x669.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Deuce Eclipse and Juan Manuel Caipo of the Oakland band Bang Data. Caipo is one of the executive producers of the new compilation 'Quiero Creedence.' \u003ccite>(Suzie Racho/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Were all the artists Creedence fans? Did they come to you and say, ‘I want to do this particular song’?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Caipo\u003c/strong>: We gave them the freedom to choose, but sometimes I would send five songs to one artist, ‘Here’s this list.' And sometimes they wouldn’t even look at that but, for instance, \u003ca href=\"https://twitter.com/LosLobosBand\" target=\"_blank\">Los Lobos\u003c/a>, they picked \"Bootleg.\" I don't think I had never even heard that song. It’s killer and their version is just awesome.\u003c/p>\n\u003cp>\u003ca href=\"http://www.losenanitosverdes.net/\">Los Enanitos Verdes\u003c/a> picked \"Travelin' Band,\" which identifies with them. Those guys tour all the time, all over Latin America. \u003ca href=\"http://ozomatli.com/\" target=\"_blank\">Ozomatli\u003c/a> picked \"Bad Moon Rising.\" The lyrics have a lot to do with what’s going on today. It's prophetic in a way.\u003c/p>\n\u003cp>And then in Bang Data’s case, we always loved that song (\"Fortunate Son\") but no one would pick it! That’s when Deuce and I jumped on it. We said we should probably start working on it before it’s too late!\u003c/p>\n\u003cp>\u003cstrong>Deuce, what did you want to bring to 'Fortunate Son'?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Deuce Eclipse\u003c/strong>: I wanted to honor John Fogerty, which is a really hard thing to do 'cause his voice is such his own instrument. I tried to give it as much soul as I could. I just wanted it to have that kind of feel because really, in the end, it’s real rooted in the culture of America and what was going on at that time during the Vietnam War.\u003c/p>\n\u003cp>And I just wanted to add to it because I feel like today, the lyrics are relevant. And politically this country has gone through a lot and we’re going through a lot right now. So my mind frame going into it was trying to bring it to life again, here in the now, and show people the world hasn’t changed that much, no matter how we look at it. We’re still struggling. We’re still fighting. We’re still at war.\u003c/p>\n\u003cp>\u003ciframe width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/jjyONEHEOgc?feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>There are a lot of different types of music and artists on the record. Do you have a favorite track?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Eclipse\u003c/strong>: Los Lonely Boys is one of my favorites. I heard the actual vocal before anything was done to it. And it was pretty intimidating ‘cause the guy can sing. It was perfect. I really like the \u003ca href=\"http://www.billboard.com/artist/305314/juan-gabriel/biography\">Juan Gabriel \u003c/a>track a lot. It’s such a true little song, it’s really beautiful.\u003c/p>\n\u003cp>\u003cstrong>Caipo\u003c/strong>: That was a big thing and he turned it around so quick. It has this borderline mariachi pop beat from the '70s. It's very smooth.\u003c/p>\n\u003cp>\u003cstrong>Describe Juan Gabriel to those who might not know him.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Caipo\u003c/strong>: He’s a super legend, mega-star songwriter. He’s written songs for everybody since he was 17 years old. You can consider him Mexico’s Prince, his spectrum is so wide. He writes amazing mariachi songs, he’s a producer, pianist, major composer, and he’s known for singing his own compositions. It was the cherry on top for the album. He represents a lot of Mexican culture at an international level.\u003c/p>\n\u003cp>\u003ciframe width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/tqnfoRXKgLs?feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>What do you think the connection is between CCR’s music and the Latino Community?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Caipo\u003c/strong>: I had this feeling from the very beginning, because I lived in Peru, that Creedence was huge all over Latin America.\u003c/p>\n\u003cp>When I moved back to California, I had friends who were Mexican or Salvadorans, they were bumping Creedence. We later found out that the \u003ca href=\"http://www.billboard.com/articles/columns/latin/7445774/quiero-creedence-clearwater-revival-latin-album\">biggest fan base they have is in Mexico\u003c/a>. And whatever happens in Mexico spreads all over South America, too, everything has to do with music. Latinos are rockers; they follow classic rock when stuff started back then.\u003c/p>\n\u003cp>\u003cstrong>Eclipse\u003c/strong>: As a Latino, I can see America had a lot of the groups that Latinos were influenced by. I can see how they were influenced by CCR because you could play it in your garage. The melodies are so easy to catch, you can learn it. It has a gritty reality and truthfulness to it that transcends language. And Latinos when they hear American music, they want to know what they’re saying so I’m sure they went to the lyrics like, oh, he’s singing about this. It’s a struggle that we can relate to as people.\u003c/p>\n\u003cp>Fogerty was really grass-roots with his ideals. He was revolutionary in a sense without shoving it in your face. It was said in such a melodic, strong, truthful way that resonates over time. Whatever sounds good, we’re going to get on it as Latinos and be influenced by it.\u003c/p>\n\u003cp>\u003cstrong>What do you want listeners to take away from this tribute?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Eclipse\u003c/strong>: They are such an epic group, it is just an ode to them, an ode to America and an ode to us. America and Latino America, we’re right next door. We relate in a lot of ways and through music. Take a connection away, two cultures in one. Embrace it.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This interview has been edited for clarity and length.\u003cbr>\n\u003c/em>\u003c/p>\n\n",
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"excerpt": "Creedence Clearwater Revival’s biggest fan base is in Mexico — and a new compilation is a testament to the iconic band’s enduring political resonance. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The East Bay city of El Cerrito is small. It's home to about 24,000 people. But for music fans, it's best known as the birthplace of \u003ca href=\"http://www.rollingstone.com/music/artists/creedence-clearwater-revival/biography\">Creedence Clearwater Revival\u003c/a>.\u003c/p>\n\u003cp>Although the band was together only from 1967 to 1972, CCR's hits were radio staples. Songs like \"Suzie Q,\" \"Bad Moon Rising,\" Fortunate Son,\" \"Green River\" and many others were heard around the world -- and especially beloved in Latin America.\u003c/p>\n\u003cp>\u003cimg class=\"alignleft wp-image-11042520\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/08/RS20589_QueiroCreedence_RGB-qut-400x400.jpg\" alt=\"RS20589_QueiroCreedence_RGB-qut\" width=\"277\" height=\"277\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20589_QueiroCreedence_RGB-qut-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20589_QueiroCreedence_RGB-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20589_QueiroCreedence_RGB-qut-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20589_QueiroCreedence_RGB-qut-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20589_QueiroCreedence_RGB-qut-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20589_QueiroCreedence_RGB-qut-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20589_QueiroCreedence_RGB-qut-150x150.jpg 150w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20589_QueiroCreedence_RGB-qut.jpg 635w\" sizes=\"(max-width: 277px) 100vw, 277px\">\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://www.quierocreedence.com/\">Quiero Creedence\u003c/a>,\u003c/em> a new compilation album of Latin artists covering CCR, has just been released.\u003c/p>\n\u003cp>One of the project's producers is Juan Manuel Caipo, who along with his bandmate, Deuce Eclipse, is also featured on the album with their band, Oakland's \u003ca href=\"http://www.bangdata.com/\">Bang Data\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>How did this project come together?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Juan Manuel Caipo\u003c/strong>: I came up with this idea five years ago. I was in Oakland, grabbing a beer, and I remember hearing Creedence and it just hit me: a tribute album with all these bands from all over the world. The whole idea was to discover new artists, along with the classic artists from all over Latin America.\u003c/p>\n\u003cp>I recall meeting Diana Rodriguez, who’s a partner and executive producer, at the Elbo Room. She’s more of a label person, she worked for EMI Capitol. And I remember going, ‘I have this idea, I want to run it by you,’ and her eyes popped and she said “I love Creedence.” That’s where the conversation started and we just little by little started organically figuring out how we were going to do this.\u003c/p>\n\u003cfigure id=\"attachment_11045100\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11045100\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/08/EclipseCaipo-800x557.jpg\" alt=\"Deuce Eclipse and Juan Manuel Caipo of the Oakland band Bang Data. Caipo is one of the executive producers of the new compilation 'Quiero Creedence.'\" width=\"800\" height=\"557\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/08/EclipseCaipo-800x557.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/EclipseCaipo-400x279.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/EclipseCaipo.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/EclipseCaipo-1180x822.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/EclipseCaipo-960x669.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Deuce Eclipse and Juan Manuel Caipo of the Oakland band Bang Data. Caipo is one of the executive producers of the new compilation 'Quiero Creedence.' \u003ccite>(Suzie Racho/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Were all the artists Creedence fans? Did they come to you and say, ‘I want to do this particular song’?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Caipo\u003c/strong>: We gave them the freedom to choose, but sometimes I would send five songs to one artist, ‘Here’s this list.' And sometimes they wouldn’t even look at that but, for instance, \u003ca href=\"https://twitter.com/LosLobosBand\" target=\"_blank\">Los Lobos\u003c/a>, they picked \"Bootleg.\" I don't think I had never even heard that song. It’s killer and their version is just awesome.\u003c/p>\n\u003cp>\u003ca href=\"http://www.losenanitosverdes.net/\">Los Enanitos Verdes\u003c/a> picked \"Travelin' Band,\" which identifies with them. Those guys tour all the time, all over Latin America. \u003ca href=\"http://ozomatli.com/\" target=\"_blank\">Ozomatli\u003c/a> picked \"Bad Moon Rising.\" The lyrics have a lot to do with what’s going on today. It's prophetic in a way.\u003c/p>\n\u003cp>And then in Bang Data’s case, we always loved that song (\"Fortunate Son\") but no one would pick it! That’s when Deuce and I jumped on it. We said we should probably start working on it before it’s too late!\u003c/p>\n\u003cp>\u003cstrong>Deuce, what did you want to bring to 'Fortunate Son'?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Deuce Eclipse\u003c/strong>: I wanted to honor John Fogerty, which is a really hard thing to do 'cause his voice is such his own instrument. I tried to give it as much soul as I could. I just wanted it to have that kind of feel because really, in the end, it’s real rooted in the culture of America and what was going on at that time during the Vietnam War.\u003c/p>\n\u003cp>And I just wanted to add to it because I feel like today, the lyrics are relevant. And politically this country has gone through a lot and we’re going through a lot right now. So my mind frame going into it was trying to bring it to life again, here in the now, and show people the world hasn’t changed that much, no matter how we look at it. We’re still struggling. We’re still fighting. We’re still at war.\u003c/p>\n\u003cp>\u003ciframe width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/jjyONEHEOgc?feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>There are a lot of different types of music and artists on the record. Do you have a favorite track?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Eclipse\u003c/strong>: Los Lonely Boys is one of my favorites. I heard the actual vocal before anything was done to it. And it was pretty intimidating ‘cause the guy can sing. It was perfect. I really like the \u003ca href=\"http://www.billboard.com/artist/305314/juan-gabriel/biography\">Juan Gabriel \u003c/a>track a lot. It’s such a true little song, it’s really beautiful.\u003c/p>\n\u003cp>\u003cstrong>Caipo\u003c/strong>: That was a big thing and he turned it around so quick. It has this borderline mariachi pop beat from the '70s. It's very smooth.\u003c/p>\n\u003cp>\u003cstrong>Describe Juan Gabriel to those who might not know him.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Caipo\u003c/strong>: He’s a super legend, mega-star songwriter. He’s written songs for everybody since he was 17 years old. You can consider him Mexico’s Prince, his spectrum is so wide. He writes amazing mariachi songs, he’s a producer, pianist, major composer, and he’s known for singing his own compositions. It was the cherry on top for the album. He represents a lot of Mexican culture at an international level.\u003c/p>\n\u003cp>\u003ciframe width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/tqnfoRXKgLs?feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>What do you think the connection is between CCR’s music and the Latino Community?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Caipo\u003c/strong>: I had this feeling from the very beginning, because I lived in Peru, that Creedence was huge all over Latin America.\u003c/p>\n\u003cp>When I moved back to California, I had friends who were Mexican or Salvadorans, they were bumping Creedence. We later found out that the \u003ca href=\"http://www.billboard.com/articles/columns/latin/7445774/quiero-creedence-clearwater-revival-latin-album\">biggest fan base they have is in Mexico\u003c/a>. And whatever happens in Mexico spreads all over South America, too, everything has to do with music. Latinos are rockers; they follow classic rock when stuff started back then.\u003c/p>\n\u003cp>\u003cstrong>Eclipse\u003c/strong>: As a Latino, I can see America had a lot of the groups that Latinos were influenced by. I can see how they were influenced by CCR because you could play it in your garage. The melodies are so easy to catch, you can learn it. It has a gritty reality and truthfulness to it that transcends language. And Latinos when they hear American music, they want to know what they’re saying so I’m sure they went to the lyrics like, oh, he’s singing about this. It’s a struggle that we can relate to as people.\u003c/p>\n\u003cp>Fogerty was really grass-roots with his ideals. He was revolutionary in a sense without shoving it in your face. It was said in such a melodic, strong, truthful way that resonates over time. Whatever sounds good, we’re going to get on it as Latinos and be influenced by it.\u003c/p>\n\u003cp>\u003cstrong>What do you want listeners to take away from this tribute?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Eclipse\u003c/strong>: They are such an epic group, it is just an ode to them, an ode to America and an ode to us. America and Latino America, we’re right next door. We relate in a lot of ways and through music. Take a connection away, two cultures in one. Embrace it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Obama was still in his first term the last time Frank Ocean delivered an album. So it makes sense that his fans are growing a wee bit impatient (to say the least). Last month, he teased us with \u003ca href=\"http://exclaim.ca/images/librarycardfrank.jpg\">a cryptic library card\u003c/a> that seemed to suggest that \u003cem>Boys Don't Cry\u003c/em> would drop before the end of the month. Then, last week, he teased us with a very random Home Depot-inspired live feed. And then there were rumors that the album would drop on August 5, 2016.\u003c/p>\n\u003cp>And yet, here we are, still twiddling our thumbs, listening to \"Pyramids\" for the zillionth time. But that's not all we're doing: we're out here creating memes and telling jokes on Twitter too! Here are the best reactions to Frank's missing album:\u003c/p>\n\u003cp>Not even anesthesia can mask the pain of continuously being toyed with and lied to by Frank:\u003c/p>\n\u003cp>https://twitter.com/emileeskidgel/status/761668170658656256\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This track list is too real:\u003c/p>\n\u003cp>https://twitter.com/zamya_trill/status/761586438668447746\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>Some fans are contemplating dark things:\u003c/p>\n\u003cp>https://twitter.com/MatthewACherry/status/761900980271276032?ref_src=twsrc%5Etfw\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>Other fans are refusing to let themselves be played again:\u003c/p>\n\u003cp>https://twitter.com/TheVelvetRope__/status/738520000563056640?ref_src=twsrc%5Etfw\u003c/p>\n\u003cp>https://twitter.com/TamaalaMiles/status/738479387033669632?ref_src=twsrc%5Etfw\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>All fans are getting older by the day:\u003c/p>\n\u003cp>https://twitter.com/Phil_Lewis_/status/760238053348835329?ref_src=twsrc%5Etfw\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>All fans feel empty and exhausted:\u003c/p>\n\u003cp>https://twitter.com/DanielleBowler/status/761527629711286272?ref_src=twsrc%5Etfw\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>Yet we keep refreshing Apple Music like a bunch of suckers:\u003c/p>\n\u003cp>https://twitter.com/airbagged/status/761578936631435265?ref_src=twsrc%5Etfw\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>Frank reminds some of us of our wack exes and absent fathers:\u003c/p>\n\u003cp>https://twitter.com/BeeBabs/status/760107175167524864\u003c/p>\n\u003cp>https://twitter.com/NOUGLYTHOTS/status/761576903538909184?ref_src=twsrc%5Etfw\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>Thankfully, we have each other to lean on:\u003c/p>\n\u003cp>https://twitter.com/one_neo/status/761561429904351232?ref_src=twsrc%5Etfw\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Hang in there, y'all!\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Obama was still in his first term the last time Frank Ocean delivered an album. So it makes sense that his fans are growing a wee bit impatient (to say the least). Last month, he teased us with \u003ca href=\"http://exclaim.ca/images/librarycardfrank.jpg\">a cryptic library card\u003c/a> that seemed to suggest that \u003cem>Boys Don't Cry\u003c/em> would drop before the end of the month. Then, last week, he teased us with a very random Home Depot-inspired live feed. And then there were rumors that the album would drop on August 5, 2016.\u003c/p>\n\u003cp>And yet, here we are, still twiddling our thumbs, listening to \"Pyramids\" for the zillionth time. But that's not all we're doing: we're out here creating memes and telling jokes on Twitter too! Here are the best reactions to Frank's missing album:\u003c/p>\n\u003cp>Not even anesthesia can mask the pain of continuously being toyed with and lied to by Frank:\u003c/p>\u003c/p>\u003c/div>",
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"title": "Outside Lands 2016: Saturday's Music Highlights and Photo Gallery",
"headTitle": "Outside Lands 2016: Saturday’s Music Highlights and Photo Gallery | KQED",
"content": "\u003cp>Saturday at Outside Lands is like Las Vegas if every corporate convention descended on the strip at once — and every casino had ten hours’ worth of headliners all day. It’s shoulder-to-shoulder crowded, bands everywhere are competing for people’s attention, and a sense of entitled celebration pervades. It’s a minor miracle that everyone makes it out alive.\u003c/p>\n\u003cp>Naturally, sandwiched between the chaos this year were some stellar sets by bands both young and established. Here were our highlights.\u003c/p>\n\u003cp>\u003cem>Scroll down for full photo gallery.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11907421\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/con-brio30-800x533.jpg\" alt=\"Con Brio at OSL.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11907421\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/con-brio30-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/con-brio30-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/con-brio30-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/con-brio30-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/con-brio30.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/con-brio30-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Con Brio at OSL. \u003ccite>(Wendy Goodfriend)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>1. Con Brio\u003c/h3>\n\u003cp>Regular KQED viewers will remember Con Brio from our video of the San Francisco seven-piece \u003ca href=\"http://ww2.kqed.org/arts/2016/07/13/watch-con-brio-play-living-for-the-city-on-the-golden-gate-bridge/\" target=\"_blank\" rel=\"noopener\">playing Stevie Wonder’s “Livin’ for the City” inside their tour van while driving across the Golden Gate Bridge\u003c/a>. At Outside Lands’ Panhandle Stage on Saturday, Con Brio turned up the energy to 11, commanded a huge crowd, and tore through a sizzling set of uptempo funk and soul that did the Bay Area proud. After the band’s nimble, magnetic frontman \u003ca href=\"http://ww2.kqed.org/arts/2015/02/13/giving-it-all-talking-love-and-relationships-with-con-brios-ziek-mccarter/\" target=\"_blank\" rel=\"noopener\">Ziek McCarter\u003c/a> ended the show with a series of backflips and James Brown splits, a newly won-over fan stood on the barricade and shouted, “That’s it! That’s the best performance you’ll see all day! Shut down the festival!”\u003c/p>\n\u003cfigure id=\"attachment_11907960\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Anderson-Paak-02-800x487.jpg\" alt=\"Anderson .Paak at Outside Lands.\" width=\"800\" height=\"487\" class=\"size-medium wp-image-11907960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Anderson-Paak-02-800x487.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Anderson-Paak-02-400x243.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Anderson-Paak-02-768x467.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Anderson-Paak-02-1180x718.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Anderson-Paak-02.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Anderson-Paak-02-960x584.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anderson .Paak at Outside Lands. (Estefany Gonzalez)\u003c/figcaption>\u003c/figure>\n\u003ch3>2. Anderson .Paak\u003c/h3>\n\u003cp>Once again, the small Panhandle Stage delivered on Saturday with the Southern Californian R&B singer, rapper and multi-instrumentalist Anderson .Paak, whose recent album \u003cem>Malibu\u003c/em> is a rich swamp of soul destined for many year-end lists. His job on Saturday night was essentially to justify people’s decisions to skip the first half of huge-name headliner Radiohead, and after seeing him singing, rapping, dancing, telling stories and drumming up a storm, I can’t imagine anyone regretted it. It’ll be interesting to see what the future has in store for the guy; he’s got nowhere to go but up.\u003c/p>\n\u003cfigure id=\"attachment_11907965\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Halsey-01-800x532.jpg\" alt=\"Halsey at Outside Lands.\" width=\"800\" height=\"532\" class=\"size-medium wp-image-11907965\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Halsey-01-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Halsey-01-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Halsey-01-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Halsey-01-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Halsey-01.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Halsey-01-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Halsey at Outside Lands. (Estefany Gonzalez)\u003c/figcaption>\u003c/figure>\n\u003ch3>3. Halsey\u003c/h3>\n\u003cp>Halsey’s evening set fell somewhere between the intricate indie balladry of Sufjan Stevens — winged and elegant on the Sutro Stage in the afternoon — and the EDM mayhem of Zedd, who headlined the Twin Peaks stage with gut-rumbling drops and face-singing pyrotechnics. Hers is the kind of electro-pop one can get behind: she grew from troubled teen years of bipolar disorder and bad boyfriends to a tightly organized style of songwriting and production, and in Golden Gate Park, won over a rapt crowd.\u003c/p>\n\u003cfigure id=\"attachment_11907976\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/e40-800x571.jpg\" alt=\"The crowd at E-40.\" width=\"800\" height=\"571\" class=\"size-medium wp-image-11907976\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/e40-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/e40-400x286.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/e40-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/e40-1180x843.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/e40.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/e40-960x686.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at E-40. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>4. E-40\u003c/h3>\n\u003cp>The cryptic press release arrived earlier in the week, announcing a pop-up show of E-40 and Warren G performing one song together outside the Heineken tent. It had all the makings of yet another sponsored bit of hype — would it really be just one song? As it turned out, E-40 did “Tell Me When to Go,” “Choices,” “Function” and more, a seven-song blast of Bay Area love to a gigantic mob that was already smashed like sardines 20 minutes before Vallejo’s royal son (and \u003ca href=\"http://ww2.kqed.org/pop/2015/07/10/eye-of-the-sluricane-a-dispatch-from-an-e-40-bottle-signing/\" target=\"_blank\" rel=\"noopener\">professional Mother’s Day card signer\u003c/a>) hit the stage with guests Nef the Pharaoh and Warren G. Note to festival organizers: get E-40 on a larger stage next year.\u003c/p>\n\u003cfigure id=\"attachment_11907977\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Radiohead-1-800x571.jpg\" alt=\"Radiohead at Outside Lands.\" width=\"800\" height=\"571\" class=\"size-medium wp-image-11907977\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Radiohead-1-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Radiohead-1-400x286.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Radiohead-1-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Radiohead-1-1180x843.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Radiohead-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Radiohead-1-960x686.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Radiohead at Outside Lands. (Estefany Gonzalez)\u003c/figcaption>\u003c/figure>\n\u003ch3>5. Radiohead\u003c/h3>\n\u003cp>I distinctly remmeber, eight years ago on the first night of the very first Outside Lands, thinking that Radiohead was far too creative and strange for a giant field full of people to genuinely love. But theirs was a rare success story of the weird kids winning, and in their return performance Saturday night, both the weirdness and the crowd seemed more subdued. Part of this may have been to a semi-exodus partway through when Zedd took the stage, which speaks to EDM’s enduring popularity, but part of it owes to Radiohead playing mostly new material. Two-thirds of the way through, we started getting “Everything in Its Right Place,” “Idioteque,” “Let Down” and other older classics, and the energy changed. As we left the festival during Radiohead’s encore, we discovered a hill full of people sitting outside the gates near Spreckels Lake, listening for free to “Paranoid Android” and “Karma Police” and appearing even more excited than the crowd in the Polo Field. Go figure!\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[gallery type=\"slideshow\" size=\"full\" ids=\"11907960,11907961,11907963,11907964,11907965,11907966,11907969,11907970,11907971,11907974,11907968,11907967,11907972,11907976,11907977,11907234,11907402,11907405,11907411,11907415,11907421,11907420,11907417,11907424,11907430,11907602,11907603,11907433,11907609,11907612,11907616,11907617,11907957,11907958,11907959\" orderby=\"rand\"]\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Saturday at Outside Lands is like Las Vegas if every corporate convention descended on the strip at once — and every casino had ten hours’ worth of headliners all day. It’s shoulder-to-shoulder crowded, bands everywhere are competing for people’s attention, and a sense of entitled celebration pervades. It’s a minor miracle that everyone makes it out alive.\u003c/p>\n\u003cp>Naturally, sandwiched between the chaos this year were some stellar sets by bands both young and established. Here were our highlights.\u003c/p>\n\u003cp>\u003cem>Scroll down for full photo gallery.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11907421\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/con-brio30-800x533.jpg\" alt=\"Con Brio at OSL.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11907421\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/con-brio30-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/con-brio30-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/con-brio30-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/con-brio30-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/con-brio30.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/con-brio30-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Con Brio at OSL. \u003ccite>(Wendy Goodfriend)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>1. Con Brio\u003c/h3>\n\u003cp>Regular KQED viewers will remember Con Brio from our video of the San Francisco seven-piece \u003ca href=\"http://ww2.kqed.org/arts/2016/07/13/watch-con-brio-play-living-for-the-city-on-the-golden-gate-bridge/\" target=\"_blank\" rel=\"noopener\">playing Stevie Wonder’s “Livin’ for the City” inside their tour van while driving across the Golden Gate Bridge\u003c/a>. At Outside Lands’ Panhandle Stage on Saturday, Con Brio turned up the energy to 11, commanded a huge crowd, and tore through a sizzling set of uptempo funk and soul that did the Bay Area proud. After the band’s nimble, magnetic frontman \u003ca href=\"http://ww2.kqed.org/arts/2015/02/13/giving-it-all-talking-love-and-relationships-with-con-brios-ziek-mccarter/\" target=\"_blank\" rel=\"noopener\">Ziek McCarter\u003c/a> ended the show with a series of backflips and James Brown splits, a newly won-over fan stood on the barricade and shouted, “That’s it! That’s the best performance you’ll see all day! Shut down the festival!”\u003c/p>\n\u003cfigure id=\"attachment_11907960\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Anderson-Paak-02-800x487.jpg\" alt=\"Anderson .Paak at Outside Lands.\" width=\"800\" height=\"487\" class=\"size-medium wp-image-11907960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Anderson-Paak-02-800x487.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Anderson-Paak-02-400x243.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Anderson-Paak-02-768x467.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Anderson-Paak-02-1180x718.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Anderson-Paak-02.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Anderson-Paak-02-960x584.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anderson .Paak at Outside Lands. (Estefany Gonzalez)\u003c/figcaption>\u003c/figure>\n\u003ch3>2. Anderson .Paak\u003c/h3>\n\u003cp>Once again, the small Panhandle Stage delivered on Saturday with the Southern Californian R&B singer, rapper and multi-instrumentalist Anderson .Paak, whose recent album \u003cem>Malibu\u003c/em> is a rich swamp of soul destined for many year-end lists. His job on Saturday night was essentially to justify people’s decisions to skip the first half of huge-name headliner Radiohead, and after seeing him singing, rapping, dancing, telling stories and drumming up a storm, I can’t imagine anyone regretted it. It’ll be interesting to see what the future has in store for the guy; he’s got nowhere to go but up.\u003c/p>\n\u003cfigure id=\"attachment_11907965\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Halsey-01-800x532.jpg\" alt=\"Halsey at Outside Lands.\" width=\"800\" height=\"532\" class=\"size-medium wp-image-11907965\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Halsey-01-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Halsey-01-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Halsey-01-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Halsey-01-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Halsey-01.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Halsey-01-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Halsey at Outside Lands. (Estefany Gonzalez)\u003c/figcaption>\u003c/figure>\n\u003ch3>3. Halsey\u003c/h3>\n\u003cp>Halsey’s evening set fell somewhere between the intricate indie balladry of Sufjan Stevens — winged and elegant on the Sutro Stage in the afternoon — and the EDM mayhem of Zedd, who headlined the Twin Peaks stage with gut-rumbling drops and face-singing pyrotechnics. Hers is the kind of electro-pop one can get behind: she grew from troubled teen years of bipolar disorder and bad boyfriends to a tightly organized style of songwriting and production, and in Golden Gate Park, won over a rapt crowd.\u003c/p>\n\u003cfigure id=\"attachment_11907976\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/e40-800x571.jpg\" alt=\"The crowd at E-40.\" width=\"800\" height=\"571\" class=\"size-medium wp-image-11907976\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/e40-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/e40-400x286.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/e40-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/e40-1180x843.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/e40.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/e40-960x686.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at E-40. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>4. E-40\u003c/h3>\n\u003cp>The cryptic press release arrived earlier in the week, announcing a pop-up show of E-40 and Warren G performing one song together outside the Heineken tent. It had all the makings of yet another sponsored bit of hype — would it really be just one song? As it turned out, E-40 did “Tell Me When to Go,” “Choices,” “Function” and more, a seven-song blast of Bay Area love to a gigantic mob that was already smashed like sardines 20 minutes before Vallejo’s royal son (and \u003ca href=\"http://ww2.kqed.org/pop/2015/07/10/eye-of-the-sluricane-a-dispatch-from-an-e-40-bottle-signing/\" target=\"_blank\" rel=\"noopener\">professional Mother’s Day card signer\u003c/a>) hit the stage with guests Nef the Pharaoh and Warren G. Note to festival organizers: get E-40 on a larger stage next year.\u003c/p>\n\u003cfigure id=\"attachment_11907977\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Radiohead-1-800x571.jpg\" alt=\"Radiohead at Outside Lands.\" width=\"800\" height=\"571\" class=\"size-medium wp-image-11907977\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Radiohead-1-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Radiohead-1-400x286.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Radiohead-1-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Radiohead-1-1180x843.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Radiohead-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Radiohead-1-960x686.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Radiohead at Outside Lands. (Estefany Gonzalez)\u003c/figcaption>\u003c/figure>\n\u003ch3>5. Radiohead\u003c/h3>\n\u003cp>I distinctly remmeber, eight years ago on the first night of the very first Outside Lands, thinking that Radiohead was far too creative and strange for a giant field full of people to genuinely love. But theirs was a rare success story of the weird kids winning, and in their return performance Saturday night, both the weirdness and the crowd seemed more subdued. Part of this may have been to a semi-exodus partway through when Zedd took the stage, which speaks to EDM’s enduring popularity, but part of it owes to Radiohead playing mostly new material. Two-thirds of the way through, we started getting “Everything in Its Right Place,” “Idioteque,” “Let Down” and other older classics, and the energy changed. As we left the festival during Radiohead’s encore, we discovered a hill full of people sitting outside the gates near Spreckels Lake, listening for free to “Paranoid Android” and “Karma Police” and appearing even more excited than the crowd in the Polo Field. Go figure!\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Outside Lands 2016: Friday's Music Highlights and Photo Gallery",
"headTitle": "Outside Lands 2016: Friday’s Music Highlights and Photo Gallery | KQED",
"content": "\u003cp>Day one at Outside Lands is always a little overwhelming, and this year was no exception. On a weekday when crowds have usually been thin in years past, everything seemed a little more crowded this year, with more branded “experiences” that came with FB- and IG-like admission and instructions for proper social media posting (a.k.a. free advertising), as well as DJ booths, arcade games, art walls, steampunk sideshows, pop-up shows and dozens more — each with its own hashtag, naturally. The message at big festivals is always a little anxious: \u003cem>This. Is. An. Experience. You. Are. Having!\u003c/em>\u003c/p>\n\u003cp>Beyond the crowds and targeted #Millennial sponsorships, there happens to be some great music at Outside Lands. While our KQED friends over at \u003ca href=\"https://ww2.kqed.org/bayareabites/\" target=\"_blank\" rel=\"noopener\">Bay Area Bites\u003c/a> have a \u003ca href=\"http://ww2.kqed.org/bayareabites/2016/08/06/guide-some-of-the-best-things-to-eat-at-outside-lands-2016/\" target=\"_blank\" rel=\"noopener\">rundown of this year’s food offerings\u003c/a>, here’s what resonated with us onstage on Friday.\u003c/p>\n\u003cp>\u003cem>Scroll down for full photo gallery.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11903866\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/LCD-800x500.jpg\" alt=\"LCD Soundsystem performs at the 2016 Outside Lands Festival in San Francisco.\" width=\"800\" height=\"500\" class=\"size-medium wp-image-11903866\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/LCD-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/LCD-400x250.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/LCD-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/LCD-1180x738.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/LCD.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/LCD-960x600.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">LCD Soundsystem performs at the 2016 Outside Lands Festival in San Francisco. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>1. LCD Soundsystem\u003c/h3>\n\u003cp>After a long, slow building set, the reunited stalwarts of analog dance jams ended with a triple threat of hits: “New York, I Love You, But You’re Bringing Me Down,” “Dance Yourself Clean,” and “All My Friends” — the latter culminating in a giant sing-along of “If I could see all my friends to-niiiiiiight!” Slicker and more polished than their last Bay Area appearance (on Treasure Island, in 2010), James Murphy & Co. proved themselves worthy first-day headliners.\u003c/p>\n\u003cfigure id=\"attachment_11903867\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Grimes-800x500.jpg\" alt=\"Grimes performs at the 2016 Outside Lands Festival in San Francisco.\" width=\"800\" height=\"500\" class=\"size-medium wp-image-11903867\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Grimes-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Grimes-400x250.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Grimes-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Grimes-1180x738.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Grimes.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Grimes-960x600.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Grimes performs at the 2016 Outside Lands Festival in San Francisco. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>2. Grimes\u003c/h3>\n\u003cp>Once a woozy electronic artist with effects-laden vocals and loops, the Canadian artist Clare Boucher underwent a more pop-oriented transformation with her latest album, \u003cem>Art Angels\u003c/em>, and it showed in her exuberant set on Friday. With smoke machines, backup dancers and an excellent band, Boucher bounced and danced around the entire stage to a crowd that gave all her energy right back.\u003c/p>\n\u003cfigure id=\"attachment_11901950\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/duran-duran1-800x533.jpg\" alt=\"Duran Duran perform at Outside Lands. (Wendy Goodfriend)\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11901950\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/duran-duran1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/duran-duran1-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/duran-duran1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/duran-duran1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/duran-duran1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/duran-duran1-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Duran Duran perform at Outside Lands. (Wendy Goodfriend) \u003ccite>(Wendy Goodfriend)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>3. Duran Duran\u003c/h3>\n\u003cp>Remember the ’80s? Outside Lands does too — they’ve recently taken to booking acts like Hall & Oates, and, coming this Sunday, Lionel Richie. (Will Michael McDonald be next?) In a seemingly perfectly timed late-afternoon slot, Duran Duran, led by the perpetually enigmatic Simon Le Bon, drove through a set of main-stage hits like “Hungry Like the Wolf,” “Wild Boys” and set-closer “Rio.” \u003c/p>\n\u003cfigure id=\"attachment_11903670\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Beach-House-01-800x533.jpg\" alt=\"Beach House perform at the 2016 Outside Lands Festival in San Francisco.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11903670\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Beach-House-01-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Beach-House-01-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Beach-House-01-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Beach-House-01-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Beach-House-01.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Beach-House-01-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beach House perform at the 2016 Outside Lands Festival in San Francisco. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>4. Beach House\u003c/h3>\n\u003cp>The Baltimore duo of Victoria Legrand and Alex Scally thrive in close environments — witness their \u003ca href=\"http://ww2.kqed.org/pop/2016/04/27/beach-house-plays-exclusive-installation-show-to-200-people-sitting-on-the-floor/\" target=\"_blank\" rel=\"noopener\">intimate show at the Mission District’s Gray Area Space\u003c/a> earlier this year — so it was fitting to have them on the Sutro stage, whose naturally sculpted bowl seems to cradle the audience. Under a typically San Franciscan overcast sky, the band provided a welcome breather from the adrenaline on other stages, playing songs from their one-two 2015 album punch of \u003cem>Depression Cherry\u003c/em> and \u003cem>Thank Your Lucky Stars\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_11903679\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/J.-Cole-with-a-mic-all-up-on-his-face-x_x-800x532.jpg\" alt=\"J. Cole performs at the 2016 Outside Lands Festival in San Francisco.\" width=\"800\" height=\"532\" class=\"size-medium wp-image-11903679\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/J.-Cole-with-a-mic-all-up-on-his-face-x_x-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/J.-Cole-with-a-mic-all-up-on-his-face-x_x-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/J.-Cole-with-a-mic-all-up-on-his-face-x_x-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/J.-Cole-with-a-mic-all-up-on-his-face-x_x-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/J.-Cole-with-a-mic-all-up-on-his-face-x_x-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/J.-Cole-with-a-mic-all-up-on-his-face-x_x-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">J. Cole performs at the 2016 Outside Lands Festival in San Francisco. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>5. J. Cole\u003c/h3>\n\u003cp>Despite playing at the same time as LCD Soundsystem, the rapper who \u003ca href=\"https://twitter.com/search?q=j.%20cole%20platinum%20no%20features&src=typd\" target=\"_blank\" rel=\"noopener\">went platinum with no features\u003c/a> drew a huge crowd at the Twin Peaks stage, with the unison crowd filling in bars on songs like “No Role Modelz” and “Crooked Smile.” In a white hoodie and shorts, J. Cole exemplified the wardrobe dilemma present in the crowd, as well — people either came bundled for Candlestick-proportions of fog, or barely covered in hopes of sun.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[gallery type=\"slideshow\" size=\"full\" ids=\"11903687,11903686,11903685,11903684,11903678,11903679,11903680,11903681,11903682,11903683,11903675,11903676,11903673,11903311,11903312,11903497,11903671,11903672,11903670,11903310,11903677,11901950,11903149,11903145,11901952,11903147,11901951,11903148,11901953,11903309,11903144,11903151\" orderby=\"rand\"]\u003c/p>\n\n",
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"excerpt": "Friday's opening-day crowds at Outside Lands this year were huge from the onset, with musical highlights including Duran Duran, LCD Soundsystem, Grimes and more.",
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"description": "Friday's opening-day crowds at Outside Lands this year were huge from the onset, with musical highlights including Duran Duran, LCD Soundsystem, Grimes and more.",
"title": "Outside Lands 2016: Friday's Music Highlights and Photo Gallery | KQED",
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"headline": "Outside Lands 2016: Friday's Music Highlights and Photo Gallery",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Day one at Outside Lands is always a little overwhelming, and this year was no exception. On a weekday when crowds have usually been thin in years past, everything seemed a little more crowded this year, with more branded “experiences” that came with FB- and IG-like admission and instructions for proper social media posting (a.k.a. free advertising), as well as DJ booths, arcade games, art walls, steampunk sideshows, pop-up shows and dozens more — each with its own hashtag, naturally. The message at big festivals is always a little anxious: \u003cem>This. Is. An. Experience. You. Are. Having!\u003c/em>\u003c/p>\n\u003cp>Beyond the crowds and targeted #Millennial sponsorships, there happens to be some great music at Outside Lands. While our KQED friends over at \u003ca href=\"https://ww2.kqed.org/bayareabites/\" target=\"_blank\" rel=\"noopener\">Bay Area Bites\u003c/a> have a \u003ca href=\"http://ww2.kqed.org/bayareabites/2016/08/06/guide-some-of-the-best-things-to-eat-at-outside-lands-2016/\" target=\"_blank\" rel=\"noopener\">rundown of this year’s food offerings\u003c/a>, here’s what resonated with us onstage on Friday.\u003c/p>\n\u003cp>\u003cem>Scroll down for full photo gallery.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11903866\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/LCD-800x500.jpg\" alt=\"LCD Soundsystem performs at the 2016 Outside Lands Festival in San Francisco.\" width=\"800\" height=\"500\" class=\"size-medium wp-image-11903866\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/LCD-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/LCD-400x250.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/LCD-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/LCD-1180x738.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/LCD.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/LCD-960x600.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">LCD Soundsystem performs at the 2016 Outside Lands Festival in San Francisco. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>1. LCD Soundsystem\u003c/h3>\n\u003cp>After a long, slow building set, the reunited stalwarts of analog dance jams ended with a triple threat of hits: “New York, I Love You, But You’re Bringing Me Down,” “Dance Yourself Clean,” and “All My Friends” — the latter culminating in a giant sing-along of “If I could see all my friends to-niiiiiiight!” Slicker and more polished than their last Bay Area appearance (on Treasure Island, in 2010), James Murphy & Co. proved themselves worthy first-day headliners.\u003c/p>\n\u003cfigure id=\"attachment_11903867\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Grimes-800x500.jpg\" alt=\"Grimes performs at the 2016 Outside Lands Festival in San Francisco.\" width=\"800\" height=\"500\" class=\"size-medium wp-image-11903867\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Grimes-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Grimes-400x250.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Grimes-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Grimes-1180x738.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Grimes.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Grimes-960x600.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Grimes performs at the 2016 Outside Lands Festival in San Francisco. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>2. Grimes\u003c/h3>\n\u003cp>Once a woozy electronic artist with effects-laden vocals and loops, the Canadian artist Clare Boucher underwent a more pop-oriented transformation with her latest album, \u003cem>Art Angels\u003c/em>, and it showed in her exuberant set on Friday. With smoke machines, backup dancers and an excellent band, Boucher bounced and danced around the entire stage to a crowd that gave all her energy right back.\u003c/p>\n\u003cfigure id=\"attachment_11901950\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/duran-duran1-800x533.jpg\" alt=\"Duran Duran perform at Outside Lands. (Wendy Goodfriend)\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11901950\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/duran-duran1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/duran-duran1-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/duran-duran1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/duran-duran1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/duran-duran1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/duran-duran1-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Duran Duran perform at Outside Lands. (Wendy Goodfriend) \u003ccite>(Wendy Goodfriend)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>3. Duran Duran\u003c/h3>\n\u003cp>Remember the ’80s? Outside Lands does too — they’ve recently taken to booking acts like Hall & Oates, and, coming this Sunday, Lionel Richie. (Will Michael McDonald be next?) In a seemingly perfectly timed late-afternoon slot, Duran Duran, led by the perpetually enigmatic Simon Le Bon, drove through a set of main-stage hits like “Hungry Like the Wolf,” “Wild Boys” and set-closer “Rio.” \u003c/p>\n\u003cfigure id=\"attachment_11903670\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Beach-House-01-800x533.jpg\" alt=\"Beach House perform at the 2016 Outside Lands Festival in San Francisco.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11903670\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Beach-House-01-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Beach-House-01-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Beach-House-01-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Beach-House-01-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Beach-House-01.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Beach-House-01-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beach House perform at the 2016 Outside Lands Festival in San Francisco. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>4. Beach House\u003c/h3>\n\u003cp>The Baltimore duo of Victoria Legrand and Alex Scally thrive in close environments — witness their \u003ca href=\"http://ww2.kqed.org/pop/2016/04/27/beach-house-plays-exclusive-installation-show-to-200-people-sitting-on-the-floor/\" target=\"_blank\" rel=\"noopener\">intimate show at the Mission District’s Gray Area Space\u003c/a> earlier this year — so it was fitting to have them on the Sutro stage, whose naturally sculpted bowl seems to cradle the audience. Under a typically San Franciscan overcast sky, the band provided a welcome breather from the adrenaline on other stages, playing songs from their one-two 2015 album punch of \u003cem>Depression Cherry\u003c/em> and \u003cem>Thank Your Lucky Stars\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_11903679\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/J.-Cole-with-a-mic-all-up-on-his-face-x_x-800x532.jpg\" alt=\"J. Cole performs at the 2016 Outside Lands Festival in San Francisco.\" width=\"800\" height=\"532\" class=\"size-medium wp-image-11903679\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/J.-Cole-with-a-mic-all-up-on-his-face-x_x-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/J.-Cole-with-a-mic-all-up-on-his-face-x_x-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/J.-Cole-with-a-mic-all-up-on-his-face-x_x-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/J.-Cole-with-a-mic-all-up-on-his-face-x_x-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/J.-Cole-with-a-mic-all-up-on-his-face-x_x-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/J.-Cole-with-a-mic-all-up-on-his-face-x_x-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">J. Cole performs at the 2016 Outside Lands Festival in San Francisco. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>5. J. Cole\u003c/h3>\n\u003cp>Despite playing at the same time as LCD Soundsystem, the rapper who \u003ca href=\"https://twitter.com/search?q=j.%20cole%20platinum%20no%20features&src=typd\" target=\"_blank\" rel=\"noopener\">went platinum with no features\u003c/a> drew a huge crowd at the Twin Peaks stage, with the unison crowd filling in bars on songs like “No Role Modelz” and “Crooked Smile.” In a white hoodie and shorts, J. Cole exemplified the wardrobe dilemma present in the crowd, as well — people either came bundled for Candlestick-proportions of fog, or barely covered in hopes of sun.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Guide: Some of the Best Things to Eat at Outside Lands 2016",
"title": "Guide: Some of the Best Things to Eat at Outside Lands 2016",
"headTitle": "Bay Area Bites | KQED Food",
"content": "\u003cp>Sure, the main attraction at a music festival is generally the music -- and this year's \u003ca href=\"http://www.sfoutsidelands.com\" target=\"_blank\">Outside Lands\u003c/a>, with headliners Radiohead, LCD Soundsystem, and Lionel Richie, promises plenty. But let's be real, this is San Francisco. Food -- from corn dogs to a gourmet five-course feast -- is nearly always going to edge its way to center stage. Outside Lands, now in its eighth year, is probably the best example of this: What began as a few Willy Wonka-esque areas devoted to chocolate, beer and bacon has grown over the past few years into a full-blown smorgasbord of culinary hedonism: Liquid nitrogen-dipped ice cream tacos? A thin-crust pizza the size of your torso? Fresh Maine lobster roll and a $25 pour of sauvignon blanc? Right this way.\u003c/p>\n\u003cp>We here at Bay Area Bites sacrificed our stomachs on the first day of the fest to try as many options as possible -- with an emphasis on the newcomers. It's a tough job, but somebody's gotta do it. Here's the best of the best.\u003c/p>\n\u003cp>\u003cstrong>Best way to fight the cold (or a hangover): \u003ca href=\"http://www.itaniramen.com\" target=\"_blank\">Itani Ramen\u003c/a>, $13\u003c/strong>\u003cbr>\nNew to the festival this year, this Oakland ramen shop is the brainchild of chef/namesake Kyle Itani, who happily explained how he had rigged his usual ramen recipe for a festival environment: by portioning out individual servings of fresh noodles, shocking them in ice water, and packaging them with toppings -- corn, green onion, nori -- before adding them to one of two broths, steaming behind him in 12-quart pots. The buttery shoyu (pork broth) option comes with chicken soboro (savory ground chicken), bamboo shoots, and bean sprouts; it was perfectly rich without being overwhelming salty. The veggie option was a thinner yet smokier miso broth, with a generous serving of spinach and the addition of chili oil. Only thing missing? No marinated soft-boiled eggs. Itani said they were working on it.\u003c/p>\n\u003cfigure id=\"attachment_111268\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-111268\" src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/08/ramen-veg.jpg\" alt=\"Itani Miso Veggie Ramen \" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/08/ramen-veg.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/ramen-veg-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/ramen-veg-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/ramen-veg-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/ramen-veg-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/ramen-veg-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/ramen-veg-960x640.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Itani Miso Veggie Ramen \u003ccite>(Wendy Goodfriend)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_111267\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-111267\" src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/08/ramen-chix.jpg\" alt=\"Shoyu Butter Chicken Ramen\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/08/ramen-chix.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/ramen-chix-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/ramen-chix-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/ramen-chix-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/ramen-chix-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/ramen-chix-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/ramen-chix-960x640.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Shoyu Butter Chicken Ramen \u003ccite>(Wendy Goodfriend)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Best deli sandwich: \u003ca href=\"http://www.jtomatoes.com/splitpea.htm\" target=\"_blank\">Split Pea Seduction\u003c/a> Rotisserie-Grilled Puerto Rican Pork, $14\u003c/strong>\u003cbr>\nYou can generally tell you're in for a good sandwich when you got to a stand by following your nose. This sandwich called to us from the fragrantly smoking rotisserie pit directly adjacent to the stand, and the finished product did not disappoint -- arugula, heirloom tomato slices, and a swipe of citrusy mayo across a chewy french roll from local \u003ca href=\"http://www.panoramabaking.com/\" target=\"_blank\">Panorama bakery\u003c/a>. Other options include a shaken stone fruit salad and, obviously, generous portions of hot split pea soup. Overall, one of the few places I actually saw green things on a menu.\u003c/p>\n\u003cfigure id=\"attachment_111280\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-111280\" src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/08/pork-sandwich.jpg\" alt=\"Rotisserie Grilled Puerto Rican Pork\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/08/pork-sandwich.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pork-sandwich-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pork-sandwich-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pork-sandwich-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pork-sandwich-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pork-sandwich-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pork-sandwich-960x640.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Rotisserie Grilled Puerto Rican Pork \u003ccite>(Wendy Goodfriend)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_111271\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-111271\" src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/08/pork-roasting-spit.jpg\" alt=\"Grilling the Puerto Rican Pork on the rotisserie at Split Pea Seduction\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/08/pork-roasting-spit.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pork-roasting-spit-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pork-roasting-spit-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pork-roasting-spit-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pork-roasting-spit-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pork-roasting-spit-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pork-roasting-spit-960x640.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Grilling the Puerto Rican Pork on the rotisserie at Split Pea Seduction \u003ccite>(Wendy Goodfriend)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Best family business that's also churning out great munchies: \u003ca href=\"http://www.thefarmerswifesonoma.com/#the-farmers-wife\" target=\"_blank\">The Farmer's Wife\u003c/a> Gravenstein Apple and Wildflower Honey Grilled Cheese Sandwich, $12\u003c/strong>\u003cbr>\nAnother local favorite making its Outside Lands debut, this award-winning sandwich stand has become a well-loved staple at farmer's markets around Sonoma County on the strength of its simple pairings of apples, cheeses and meats. It helps that purveyor Kendra Kolling -- who notes with a smile that she can't reveal her secret and almost upsettingly satisfying three-cheese blend; even her employees don't know it -- is actually a farmer's wife: Husband Paul Kolling is the owner of \u003ca href=\"http://www.nanamae.com/\" target=\"_blank\">Nana Mae's Organics\u003c/a> and the grandson of Nana Mae herself. The apple farm the couple runs in Sebastopol makes them the fourth generation of a farming family; their daughters, who were dunking apples in high-quality caramel nearby, are the fifth. As for the sandwiches: This is stoner food done right. I was surprisingly satisfied by the most simple option, a sliced Gravenstein, perfectly melted cheese and a smear of clover flower honey on a thick slight of toasted organic sourdough, though Kolling also boasts award-winning chorizo and other carnivorous additions.\u003c/p>\n\u003cfigure id=\"attachment_111269\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-111269\" src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/08/grilled-cheese-apples.jpg\" alt=\"The Farmer's Wife Gravenstein Apple and Wildflower Honey Grilled Cheese Sandwich\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/08/grilled-cheese-apples.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/grilled-cheese-apples-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/grilled-cheese-apples-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/grilled-cheese-apples-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/grilled-cheese-apples-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/grilled-cheese-apples-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/grilled-cheese-apples-960x640.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Farmer's Wife Gravenstein Apple and Wildflower Honey Grilled Cheese Sandwich \u003ccite>(Wendy Goodfriend)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Best use of liquid nitrogen: \u003ca href=\"http://www.rockosicecreamtacos.com\" target=\"_blank\">Rocko's Ice Cream Tacos\u003c/a>, $7\u003c/strong>\u003cbr>\nBack for their second year, this food truck serves up the ice cream creations of your childhood dreams. Pick a house-made ice cream flavor -- I went with salted caramel, which was refreshingly not overly sweet -- and the almost too-eager employees at Rocko's will scoop it lovingly into a small waffle taco shell, then dunk it in the dip of your choosing (I went dark chocolate). Then you can opt for a superfluous-seeming sprinkling of nuts or pretzels, and the whole thing is topped off by a blast of liquid nitrogen. For the price, it's a whole lot of youthful fantasy wrapped in a literal chocolate shell. Wish we could pair it with warmer weather, but: This is Outside Lands, friends. No such luck.\u003c/p>\n\u003cfigure id=\"attachment_111275\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-111275\" src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/08/ice-cream-taco1.jpg\" alt=\"Rocko's Ice Cream Taco\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/08/ice-cream-taco1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/ice-cream-taco1-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/ice-cream-taco1-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/ice-cream-taco1-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/ice-cream-taco1-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/ice-cream-taco1-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/ice-cream-taco1-960x640.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Rocko's Ice Cream Taco \u003ccite>(Wendy Goodfriend)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_111274\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-111274\" src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/08/ice-cream-taco.jpg\" alt=\"Rocko's Ice Cream Tacos\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/08/ice-cream-taco.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/ice-cream-taco-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/ice-cream-taco-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/ice-cream-taco-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/ice-cream-taco-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/ice-cream-taco-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/ice-cream-taco-960x640.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Rocko's Ice Cream Tacos dipped in liquid nitrogen \u003ccite>(Wendy Goodfriend)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Best veggie haven: \u003ca href=\"http://biniskitchen.com\" target=\"_blank\">Bini's Kitchen\u003c/a> Veggie Momos (Nepalese Dumplings), $12 for combo plate\u003c/strong>\u003cbr>\nYet another newcomer to OSL, this longtime favorite at Off the Grid nights had a serious line every time I walked by it, for good reason: Serving up perfectly chewy, savory dumplings (stuffed with either veggies or turkey) topped with creamy tomato-cilantro sauce in generous portions provides a welcome respite from some of the more precious culinary experiences available at Outside Lands: It's homey, solid grub. The veggie dumplings and combination chicken-and-curried rice plate didn't disappoint either.\u003c/p>\n\u003cfigure id=\"attachment_111290\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-111290\" src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/08/emma-momos-final.jpg\" alt=\"The turkey dumplings and combination chicken-and-curried rice plate.\" width=\"1920\" height=\"1440\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/08/emma-momos-final.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/emma-momos-final-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/emma-momos-final-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/emma-momos-final-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/emma-momos-final-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/emma-momos-final-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/emma-momos-final-960x720.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The veggie dumplings and combination chicken-and-curried rice plate. \u003ccite>(Emma Silvers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Best late-night sugar boost: \u003ca href=\"http://www.charleschocolates.com\" target=\"_blank\">Charles Chocolates\u003c/a> Hot Chocolate with Homemade Marshmallows, $7\u003c/strong>\u003cbr>\nWhen you've reached the point in the evening when only a superhuman combination of sugar and a hit of caffeine will keep you going, don't mess with success: Charles Chocolates' crazy-indulgent cup of hot cocoa can feel like actual medicine, with the added bonus of being a hot thing to hold when you can't feel your hands anymore (love you, San Francisco summer!). If you'd rather take said medication in solid form, their fudge brownies never hurt anyone.\u003c/p>\n\u003cfigure id=\"attachment_111293\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-111293\" src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/08/hot-chocolate-charles1.jpg\" alt=\"Charles Chocolates hot chocolate with homemade marshmallows\" width=\"1920\" height=\"2560\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/08/hot-chocolate-charles1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/hot-chocolate-charles1-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/hot-chocolate-charles1-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/hot-chocolate-charles1-768x1024.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/hot-chocolate-charles1-1440x1920.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/hot-chocolate-charles1-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/hot-chocolate-charles1-960x1280.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Charles Chocolates hot chocolate with homemade marshmallows\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Best splurge: \u003ca href=\"http://woodhousefish.com\" target=\"_blank\">Woodhouse Fish Co.\u003c/a> Lobster Roll, $22\u003c/strong>\u003cbr>\nLong gone are the days when \"festival food\" meant fried things on sticks -- and it seems the pendulum has swung in the opposite direction. If you're going to be annoyed every time you see a gourmet, exorbitant charcuterie plate and wine pairing at Outside Lands, you should probably just stay home. That said, of the indulgences that the $15-and-up category has to offer, the lobster roll from SF's own Woodhouse was the closest thing to self-justifying. Fresh-tasting Maine lobster meat mingled with a light lemon aioli, chives, and a surprising crunch of celery, all stuffed into a thick slab of Texas toast cooked on the griddle with clarified butter. One complaint: For how hyped this year's new \"Outside Clams\" area was in press materials, I was expecting a sign, at least. Just look for Wine Lands, and then follow the sound of people happily slurping barbecued oysters nearby.\u003c/p>\n\u003cfigure id=\"attachment_111270\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-111270\" src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/08/lobster-roll.jpg\" alt=\"Woodhouse Fish Co. Lobster Roll\" width=\"1920\" height=\"2880\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/08/lobster-roll.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/lobster-roll-400x600.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/lobster-roll-800x1200.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/lobster-roll-768x1152.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/lobster-roll-1440x2160.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/lobster-roll-1180x1770.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/lobster-roll-960x1440.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Woodhouse Fish Co. Lobster Roll \u003ccite>(Wendy Goodfriend)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_111285\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-111285\" src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/08/woodhouse-fish.jpg\" alt=\"Outside Clams - Woodhouse Fish Co.\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/08/woodhouse-fish.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/woodhouse-fish-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/woodhouse-fish-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/woodhouse-fish-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/woodhouse-fish-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/woodhouse-fish-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/woodhouse-fish-960x640.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Outside Clams - Woodhouse Fish Co. \u003ccite>(Wendy Goodfriend)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Best antidote for one many cocktails: \u003ca href=\"http://spicypie.com\" target=\"_blank\">Spicy Pie\u003c/a>, any kind of slice\u003c/strong>, $7\u003cbr>\nDon't get me wrong, we were stoked to see Mozzeria -- the wood-fired Neopolitan pizza that's been winning San Francisco over since 2011 -- making its first festival appearance. But when it comes to balancing out a night of questionable choices before you begin the trek home, there's really nothing like a giant, perfectly foldable slice of pizza from the veterans at Spicy Pie. Cheese, jalapeno-and-pepperoni, you can't go wrong. Do note: a strong urge to nap may follow immediately after.\u003c/p>\n\u003cfigure id=\"attachment_111273\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-111273\" src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/08/pizza-spicy-pie.jpg\" alt=\"Spicy Pie ginormous slice\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/08/pizza-spicy-pie.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pizza-spicy-pie-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pizza-spicy-pie-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pizza-spicy-pie-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pizza-spicy-pie-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pizza-spicy-pie-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pizza-spicy-pie-960x640.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Spicy Pie ginormous slice \u003ccite>(Wendy Goodfriend)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_111272\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-111272\" src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/08/pizza-spicy-pie-slice.jpg\" alt=\"Essential to fold the Spicy Pie slice New York-style to eat it.\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/08/pizza-spicy-pie-slice.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pizza-spicy-pie-slice-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pizza-spicy-pie-slice-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pizza-spicy-pie-slice-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pizza-spicy-pie-slice-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pizza-spicy-pie-slice-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pizza-spicy-pie-slice-960x640.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Essential to fold the Spicy Pie slice New York-style to eat it. \u003ccite>(Wendy Goodfriend)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "We here at Bay Area Bites sacrificed our stomachs on the first day of the fest to try as many options as possible -- with an emphasis on the newcomers. It's a tough job, but somebody's gotta do it. Here's the best of the best. ",
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"description": "We here at Bay Area Bites sacrificed our stomachs on the first day of the fest to try as many options as possible -- with an emphasis on the newcomers. It's a tough job, but somebody's gotta do it. Here's the best of the best. ",
"title": "Guide: Some of the Best Things to Eat at Outside Lands 2016 | KQED",
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"headline": "Guide: Some of the Best Things to Eat at Outside Lands 2016",
"datePublished": "2016-08-06T10:50:31-07:00",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sure, the main attraction at a music festival is generally the music -- and this year's \u003ca href=\"http://www.sfoutsidelands.com\" target=\"_blank\">Outside Lands\u003c/a>, with headliners Radiohead, LCD Soundsystem, and Lionel Richie, promises plenty. But let's be real, this is San Francisco. Food -- from corn dogs to a gourmet five-course feast -- is nearly always going to edge its way to center stage. Outside Lands, now in its eighth year, is probably the best example of this: What began as a few Willy Wonka-esque areas devoted to chocolate, beer and bacon has grown over the past few years into a full-blown smorgasbord of culinary hedonism: Liquid nitrogen-dipped ice cream tacos? A thin-crust pizza the size of your torso? Fresh Maine lobster roll and a $25 pour of sauvignon blanc? Right this way.\u003c/p>\n\u003cp>We here at Bay Area Bites sacrificed our stomachs on the first day of the fest to try as many options as possible -- with an emphasis on the newcomers. It's a tough job, but somebody's gotta do it. Here's the best of the best.\u003c/p>\n\u003cp>\u003cstrong>Best way to fight the cold (or a hangover): \u003ca href=\"http://www.itaniramen.com\" target=\"_blank\">Itani Ramen\u003c/a>, $13\u003c/strong>\u003cbr>\nNew to the festival this year, this Oakland ramen shop is the brainchild of chef/namesake Kyle Itani, who happily explained how he had rigged his usual ramen recipe for a festival environment: by portioning out individual servings of fresh noodles, shocking them in ice water, and packaging them with toppings -- corn, green onion, nori -- before adding them to one of two broths, steaming behind him in 12-quart pots. The buttery shoyu (pork broth) option comes with chicken soboro (savory ground chicken), bamboo shoots, and bean sprouts; it was perfectly rich without being overwhelming salty. The veggie option was a thinner yet smokier miso broth, with a generous serving of spinach and the addition of chili oil. Only thing missing? No marinated soft-boiled eggs. Itani said they were working on it.\u003c/p>\n\u003cfigure id=\"attachment_111268\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-111268\" src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/08/ramen-veg.jpg\" alt=\"Itani Miso Veggie Ramen \" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/08/ramen-veg.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/ramen-veg-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/ramen-veg-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/ramen-veg-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/ramen-veg-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/ramen-veg-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/ramen-veg-960x640.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Itani Miso Veggie Ramen \u003ccite>(Wendy Goodfriend)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_111267\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-111267\" src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/08/ramen-chix.jpg\" alt=\"Shoyu Butter Chicken Ramen\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/08/ramen-chix.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/ramen-chix-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/ramen-chix-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/ramen-chix-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/ramen-chix-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/ramen-chix-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/ramen-chix-960x640.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Shoyu Butter Chicken Ramen \u003ccite>(Wendy Goodfriend)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Best deli sandwich: \u003ca href=\"http://www.jtomatoes.com/splitpea.htm\" target=\"_blank\">Split Pea Seduction\u003c/a> Rotisserie-Grilled Puerto Rican Pork, $14\u003c/strong>\u003cbr>\nYou can generally tell you're in for a good sandwich when you got to a stand by following your nose. This sandwich called to us from the fragrantly smoking rotisserie pit directly adjacent to the stand, and the finished product did not disappoint -- arugula, heirloom tomato slices, and a swipe of citrusy mayo across a chewy french roll from local \u003ca href=\"http://www.panoramabaking.com/\" target=\"_blank\">Panorama bakery\u003c/a>. Other options include a shaken stone fruit salad and, obviously, generous portions of hot split pea soup. Overall, one of the few places I actually saw green things on a menu.\u003c/p>\n\u003cfigure id=\"attachment_111280\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-111280\" src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/08/pork-sandwich.jpg\" alt=\"Rotisserie Grilled Puerto Rican Pork\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/08/pork-sandwich.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pork-sandwich-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pork-sandwich-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pork-sandwich-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pork-sandwich-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pork-sandwich-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pork-sandwich-960x640.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Rotisserie Grilled Puerto Rican Pork \u003ccite>(Wendy Goodfriend)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_111271\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-111271\" src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/08/pork-roasting-spit.jpg\" alt=\"Grilling the Puerto Rican Pork on the rotisserie at Split Pea Seduction\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/08/pork-roasting-spit.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pork-roasting-spit-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pork-roasting-spit-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pork-roasting-spit-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pork-roasting-spit-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pork-roasting-spit-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pork-roasting-spit-960x640.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Grilling the Puerto Rican Pork on the rotisserie at Split Pea Seduction \u003ccite>(Wendy Goodfriend)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Best family business that's also churning out great munchies: \u003ca href=\"http://www.thefarmerswifesonoma.com/#the-farmers-wife\" target=\"_blank\">The Farmer's Wife\u003c/a> Gravenstein Apple and Wildflower Honey Grilled Cheese Sandwich, $12\u003c/strong>\u003cbr>\nAnother local favorite making its Outside Lands debut, this award-winning sandwich stand has become a well-loved staple at farmer's markets around Sonoma County on the strength of its simple pairings of apples, cheeses and meats. It helps that purveyor Kendra Kolling -- who notes with a smile that she can't reveal her secret and almost upsettingly satisfying three-cheese blend; even her employees don't know it -- is actually a farmer's wife: Husband Paul Kolling is the owner of \u003ca href=\"http://www.nanamae.com/\" target=\"_blank\">Nana Mae's Organics\u003c/a> and the grandson of Nana Mae herself. The apple farm the couple runs in Sebastopol makes them the fourth generation of a farming family; their daughters, who were dunking apples in high-quality caramel nearby, are the fifth. As for the sandwiches: This is stoner food done right. I was surprisingly satisfied by the most simple option, a sliced Gravenstein, perfectly melted cheese and a smear of clover flower honey on a thick slight of toasted organic sourdough, though Kolling also boasts award-winning chorizo and other carnivorous additions.\u003c/p>\n\u003cfigure id=\"attachment_111269\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-111269\" src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/08/grilled-cheese-apples.jpg\" alt=\"The Farmer's Wife Gravenstein Apple and Wildflower Honey Grilled Cheese Sandwich\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/08/grilled-cheese-apples.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/grilled-cheese-apples-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/grilled-cheese-apples-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/grilled-cheese-apples-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/grilled-cheese-apples-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/grilled-cheese-apples-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/grilled-cheese-apples-960x640.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Farmer's Wife Gravenstein Apple and Wildflower Honey Grilled Cheese Sandwich \u003ccite>(Wendy Goodfriend)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Best use of liquid nitrogen: \u003ca href=\"http://www.rockosicecreamtacos.com\" target=\"_blank\">Rocko's Ice Cream Tacos\u003c/a>, $7\u003c/strong>\u003cbr>\nBack for their second year, this food truck serves up the ice cream creations of your childhood dreams. Pick a house-made ice cream flavor -- I went with salted caramel, which was refreshingly not overly sweet -- and the almost too-eager employees at Rocko's will scoop it lovingly into a small waffle taco shell, then dunk it in the dip of your choosing (I went dark chocolate). Then you can opt for a superfluous-seeming sprinkling of nuts or pretzels, and the whole thing is topped off by a blast of liquid nitrogen. For the price, it's a whole lot of youthful fantasy wrapped in a literal chocolate shell. Wish we could pair it with warmer weather, but: This is Outside Lands, friends. No such luck.\u003c/p>\n\u003cfigure id=\"attachment_111275\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-111275\" src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/08/ice-cream-taco1.jpg\" alt=\"Rocko's Ice Cream Taco\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/08/ice-cream-taco1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/ice-cream-taco1-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/ice-cream-taco1-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/ice-cream-taco1-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/ice-cream-taco1-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/ice-cream-taco1-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/ice-cream-taco1-960x640.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Rocko's Ice Cream Taco \u003ccite>(Wendy Goodfriend)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_111274\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-111274\" src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/08/ice-cream-taco.jpg\" alt=\"Rocko's Ice Cream Tacos\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/08/ice-cream-taco.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/ice-cream-taco-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/ice-cream-taco-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/ice-cream-taco-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/ice-cream-taco-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/ice-cream-taco-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/ice-cream-taco-960x640.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Rocko's Ice Cream Tacos dipped in liquid nitrogen \u003ccite>(Wendy Goodfriend)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Best veggie haven: \u003ca href=\"http://biniskitchen.com\" target=\"_blank\">Bini's Kitchen\u003c/a> Veggie Momos (Nepalese Dumplings), $12 for combo plate\u003c/strong>\u003cbr>\nYet another newcomer to OSL, this longtime favorite at Off the Grid nights had a serious line every time I walked by it, for good reason: Serving up perfectly chewy, savory dumplings (stuffed with either veggies or turkey) topped with creamy tomato-cilantro sauce in generous portions provides a welcome respite from some of the more precious culinary experiences available at Outside Lands: It's homey, solid grub. The veggie dumplings and combination chicken-and-curried rice plate didn't disappoint either.\u003c/p>\n\u003cfigure id=\"attachment_111290\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-111290\" src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/08/emma-momos-final.jpg\" alt=\"The turkey dumplings and combination chicken-and-curried rice plate.\" width=\"1920\" height=\"1440\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/08/emma-momos-final.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/emma-momos-final-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/emma-momos-final-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/emma-momos-final-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/emma-momos-final-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/emma-momos-final-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/emma-momos-final-960x720.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The veggie dumplings and combination chicken-and-curried rice plate. \u003ccite>(Emma Silvers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Best late-night sugar boost: \u003ca href=\"http://www.charleschocolates.com\" target=\"_blank\">Charles Chocolates\u003c/a> Hot Chocolate with Homemade Marshmallows, $7\u003c/strong>\u003cbr>\nWhen you've reached the point in the evening when only a superhuman combination of sugar and a hit of caffeine will keep you going, don't mess with success: Charles Chocolates' crazy-indulgent cup of hot cocoa can feel like actual medicine, with the added bonus of being a hot thing to hold when you can't feel your hands anymore (love you, San Francisco summer!). If you'd rather take said medication in solid form, their fudge brownies never hurt anyone.\u003c/p>\n\u003cfigure id=\"attachment_111293\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-111293\" src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/08/hot-chocolate-charles1.jpg\" alt=\"Charles Chocolates hot chocolate with homemade marshmallows\" width=\"1920\" height=\"2560\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/08/hot-chocolate-charles1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/hot-chocolate-charles1-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/hot-chocolate-charles1-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/hot-chocolate-charles1-768x1024.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/hot-chocolate-charles1-1440x1920.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/hot-chocolate-charles1-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/hot-chocolate-charles1-960x1280.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Charles Chocolates hot chocolate with homemade marshmallows\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Best splurge: \u003ca href=\"http://woodhousefish.com\" target=\"_blank\">Woodhouse Fish Co.\u003c/a> Lobster Roll, $22\u003c/strong>\u003cbr>\nLong gone are the days when \"festival food\" meant fried things on sticks -- and it seems the pendulum has swung in the opposite direction. If you're going to be annoyed every time you see a gourmet, exorbitant charcuterie plate and wine pairing at Outside Lands, you should probably just stay home. That said, of the indulgences that the $15-and-up category has to offer, the lobster roll from SF's own Woodhouse was the closest thing to self-justifying. Fresh-tasting Maine lobster meat mingled with a light lemon aioli, chives, and a surprising crunch of celery, all stuffed into a thick slab of Texas toast cooked on the griddle with clarified butter. One complaint: For how hyped this year's new \"Outside Clams\" area was in press materials, I was expecting a sign, at least. Just look for Wine Lands, and then follow the sound of people happily slurping barbecued oysters nearby.\u003c/p>\n\u003cfigure id=\"attachment_111270\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-111270\" src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/08/lobster-roll.jpg\" alt=\"Woodhouse Fish Co. Lobster Roll\" width=\"1920\" height=\"2880\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/08/lobster-roll.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/lobster-roll-400x600.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/lobster-roll-800x1200.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/lobster-roll-768x1152.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/lobster-roll-1440x2160.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/lobster-roll-1180x1770.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/lobster-roll-960x1440.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Woodhouse Fish Co. Lobster Roll \u003ccite>(Wendy Goodfriend)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_111285\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-111285\" src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/08/woodhouse-fish.jpg\" alt=\"Outside Clams - Woodhouse Fish Co.\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/08/woodhouse-fish.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/woodhouse-fish-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/woodhouse-fish-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/woodhouse-fish-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/woodhouse-fish-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/woodhouse-fish-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/woodhouse-fish-960x640.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Outside Clams - Woodhouse Fish Co. \u003ccite>(Wendy Goodfriend)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Best antidote for one many cocktails: \u003ca href=\"http://spicypie.com\" target=\"_blank\">Spicy Pie\u003c/a>, any kind of slice\u003c/strong>, $7\u003cbr>\nDon't get me wrong, we were stoked to see Mozzeria -- the wood-fired Neopolitan pizza that's been winning San Francisco over since 2011 -- making its first festival appearance. But when it comes to balancing out a night of questionable choices before you begin the trek home, there's really nothing like a giant, perfectly foldable slice of pizza from the veterans at Spicy Pie. Cheese, jalapeno-and-pepperoni, you can't go wrong. Do note: a strong urge to nap may follow immediately after.\u003c/p>\n\u003cfigure id=\"attachment_111273\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-111273\" src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/08/pizza-spicy-pie.jpg\" alt=\"Spicy Pie ginormous slice\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/08/pizza-spicy-pie.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pizza-spicy-pie-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pizza-spicy-pie-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pizza-spicy-pie-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pizza-spicy-pie-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pizza-spicy-pie-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pizza-spicy-pie-960x640.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Spicy Pie ginormous slice \u003ccite>(Wendy Goodfriend)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_111272\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-111272\" src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/08/pizza-spicy-pie-slice.jpg\" alt=\"Essential to fold the Spicy Pie slice New York-style to eat it.\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/08/pizza-spicy-pie-slice.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pizza-spicy-pie-slice-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pizza-spicy-pie-slice-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pizza-spicy-pie-slice-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pizza-spicy-pie-slice-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pizza-spicy-pie-slice-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/pizza-spicy-pie-slice-960x640.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Essential to fold the Spicy Pie slice New York-style to eat it. \u003ccite>(Wendy Goodfriend)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"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. ",
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"marketplace": {
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"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.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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"radiolab": {
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"reveal": {
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},
"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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},
"science-friday": {
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
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"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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},
"soldout": {
"id": "soldout",
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