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"title": "How I Survived Outside Lands 2014, Day 3: Time to Trip Out",
"headTitle": "How I Survived Outside Lands 2014, Day 3: Time to Trip Out | KQED",
"content": "\u003cp>\u003cem>This is the third in a series of daily reports from this year’s Outside Lands from KQED Arts’ newest reporter, Kevin L. Jones. This is the first time Jones has attended the festival.\u003c/em>\u003c/p>\n\u003cp>When I woke up Sunday morning and began packing up for my long trip to Golden Gate Park, I realized that my exhaustion had progressed into a widespread soreness, especially around my shoulders, which was probably created by lugging around a camera bag all day, for two days straight. I really considered not going.\u003c/p>\n\u003cp>When I finally did arrive, I walked straight to the Barbary, where Sir Patrick Stewart, AKA Captain Picard, had taken the stage and began making jokes in iambic pentameter. \u003c/p>\n\u003cfigure id=\"attachment_10140351\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Shakespeare-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Shakespeare-1.jpg\" alt=\"Patrick Stewart performing with Improvised Shakespeare\" width=\"800\" height=\"533\" class=\"size-full wp-image-10140351\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Shakespeare-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Shakespeare-1-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Shakespeare-1-300x199.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Patrick Stewart performing with the Improvised Shakespeare Company\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Improvised Shakespeare:\u003c/b> If only Shakespeare had a character named “Lord Taintwhistle” who made whistling noises as he walked, he might’ve had another hit on his hands.\u003c/p>\n\u003cp>All kidding aside, the improvisers in the \u003ca href=\"http://www.improvisedshakespeare.com/\" target=\"_blank\" rel=\"noopener\">Improvised Shakespeare Company\u003c/a> (which includes Thomas Middleditch of the HBO show \u003ci>Silicon Valley\u003c/i>) pull off the amazing feat of being funny while speaking mostly in iambic pentameter. It’s not that being humorous using olde English is so mind-blowing — Shakespeare’s comedies, when done well, can be very funny — but improvising a storyline and all the requisite jokes while speaking in a clearly outdated fashion is truly a skill worth admiration. (And though Stewart, as funny as he is, isn’t a comedic actor per se, he still held his own on the stage with guys who make people laugh for a living.)\u003c/p>\n\u003cfigure id=\"attachment_10140356\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Woods-2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Woods-2.jpg\" alt=\"Woods playing the jams \" width=\"800\" height=\"450\" class=\"size-full wp-image-10140356\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Woods-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Woods-2-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Woods-2-300x168.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Woods playing the jams\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Woods:\u003c/b> New York City’s kings of lo-fi “Weird folk” have definitely evolved from their early bedroom recordings into an outdoor festival-ready indie band. Though I only caught a few songs near the end of their set, what I caught was full of dynamics and these dudes showing off their chops. There were quite a few bros with their shirts of dancing in the crowd, which I took as a sign of success for this group’s change in direction.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Chvrches:\u003c/b> I was sad to learn early in the day that Ireland’s heavy synth pop trio Chvrches missed their flight to San Francisco that morning, forcing the band to cancel their performance on the main stage. It was really disappointing, especially since the group’s mix of angular synth riffs and Lauren Mayberry’s angelic vocals held a lot of potential for a great show, especially at ear-splitting volumes. Just watch the video below and you’ll see what I mean.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6rXusnCQ7YI\u003c/p>\n\u003cfigure id=\"attachment_10140343\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Dome.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Dome.jpg\" alt=\"One of the amazing visuals on display during Cappa Regime's set under the Dome\" width=\"800\" height=\"533\" class=\"size-full wp-image-10140343\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Dome.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Dome-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Dome-300x199.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">One of the amazing visuals on display during Cappa Regime’s set under the Dome\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Cappa Regime:\u003c/b> To be honest, I really don’t know anything about this group but I knew I should take a second and see what the Heineken-sponsored “House” was like and I was glad I did. In the main dance area, the sound and visuals were both overwhelming and wonderful. The DJs known as the Cappa Regime did a fine job of getting the crowd to move their butts and throw their hands in the air at three in the afternoon, but it was the visuals — colors melting down from the top of the dome in different patterns — that was what impressed me the most.\u003c/p>\n\u003cfigure id=\"attachment_10140339\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Barnett-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Barnett-1.jpg\" alt=\"Courtney Barnett during her noisy, rocking set\" width=\"800\" height=\"533\" class=\"size-full wp-image-10140339\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Barnett-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Barnett-1-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Barnett-1-300x199.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Courtney Barnett during her noisy, rocking set\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Country Barnett:\u003c/b> I had some time before Courtney Barnett’s at the Panhandle stage, so I tried to make my way over to the Twin Peaks stage to see what Plume was all about. Sadly, the crowd was so big, I couldn’t get anywhere close enough to see what the band looked like, even on the big screen! The sea of the Plume watchers stretched so far, it practically reached Barnett’s stage.\u003c/p>\n\u003cp>After talking to one of the nice stage crew workers, Barnett bounded onto the stage, grabbed her guitar and plowed right into her set. What followed was a set of sloppy, noisey rock and roll that felt more like rowdy Australian pub than American music festival. It was quite surprising, as her recorded output is very quiet and delicate-seeming, while her live show comes with teeth barred. \u003c/p>\n\u003cp>Thinking back, I realize now that it shouldn’t have been a surprise as Barnett comes from Australia, which has a history of producing the world’s best and most aggressive rock ‘n roll — AC/DC, Rose Tattoo, Coloured Balls, the list goes on — and Barnett’s live act seems to have been bred in the same environment. And that’s a good thing, as it felt like a breath of fresh air in the cloud of synthesizers that was this year’s Outside Lands (or at least most of it.) I made sure stay through her set before running over to see Spoon.\u003c/p>\n\u003cfigure id=\"attachment_10140354\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Spoon-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Spoon-1.jpg\" alt=\"Britt Daniel and Spoon\" width=\"800\" height=\"450\" class=\"size-full wp-image-10140354\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Spoon-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Spoon-1-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Spoon-1-300x168.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Britt Daniel and Spoon\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Spoon:\u003c/b> Spoon frontman Britt Daniel appears to be the torch bearer for songwriters trying to compete in a DJ/Producer world. It’s like he’s one of the most battle-proven in the war to demonstrate that a man with a guitar can still be relevant. \u003c/p>\n\u003cp>Though it sometimes sounds like Daniels borrows vocal lines from Paul Simon, Spoon has consistently sounded like Spoon, and that’s over eight albums.\u003c/p>\n\u003cp>One final note on Spoon — these guys are veterans of the festival circuit and were probably the only band on this year’s lineup that I was certain would bring a great show. Playing to thousands of critical audience members seemed like just another day for the band and the quality of their playing reflected that. Not to say that the band didn’t work their asses off to win over the crowd; no, it’s just that they made it look easy. (Then again, I bet having good songs that people really like helps.)\u003c/p>\n\u003cfigure id=\"attachment_10140355\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Steve-Drooge.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Steve-Drooge.jpg\" alt=\"Steven Drozd of the Flaming Lips\" width=\"800\" height=\"533\" class=\"size-full wp-image-10140355\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Steve-Drooge.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Steve-Drooge-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Steve-Drooge-300x199.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Steven Drozd of the Flaming Lips\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>The Flaming Lips:\u003c/b> I’m kinda sad that the first time I saw the almighty Flaming Lips it’s after they’ve been tainted by controversies involving \u003ca href=\"http://www.salon.com/2014/05/13/wayne_coyne_has_gone_mad_time_for_the_flaming_lips_singer_to_stop_being_a_monstrous_jerk/\" target=\"_blank\" rel=\"noopener\">headdresses\u003c/a> and \u003ca href=\"http://pitchfork.com/news/55030-kliph-scurlock-says-he-was-fired-from-flaming-lips-for-standing-up-to-wayne-coynes-friends-racism/\" target=\"_blank\" rel=\"noopener\">drummers who speak out of turn.\u003c/a> But then I saw Wayne Coyne’s amazing outfit and I forgot all those hassles the bands was having.\u003c/p>\n\u003cp>How to describe Coyne’s dress? Well, at first I thought the combination of the glittery face paint, a suit that made Coyne’s skin look like muscle tissue and an overcoat with holographic tassles made him look like an undead Marc Bolan. On further reflection, I feel Coyne’s look was more akin to the Goblin King in the movie \u003ci>Labyrinth\u003c/i> if he was played by a crazy homeless person.\u003c/p>\n\u003cp>The festival circuit has been amazing the Flaming Lips. They are a well-oiled machine and they’ve managed to make each show seem like a one-band Burning Man festival, but with a better soundtrack.\u003c/p>\n\u003cfigure id=\"attachment_10140344\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Evil-Lips.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Evil-Lips.jpg\" alt=\"The Flaming Lips' Wayne Coyne, in his homeless Goblin King get up, looking real evil\" width=\"800\" height=\"533\" class=\"size-full wp-image-10140344\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Evil-Lips.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Evil-Lips-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Evil-Lips-300x199.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Flaming Lips’ Wayne Coyne, in his homeless Goblin King get up, looking real evil\u003c/figcaption>\u003c/figure>\n\u003cp>There have been many versions of the Flaming Lips over the years and sure, I’ll admit that I might like their older material. But I love this version of the band for sure, because it means that thousands of get to listen to the musical magician of Steve Drozd, who is a truly under-appreciated studio wizard and the band’s Swiss Army knife. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>After three days of battling exhaustion and wild variations of Bay Area weather, I’m still glad I went to Outside Lands, though my intuition tried to fight it. Now it’s time to go hibernate for a few days.\u003c/p>\n\n",
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"excerpt": "The third and final report in our series about this year's \u003ci>Outside Lands Music Festival,\u003c/i> and how the third day included \u003ci>Star Trek: Next Generation\u003c/i> actors and a crazy looking Wayne Coyne.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This is the third in a series of daily reports from this year’s Outside Lands from KQED Arts’ newest reporter, Kevin L. Jones. This is the first time Jones has attended the festival.\u003c/em>\u003c/p>\n\u003cp>When I woke up Sunday morning and began packing up for my long trip to Golden Gate Park, I realized that my exhaustion had progressed into a widespread soreness, especially around my shoulders, which was probably created by lugging around a camera bag all day, for two days straight. I really considered not going.\u003c/p>\n\u003cp>When I finally did arrive, I walked straight to the Barbary, where Sir Patrick Stewart, AKA Captain Picard, had taken the stage and began making jokes in iambic pentameter. \u003c/p>\n\u003cfigure id=\"attachment_10140351\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Shakespeare-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Shakespeare-1.jpg\" alt=\"Patrick Stewart performing with Improvised Shakespeare\" width=\"800\" height=\"533\" class=\"size-full wp-image-10140351\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Shakespeare-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Shakespeare-1-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Shakespeare-1-300x199.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Patrick Stewart performing with the Improvised Shakespeare Company\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Improvised Shakespeare:\u003c/b> If only Shakespeare had a character named “Lord Taintwhistle” who made whistling noises as he walked, he might’ve had another hit on his hands.\u003c/p>\n\u003cp>All kidding aside, the improvisers in the \u003ca href=\"http://www.improvisedshakespeare.com/\" target=\"_blank\" rel=\"noopener\">Improvised Shakespeare Company\u003c/a> (which includes Thomas Middleditch of the HBO show \u003ci>Silicon Valley\u003c/i>) pull off the amazing feat of being funny while speaking mostly in iambic pentameter. It’s not that being humorous using olde English is so mind-blowing — Shakespeare’s comedies, when done well, can be very funny — but improvising a storyline and all the requisite jokes while speaking in a clearly outdated fashion is truly a skill worth admiration. (And though Stewart, as funny as he is, isn’t a comedic actor per se, he still held his own on the stage with guys who make people laugh for a living.)\u003c/p>\n\u003cfigure id=\"attachment_10140356\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Woods-2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Woods-2.jpg\" alt=\"Woods playing the jams \" width=\"800\" height=\"450\" class=\"size-full wp-image-10140356\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Woods-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Woods-2-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Woods-2-300x168.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Woods playing the jams\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Woods:\u003c/b> New York City’s kings of lo-fi “Weird folk” have definitely evolved from their early bedroom recordings into an outdoor festival-ready indie band. Though I only caught a few songs near the end of their set, what I caught was full of dynamics and these dudes showing off their chops. There were quite a few bros with their shirts of dancing in the crowd, which I took as a sign of success for this group’s change in direction.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Chvrches:\u003c/b> I was sad to learn early in the day that Ireland’s heavy synth pop trio Chvrches missed their flight to San Francisco that morning, forcing the band to cancel their performance on the main stage. It was really disappointing, especially since the group’s mix of angular synth riffs and Lauren Mayberry’s angelic vocals held a lot of potential for a great show, especially at ear-splitting volumes. Just watch the video below and you’ll see what I mean.\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/6rXusnCQ7YI'\n title='//www.youtube.com/embed/6rXusnCQ7YI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cfigure id=\"attachment_10140343\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Dome.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Dome.jpg\" alt=\"One of the amazing visuals on display during Cappa Regime's set under the Dome\" width=\"800\" height=\"533\" class=\"size-full wp-image-10140343\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Dome.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Dome-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Dome-300x199.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">One of the amazing visuals on display during Cappa Regime’s set under the Dome\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Cappa Regime:\u003c/b> To be honest, I really don’t know anything about this group but I knew I should take a second and see what the Heineken-sponsored “House” was like and I was glad I did. In the main dance area, the sound and visuals were both overwhelming and wonderful. The DJs known as the Cappa Regime did a fine job of getting the crowd to move their butts and throw their hands in the air at three in the afternoon, but it was the visuals — colors melting down from the top of the dome in different patterns — that was what impressed me the most.\u003c/p>\n\u003cfigure id=\"attachment_10140339\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Barnett-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Barnett-1.jpg\" alt=\"Courtney Barnett during her noisy, rocking set\" width=\"800\" height=\"533\" class=\"size-full wp-image-10140339\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Barnett-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Barnett-1-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Barnett-1-300x199.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Courtney Barnett during her noisy, rocking set\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Country Barnett:\u003c/b> I had some time before Courtney Barnett’s at the Panhandle stage, so I tried to make my way over to the Twin Peaks stage to see what Plume was all about. Sadly, the crowd was so big, I couldn’t get anywhere close enough to see what the band looked like, even on the big screen! The sea of the Plume watchers stretched so far, it practically reached Barnett’s stage.\u003c/p>\n\u003cp>After talking to one of the nice stage crew workers, Barnett bounded onto the stage, grabbed her guitar and plowed right into her set. What followed was a set of sloppy, noisey rock and roll that felt more like rowdy Australian pub than American music festival. It was quite surprising, as her recorded output is very quiet and delicate-seeming, while her live show comes with teeth barred. \u003c/p>\n\u003cp>Thinking back, I realize now that it shouldn’t have been a surprise as Barnett comes from Australia, which has a history of producing the world’s best and most aggressive rock ‘n roll — AC/DC, Rose Tattoo, Coloured Balls, the list goes on — and Barnett’s live act seems to have been bred in the same environment. And that’s a good thing, as it felt like a breath of fresh air in the cloud of synthesizers that was this year’s Outside Lands (or at least most of it.) I made sure stay through her set before running over to see Spoon.\u003c/p>\n\u003cfigure id=\"attachment_10140354\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Spoon-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Spoon-1.jpg\" alt=\"Britt Daniel and Spoon\" width=\"800\" height=\"450\" class=\"size-full wp-image-10140354\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Spoon-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Spoon-1-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Spoon-1-300x168.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Britt Daniel and Spoon\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Spoon:\u003c/b> Spoon frontman Britt Daniel appears to be the torch bearer for songwriters trying to compete in a DJ/Producer world. It’s like he’s one of the most battle-proven in the war to demonstrate that a man with a guitar can still be relevant. \u003c/p>\n\u003cp>Though it sometimes sounds like Daniels borrows vocal lines from Paul Simon, Spoon has consistently sounded like Spoon, and that’s over eight albums.\u003c/p>\n\u003cp>One final note on Spoon — these guys are veterans of the festival circuit and were probably the only band on this year’s lineup that I was certain would bring a great show. Playing to thousands of critical audience members seemed like just another day for the band and the quality of their playing reflected that. Not to say that the band didn’t work their asses off to win over the crowd; no, it’s just that they made it look easy. (Then again, I bet having good songs that people really like helps.)\u003c/p>\n\u003cfigure id=\"attachment_10140355\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Steve-Drooge.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Steve-Drooge.jpg\" alt=\"Steven Drozd of the Flaming Lips\" width=\"800\" height=\"533\" class=\"size-full wp-image-10140355\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Steve-Drooge.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Steve-Drooge-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Steve-Drooge-300x199.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Steven Drozd of the Flaming Lips\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>The Flaming Lips:\u003c/b> I’m kinda sad that the first time I saw the almighty Flaming Lips it’s after they’ve been tainted by controversies involving \u003ca href=\"http://www.salon.com/2014/05/13/wayne_coyne_has_gone_mad_time_for_the_flaming_lips_singer_to_stop_being_a_monstrous_jerk/\" target=\"_blank\" rel=\"noopener\">headdresses\u003c/a> and \u003ca href=\"http://pitchfork.com/news/55030-kliph-scurlock-says-he-was-fired-from-flaming-lips-for-standing-up-to-wayne-coynes-friends-racism/\" target=\"_blank\" rel=\"noopener\">drummers who speak out of turn.\u003c/a> But then I saw Wayne Coyne’s amazing outfit and I forgot all those hassles the bands was having.\u003c/p>\n\u003cp>How to describe Coyne’s dress? Well, at first I thought the combination of the glittery face paint, a suit that made Coyne’s skin look like muscle tissue and an overcoat with holographic tassles made him look like an undead Marc Bolan. On further reflection, I feel Coyne’s look was more akin to the Goblin King in the movie \u003ci>Labyrinth\u003c/i> if he was played by a crazy homeless person.\u003c/p>\n\u003cp>The festival circuit has been amazing the Flaming Lips. They are a well-oiled machine and they’ve managed to make each show seem like a one-band Burning Man festival, but with a better soundtrack.\u003c/p>\n\u003cfigure id=\"attachment_10140344\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Evil-Lips.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Evil-Lips.jpg\" alt=\"The Flaming Lips' Wayne Coyne, in his homeless Goblin King get up, looking real evil\" width=\"800\" height=\"533\" class=\"size-full wp-image-10140344\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Evil-Lips.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Evil-Lips-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Evil-Lips-300x199.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Flaming Lips’ Wayne Coyne, in his homeless Goblin King get up, looking real evil\u003c/figcaption>\u003c/figure>\n\u003cp>There have been many versions of the Flaming Lips over the years and sure, I’ll admit that I might like their older material. But I love this version of the band for sure, because it means that thousands of get to listen to the musical magician of Steve Drozd, who is a truly under-appreciated studio wizard and the band’s Swiss Army knife. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After three days of battling exhaustion and wild variations of Bay Area weather, I’m still glad I went to Outside Lands, though my intuition tried to fight it. Now it’s time to go hibernate for a few days.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "How I Survived Outside Lands 2014, Day 2: Time to Rock",
"headTitle": "How I Survived Outside Lands 2014, Day 2: Time to Rock | KQED",
"content": "\u003cp>\u003cem>This is the second in a series of daily reports from this year’s Outside Lands from KQED Arts’ newest reporter, Kevin L. Jones. This is the first time Jones has attended the festival.\u003c/em>\u003c/p>\n\u003cp>This morning I woke up twice as exhausted than usual, knowing fully well that just after I spent an entire day walking to and from a music festival that I would have to do it all over again. But no matter how tedious the exercise was becoming, I made sure that when the Dum Dum Girls started up, I was right there at the front of the stage.\u003c/p>\n\u003cfigure id=\"attachment_10140263\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Dum-Dum-Girls-2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Dum-Dum-Girls-2.jpg\" alt=\"Dum Dum Girls reminding you how a makeout session should sound\" width=\"800\" height=\"533\" class=\"size-full wp-image-10140263\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Dum-Dum-Girls-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Dum-Dum-Girls-2-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Dum-Dum-Girls-2-300x199.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Dum Dum Girls reminding you how a makeout session should sound\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Dum Dum Girls:\u003c/strong> They might look like a goth band, but there’s no heavy chorus-tinged gloom coming from the Dum Dum Girls. Nope, they share more with the crop of loud, psychedelic shoegazers of the ’90s. (Doesn’t help that their male third guitarist bares a striking resemblance to the Kevin Shields.) \u003c/p>\n\u003cp>To be perfectly honest, I’m a huge fan of underground garage rock, and the Dum Dum Girls really remind me of a more-rockin’ \u003ca href=\"http://en.wikipedia.org/wiki/Slumber_Party\" target=\"_blank\" rel=\"noopener\">Slumber Party.\u003c/a> But really, they are just the newest band to fill the role of providing the perfect soundtracks for makeout sessions between two people still in or just out of college. In the ’80s it was the Cure; in the ’90s, it was Mazzy Star; and now it’s the Dum Dum girls. \u003c/p>\n\u003cp>Though I would’ve loved to hear earlier hits like “Jail La La,” the group cranked out a solid set of tunes. Instead of a chorus pedal for their melancholy tracks, the band relies somewhat heavily on tremolo pedals, which add a sepiatone-like color to their sound. Highly recommended, especially if you like surf guitars, haunting melodies and making out.\u003c/p>\n\u003cfigure id=\"attachment_10140262\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Chris-Gethard.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Chris-Gethard.jpg\" alt=\"Just a sample of the insanity that was the Chris Gethard show\" width=\"800\" height=\"533\" class=\"size-full wp-image-10140262\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Chris-Gethard.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Chris-Gethard-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Chris-Gethard-300x199.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Just a sample of the insanity that was the Chris Gethard show\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Chris Gethard Show:\u003c/strong> Poor Daniel, who had been taking edibles for days before attending the Chris Gethard Show, didn’t realize that when he admitted to his partaking of pot food that he would be agreeing to being subjected to an improvised psychedelic experience. Daniel handled it in stride, smiling while Gethard’s friends put on \u003ci>Eyes Wide Shut-\u003c/i>masks and sequined cloaks, and danced around him like he was a maypole. At one point, Daniel was asked to examine another man’s soul, which he described as “fine.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And that was just one of the several insane things that happened during the perpetual chaos that was the Chris Gethard Show. For another example, search for the hashtag #cumjugintheeye on Twitter. Also, definitely see this show next time.\u003c/p>\n\u003cfigure id=\"attachment_10140261\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Improv4Humans.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Improv4Humans.jpg\" alt=\"Improv4Humans (L to R): Seth Morris, Lauren Lapkus, Chris Gethard, Matt Besser \" width=\"800\" height=\"533\" class=\"size-full wp-image-10140261\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Improv4Humans.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Improv4Humans-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Improv4Humans-300x199.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Improv4Humans (L to R): Seth Morris, Lauren Lapkus, Chris Gethard, Matt Besser\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Improv4Humans:\u003c/strong> Improv4Humans is one of my favorite podcasts of all time and the brains behind the show, Matt Besser, brought with him to San Francisco some all-stars of the show: Gethard, Seth Morris and Lauren Lapkus (of \u003ci>Orange is the New Black\u003c/i>). In the middle of an amazing set of improvised sketches about YouTube comments (and a vulgar grandma), Jesus and Egyptian Mike, and the Dewey Decimal System, I found that my eyesight was getting blurry. Turned out that I had been laughing so hard I literally had tears running down my face.\u003c/p>\n\u003cfigure id=\"attachment_10140260\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Deer-Tick.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Deer-Tick.jpg\" alt=\"Deer Tick, just before a song about drinking\" width=\"800\" height=\"533\" class=\"size-full wp-image-10140260\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Deer-Tick.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Deer-Tick-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Deer-Tick-300x199.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Deer Tick, just before a song about drinking\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Deer Tick:\u003c/b> Turns out that indie country-rock really gets the kids moving. Though I have a feeling the dancing I saw during Deer Tick’s set was probably the same that I would see at a Phish show (though no \u003ca href=\"http://www.rollingstone.com/music/news/the-untold-and-deeply-stoned-story-of-the-first-u-s-rock-festival-20140617\" target=\"_blank\" rel=\"noopener\">funky sun grope.\u003c/a>) But the band could jump from songs that would be fitting for wine tasting to real rock ‘n’ roll tracks based on Chuck Berry-style riffs and pounding drums.\u003c/p>\n\u003cfigure id=\"attachment_10140257\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Haim-2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Haim-2.jpg\" alt=\" anielle Sari Haim, the singer guitarist for Haim\" width=\"800\" height=\"533\" class=\"size-full wp-image-10140257\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Haim-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Haim-2-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Haim-2-300x199.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Danielle Sari Haim, the singer guitarist for Haim\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Haim:\u003c/b> I wanted to see Haim so I could get shots of the infamous Este Arielle Haim’s \u003ca href=\"http://blogs.villagevoice.com/music/2013/11/snl_sound_of_haim.php\" target=\"_blank\" rel=\"noopener\">bass face,\u003c/a> which garnered a lot of attention after their set on Saturday Night Live; and I was not disappointed. But despite my pre-conceived notions, the bands really kicked ass and took names, especially when they covered “Oh Well,” a ripping track from the first version of Fleetwood Mac, which featured blues master \u003ca href=\"http://en.wikipedia.org/wiki/Peter_Green_(musician)\" target=\"_blank\" rel=\"noopener\">Peter Green.\u003c/a> But the girls killed that and their own tunes, which truly stand out from the current crop of ’80s throwback synth pop, thanks to the sisters and their staccato singing styles. Definitely an acquired taste but they ruled the Polo Fields that day.\u003c/p>\n\u003cfigure id=\"attachment_10140256\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Big-Freedia.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Big-Freedia.jpg\" alt=\"Big Freedia\" width=\"800\" height=\"533\" class=\"size-full wp-image-10140256\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Big-Freedia.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Big-Freedia-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Big-Freedia-300x199.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Big Freedia\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Big Freedia:\u003c/b> Wow, and I really do me WOW. Hands down my favorite set of the festival. There was so much booty being shaken that I thought all the butts would begin to boil over the edges of the festival. Ladders were pulled on stage for booty shaking and even Big Freedia’s dancers were so emboldened by the rumbling bass that they climbed the rafters in order to shake their booties from great heights. In short, there was truly “Ass Everywhere.”\u003c/p>\n\u003cp>Besides the booty shaking, the whole reason to see Big Freedia is to experience rap at its most base — the beats are practically pounded into you. Pretty much the punkest set at the festival and so successful that I’ve become a dedicated fan after one show.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>So concludes my rundown of day two of this year’s Outside Lands. Will I survive the final day? Be sure to read my rundown of Day 3 on Monday and follow @KQEDArts on Twitter as I’m live tweeting from the festival.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This is the second in a series of daily reports from this year’s Outside Lands from KQED Arts’ newest reporter, Kevin L. Jones. This is the first time Jones has attended the festival.\u003c/em>\u003c/p>\n\u003cp>This morning I woke up twice as exhausted than usual, knowing fully well that just after I spent an entire day walking to and from a music festival that I would have to do it all over again. But no matter how tedious the exercise was becoming, I made sure that when the Dum Dum Girls started up, I was right there at the front of the stage.\u003c/p>\n\u003cfigure id=\"attachment_10140263\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Dum-Dum-Girls-2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Dum-Dum-Girls-2.jpg\" alt=\"Dum Dum Girls reminding you how a makeout session should sound\" width=\"800\" height=\"533\" class=\"size-full wp-image-10140263\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Dum-Dum-Girls-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Dum-Dum-Girls-2-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Dum-Dum-Girls-2-300x199.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Dum Dum Girls reminding you how a makeout session should sound\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Dum Dum Girls:\u003c/strong> They might look like a goth band, but there’s no heavy chorus-tinged gloom coming from the Dum Dum Girls. Nope, they share more with the crop of loud, psychedelic shoegazers of the ’90s. (Doesn’t help that their male third guitarist bares a striking resemblance to the Kevin Shields.) \u003c/p>\n\u003cp>To be perfectly honest, I’m a huge fan of underground garage rock, and the Dum Dum Girls really remind me of a more-rockin’ \u003ca href=\"http://en.wikipedia.org/wiki/Slumber_Party\" target=\"_blank\" rel=\"noopener\">Slumber Party.\u003c/a> But really, they are just the newest band to fill the role of providing the perfect soundtracks for makeout sessions between two people still in or just out of college. In the ’80s it was the Cure; in the ’90s, it was Mazzy Star; and now it’s the Dum Dum girls. \u003c/p>\n\u003cp>Though I would’ve loved to hear earlier hits like “Jail La La,” the group cranked out a solid set of tunes. Instead of a chorus pedal for their melancholy tracks, the band relies somewhat heavily on tremolo pedals, which add a sepiatone-like color to their sound. Highly recommended, especially if you like surf guitars, haunting melodies and making out.\u003c/p>\n\u003cfigure id=\"attachment_10140262\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Chris-Gethard.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Chris-Gethard.jpg\" alt=\"Just a sample of the insanity that was the Chris Gethard show\" width=\"800\" height=\"533\" class=\"size-full wp-image-10140262\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Chris-Gethard.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Chris-Gethard-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Chris-Gethard-300x199.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Just a sample of the insanity that was the Chris Gethard show\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Chris Gethard Show:\u003c/strong> Poor Daniel, who had been taking edibles for days before attending the Chris Gethard Show, didn’t realize that when he admitted to his partaking of pot food that he would be agreeing to being subjected to an improvised psychedelic experience. Daniel handled it in stride, smiling while Gethard’s friends put on \u003ci>Eyes Wide Shut-\u003c/i>masks and sequined cloaks, and danced around him like he was a maypole. At one point, Daniel was asked to examine another man’s soul, which he described as “fine.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And that was just one of the several insane things that happened during the perpetual chaos that was the Chris Gethard Show. For another example, search for the hashtag #cumjugintheeye on Twitter. Also, definitely see this show next time.\u003c/p>\n\u003cfigure id=\"attachment_10140261\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Improv4Humans.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Improv4Humans.jpg\" alt=\"Improv4Humans (L to R): Seth Morris, Lauren Lapkus, Chris Gethard, Matt Besser \" width=\"800\" height=\"533\" class=\"size-full wp-image-10140261\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Improv4Humans.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Improv4Humans-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Improv4Humans-300x199.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Improv4Humans (L to R): Seth Morris, Lauren Lapkus, Chris Gethard, Matt Besser\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Improv4Humans:\u003c/strong> Improv4Humans is one of my favorite podcasts of all time and the brains behind the show, Matt Besser, brought with him to San Francisco some all-stars of the show: Gethard, Seth Morris and Lauren Lapkus (of \u003ci>Orange is the New Black\u003c/i>). In the middle of an amazing set of improvised sketches about YouTube comments (and a vulgar grandma), Jesus and Egyptian Mike, and the Dewey Decimal System, I found that my eyesight was getting blurry. Turned out that I had been laughing so hard I literally had tears running down my face.\u003c/p>\n\u003cfigure id=\"attachment_10140260\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Deer-Tick.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Deer-Tick.jpg\" alt=\"Deer Tick, just before a song about drinking\" width=\"800\" height=\"533\" class=\"size-full wp-image-10140260\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Deer-Tick.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Deer-Tick-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Deer-Tick-300x199.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Deer Tick, just before a song about drinking\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Deer Tick:\u003c/b> Turns out that indie country-rock really gets the kids moving. Though I have a feeling the dancing I saw during Deer Tick’s set was probably the same that I would see at a Phish show (though no \u003ca href=\"http://www.rollingstone.com/music/news/the-untold-and-deeply-stoned-story-of-the-first-u-s-rock-festival-20140617\" target=\"_blank\" rel=\"noopener\">funky sun grope.\u003c/a>) But the band could jump from songs that would be fitting for wine tasting to real rock ‘n’ roll tracks based on Chuck Berry-style riffs and pounding drums.\u003c/p>\n\u003cfigure id=\"attachment_10140257\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Haim-2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Haim-2.jpg\" alt=\" anielle Sari Haim, the singer guitarist for Haim\" width=\"800\" height=\"533\" class=\"size-full wp-image-10140257\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Haim-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Haim-2-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Haim-2-300x199.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Danielle Sari Haim, the singer guitarist for Haim\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Haim:\u003c/b> I wanted to see Haim so I could get shots of the infamous Este Arielle Haim’s \u003ca href=\"http://blogs.villagevoice.com/music/2013/11/snl_sound_of_haim.php\" target=\"_blank\" rel=\"noopener\">bass face,\u003c/a> which garnered a lot of attention after their set on Saturday Night Live; and I was not disappointed. But despite my pre-conceived notions, the bands really kicked ass and took names, especially when they covered “Oh Well,” a ripping track from the first version of Fleetwood Mac, which featured blues master \u003ca href=\"http://en.wikipedia.org/wiki/Peter_Green_(musician)\" target=\"_blank\" rel=\"noopener\">Peter Green.\u003c/a> But the girls killed that and their own tunes, which truly stand out from the current crop of ’80s throwback synth pop, thanks to the sisters and their staccato singing styles. Definitely an acquired taste but they ruled the Polo Fields that day.\u003c/p>\n\u003cfigure id=\"attachment_10140256\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Big-Freedia.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Big-Freedia.jpg\" alt=\"Big Freedia\" width=\"800\" height=\"533\" class=\"size-full wp-image-10140256\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Big-Freedia.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Big-Freedia-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Big-Freedia-300x199.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Big Freedia\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Big Freedia:\u003c/b> Wow, and I really do me WOW. Hands down my favorite set of the festival. There was so much booty being shaken that I thought all the butts would begin to boil over the edges of the festival. Ladders were pulled on stage for booty shaking and even Big Freedia’s dancers were so emboldened by the rumbling bass that they climbed the rafters in order to shake their booties from great heights. In short, there was truly “Ass Everywhere.”\u003c/p>\n\u003cp>Besides the booty shaking, the whole reason to see Big Freedia is to experience rap at its most base — the beats are practically pounded into you. Pretty much the punkest set at the festival and so successful that I’ve become a dedicated fan after one show.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>So concludes my rundown of day two of this year’s Outside Lands. Will I survive the final day? Be sure to read my rundown of Day 3 on Monday and follow @KQEDArts on Twitter as I’m live tweeting from the festival.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "How I Survived Outside Lands 2014, Day 1: Time to Dance!",
"headTitle": "How I Survived Outside Lands 2014, Day 1: Time to Dance! | KQED",
"content": "\u003cp>\u003cem>This is the first in a series of daily reports from this year’s \u003cstrong>Outside Lands\u003c/strong> from KQED Arts’ newest reporter, Kevin L. Jones. This is the first time Jones has attended the festival.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_10140220\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Outside-LAndsCrop.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10140220\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Outside-LAndsCrop-400x225.jpg\" alt=\"Photo ops in front of the inflatable Outside Lands statue \" width=\"400\" height=\"225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Outside-LAndsCrop-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Outside-LAndsCrop-300x168.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Outside-LAndsCrop.jpg 1440w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo ops in front of the inflatable Outside Lands statue\u003c/figcaption>\u003c/figure>\n\u003cp>I should probably preface this by admitting that I’m not a huge fan of outdoor music festivals. I prefer to see bands in more intimate venues that don’t leave me vulnerable to the elements (I’m fair-skinned.) Of course I’ve been to my share of music festivals — in some cases it was my only opportunity to see some of my favorite bands — but nowadays I avoid them completely.\u003c/p>\n\u003cp>That being said, it makes little sense that I volunteered for this assignment — providing daily recaps of the events — because it means traveling two hours each way to stand in the sun and watch a bunch of bands I’m not too familiar with, only to leave before the headliners take the stage so I can write my article.\u003c/p>\n\u003cp>But I did, because somebody has to do it.\u003c/p>\n\u003cp>So, without further ado, here are my notes on the first day of Outside Lands.\u003c/p>\n\u003cfigure id=\"attachment_10140221\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Rayland-Baxter.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10140221\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Rayland-Baxter.jpg\" alt=\"Rayland Baxter, performing at the Sutro State on the first day of Outside Lands\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Rayland-Baxter.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Rayland-Baxter-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Rayland-Baxter-300x168.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rayland Baxter, performing at the Sutro State on the first day of Outside Lands \u003ccite>(Kevin L. Jones)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Rayland Baxter:\u003c/strong> I started my \u003cstrong>Outside Lands\u003c/strong> experience with the feel good sounds of Rayland Baxter and his group from Nashville. Their tunes were mostly southern-tinged tributes to AM Gold classics, but they could also get pretty heavy, with one track sounding like if the Black Angels tapped into an early Black Sabbath riff. Also notable was Baxter’s anecdote about living in a friends backyard in Israel years ago — “I just ended up there” — in which he concluded by saying the current situation there was “a bunch of stupid shit.”\u003c/p>\n\u003cfigure id=\"attachment_10140214\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Gfunk-OAtes-2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10140214\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Gfunk-OAtes-2.jpg\" alt=\"Garfunkel & Oates AKA Kate Micucci and Riki Lindhome\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Gfunk-OAtes-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Gfunk-OAtes-2-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Gfunk-OAtes-2-300x199.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Garfunkel & Oates AKA Kate Micucci and Riki Lindhome \u003ccite>(Kevin L. Jones)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Aparna Nancherla / Garfunkel & Oates:\u003c/b> Though it was already packed, a quick flash of my press badge got me into the Barbary to see the first sets of the day from comedian Aparna Nancherla and the musical comedy duo Garfunkel and Oates (they also closed out the day). It appeared that the crowd needed to warm up to Nancherla and her sardonic takes on real life, but by the time she started reading the messages she’s received via her OK Cupid account, the audience was hers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It wasn’t long before Garfunkel & Oates took the stage and ripped through a set of hilarious songs about weed cards, getting older and “God’s loophole.” The duo — Kate Micucci and Riki Lindhome — have cutesy exteriors but had no problem going blue, though they also had a few stories about having to face their parents after performing such lewd jokes on stage and on their television show on IFC.\u003c/p>\n\u003cfigure id=\"attachment_10140210\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Bleachers-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10140210\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Bleachers-1.jpg\" alt=\"Bleachers' Jack Antonoff\" width=\"600\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Bleachers-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Bleachers-1-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Bleachers-1-300x199.jpg 300w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Bleachers’ Jack Antonoff\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Bleachers:\u003c/strong> I love me some synth-heavy pop music and that’s exactly what Bleachers plays. The side project of fun’s Jack Antonoff, almost every Bleachers song is a sing-along that borders on being an anthem. Even dealing with power issues, the band soldiered on and made sure every audience member was singing their guts out. But for being a band with one foot planted firmly in ’80s new wave dance music, I expected wilder hair-dos.\u003c/p>\n\u003cfigure id=\"attachment_10140216\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Killer-Mike.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Killer-Mike.jpg\" alt=\"Run the Jewels (Killer Mike, El-P)\" width=\"800\" height=\"450\" class=\"size-full wp-image-10140216\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Killer-Mike.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Killer-Mike-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Killer-Mike-300x168.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Run the Jewels (Killer Mike, El-P)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Run the Jewels:\u003c/b> I’m glad I left Bleachers early to catch Run the Jewels because Killer Mike and El-P were KILLING IT. El-P rapped during the set, “I don’t play music, I play R-A-P,” and he couldn’t have said more truer words. This was real shit, the kind of rap that rumbles your guts.\u003c/p>\n\u003cp>Their set showed me how amazing a rap show can be, especially if the bass is loud enough. If you think about it, rap shows are usually one or two dudes talking at breakneck speeds while another dude just stands in the back, fiddling with a computer or abusing a record player. But if the bass is so loud that it reaches brown note levels (like it was during Run the Jewels,) you can’t help but sway to the music like a drunk standing in strong winds.\u003c/p>\n\u003cfigure id=\"attachment_10140231\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Warpaint.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Warpaint.jpg\" alt=\"Warpaint\" width=\"800\" height=\"533\" class=\"size-full wp-image-10140231\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Warpaint.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Warpaint-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Warpaint-300x199.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Warpaint\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Warpaint:\u003c/b> Hailed as the coolest all-female band of right now, this band could easily become the Slits of the 21st century (which was the Slits until Ari Up passed.) Lots of great grooves carrying their unconventional, siren-song melodies that sound like they came from Bananarama if they had joined the Manson Family. Add some sprinkling of angular guitars and you got a good time on your hands.\u003c/p>\n\u003cfigure id=\"attachment_10140217\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Mikal-Cronin-2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Mikal-Cronin-2.jpg\" alt=\"Mikal Cronin\" width=\"800\" height=\"533\" class=\"size-full wp-image-10140217\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Mikal-Cronin-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Mikal-Cronin-2-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Mikal-Cronin-2-300x199.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mikal Cronin\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Mikal Cronin:\u003c/b> I’ve been waiting to see Mikal Cronin for a while now and his set did not disappoint. The bass player for Ty Segall, it’s hard to ignore that connection when listening to Cronin’s music, but Cronin likes to concentrate more on the melody side of the lo-fi psych garage that Segall is known for. Upon further reflection, Cronin’s tunes sound like if the Pixies had a singer who didn’t scream and the band was on Lookout Records. Throw in some serious feedback and guitar shredding, and you get the point. And despite the fact that they played the night before at the Independent, they still came at the crowd with a lot of energy, inspiring the only mosh pit I witnessed at the festival.\u003c/p>\n\u003cfigure id=\"attachment_10140213\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Disclosure.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Disclosure.jpg\" alt=\"Disclosure\" width=\"800\" height=\"450\" class=\"size-full wp-image-10140213\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Disclosure.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Disclosure-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Disclosure-300x168.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Disclosure\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Disclosure:\u003c/b> After watching Chromeo’s slamming, 4-on-the-floor set of dance tracks that were reminiscent of Zapp and early Prince, I braved the already packed crowd around the Lands End stage for Disclosure. I used to be quite the techno fan back in the ’90s, staying up late on Saturday nights to watch \u003ci>Amp\u003c/i> on MTV to catch videos from Laurent Garnier, Coldcut and Roni Size, and Disclosure definitely gave me eletronica flashbacks. Didn’t cut a rug like I should’ve, especially since they played this jamming track:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=chAG0xEX_iA \u003c/p>\n\u003cfigure id=\"attachment_10140229\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Tegan-Sara2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Tegan-Sara2.jpg\" alt=\"Tegan & Sara\" width=\"800\" height=\"450\" class=\"size-full wp-image-10140229\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Tegan-Sara2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Tegan-Sara2-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Tegan-Sara2-300x168.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Tegan & Sara\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Tegan and Sara:\u003c/b> It’s been a long time since “Walking With A Ghost” but the Canadian twins Tegan and Sara have been prolific as ever. Though their new synth pop sound is a little “one note,” it’s because their voices are so dominating — each track has a catchy hook that only those two sisters can sing. But they were great this set, cranking out the kind of jams one blasts while driving a Ferrari at high speeds. The two sisters also looked cool as hell, I might add, even though one of them wore a black flight jacket — if she would’ve had a Chelsea, she would’ve looked like a skinhead’s girlfriend. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>So concludes my rundown of day one of \u003cb>Outside Lands.\u003c/b> Be sure to read my rundown of Day 2 and follow \u003ca href=\"https://twitter.com/kqedarts\" target=\"_blank\" rel=\"noopener\">@KQEDArts\u003c/a> on Twitter as I’m live tweeting from the festival.\u003c/i>\u003c/p>\n\n",
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"excerpt": "The first in our series of daily reports on the massive crowds and synth pop played at ear-splitting volume at this year's \u003ci>Outside Lands Music Festival.\u003c/i>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This is the first in a series of daily reports from this year’s \u003cstrong>Outside Lands\u003c/strong> from KQED Arts’ newest reporter, Kevin L. Jones. This is the first time Jones has attended the festival.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_10140220\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Outside-LAndsCrop.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10140220\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Outside-LAndsCrop-400x225.jpg\" alt=\"Photo ops in front of the inflatable Outside Lands statue \" width=\"400\" height=\"225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Outside-LAndsCrop-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Outside-LAndsCrop-300x168.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Outside-LAndsCrop.jpg 1440w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo ops in front of the inflatable Outside Lands statue\u003c/figcaption>\u003c/figure>\n\u003cp>I should probably preface this by admitting that I’m not a huge fan of outdoor music festivals. I prefer to see bands in more intimate venues that don’t leave me vulnerable to the elements (I’m fair-skinned.) Of course I’ve been to my share of music festivals — in some cases it was my only opportunity to see some of my favorite bands — but nowadays I avoid them completely.\u003c/p>\n\u003cp>That being said, it makes little sense that I volunteered for this assignment — providing daily recaps of the events — because it means traveling two hours each way to stand in the sun and watch a bunch of bands I’m not too familiar with, only to leave before the headliners take the stage so I can write my article.\u003c/p>\n\u003cp>But I did, because somebody has to do it.\u003c/p>\n\u003cp>So, without further ado, here are my notes on the first day of Outside Lands.\u003c/p>\n\u003cfigure id=\"attachment_10140221\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Rayland-Baxter.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10140221\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Rayland-Baxter.jpg\" alt=\"Rayland Baxter, performing at the Sutro State on the first day of Outside Lands\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Rayland-Baxter.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Rayland-Baxter-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Rayland-Baxter-300x168.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rayland Baxter, performing at the Sutro State on the first day of Outside Lands \u003ccite>(Kevin L. Jones)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Rayland Baxter:\u003c/strong> I started my \u003cstrong>Outside Lands\u003c/strong> experience with the feel good sounds of Rayland Baxter and his group from Nashville. Their tunes were mostly southern-tinged tributes to AM Gold classics, but they could also get pretty heavy, with one track sounding like if the Black Angels tapped into an early Black Sabbath riff. Also notable was Baxter’s anecdote about living in a friends backyard in Israel years ago — “I just ended up there” — in which he concluded by saying the current situation there was “a bunch of stupid shit.”\u003c/p>\n\u003cfigure id=\"attachment_10140214\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Gfunk-OAtes-2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10140214\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Gfunk-OAtes-2.jpg\" alt=\"Garfunkel & Oates AKA Kate Micucci and Riki Lindhome\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Gfunk-OAtes-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Gfunk-OAtes-2-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Gfunk-OAtes-2-300x199.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Garfunkel & Oates AKA Kate Micucci and Riki Lindhome \u003ccite>(Kevin L. Jones)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Aparna Nancherla / Garfunkel & Oates:\u003c/b> Though it was already packed, a quick flash of my press badge got me into the Barbary to see the first sets of the day from comedian Aparna Nancherla and the musical comedy duo Garfunkel and Oates (they also closed out the day). It appeared that the crowd needed to warm up to Nancherla and her sardonic takes on real life, but by the time she started reading the messages she’s received via her OK Cupid account, the audience was hers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It wasn’t long before Garfunkel & Oates took the stage and ripped through a set of hilarious songs about weed cards, getting older and “God’s loophole.” The duo — Kate Micucci and Riki Lindhome — have cutesy exteriors but had no problem going blue, though they also had a few stories about having to face their parents after performing such lewd jokes on stage and on their television show on IFC.\u003c/p>\n\u003cfigure id=\"attachment_10140210\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Bleachers-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10140210\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Bleachers-1.jpg\" alt=\"Bleachers' Jack Antonoff\" width=\"600\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Bleachers-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Bleachers-1-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Bleachers-1-300x199.jpg 300w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Bleachers’ Jack Antonoff\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Bleachers:\u003c/strong> I love me some synth-heavy pop music and that’s exactly what Bleachers plays. The side project of fun’s Jack Antonoff, almost every Bleachers song is a sing-along that borders on being an anthem. Even dealing with power issues, the band soldiered on and made sure every audience member was singing their guts out. But for being a band with one foot planted firmly in ’80s new wave dance music, I expected wilder hair-dos.\u003c/p>\n\u003cfigure id=\"attachment_10140216\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Killer-Mike.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Killer-Mike.jpg\" alt=\"Run the Jewels (Killer Mike, El-P)\" width=\"800\" height=\"450\" class=\"size-full wp-image-10140216\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Killer-Mike.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Killer-Mike-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Killer-Mike-300x168.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Run the Jewels (Killer Mike, El-P)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Run the Jewels:\u003c/b> I’m glad I left Bleachers early to catch Run the Jewels because Killer Mike and El-P were KILLING IT. El-P rapped during the set, “I don’t play music, I play R-A-P,” and he couldn’t have said more truer words. This was real shit, the kind of rap that rumbles your guts.\u003c/p>\n\u003cp>Their set showed me how amazing a rap show can be, especially if the bass is loud enough. If you think about it, rap shows are usually one or two dudes talking at breakneck speeds while another dude just stands in the back, fiddling with a computer or abusing a record player. But if the bass is so loud that it reaches brown note levels (like it was during Run the Jewels,) you can’t help but sway to the music like a drunk standing in strong winds.\u003c/p>\n\u003cfigure id=\"attachment_10140231\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Warpaint.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Warpaint.jpg\" alt=\"Warpaint\" width=\"800\" height=\"533\" class=\"size-full wp-image-10140231\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Warpaint.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Warpaint-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Warpaint-300x199.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Warpaint\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Warpaint:\u003c/b> Hailed as the coolest all-female band of right now, this band could easily become the Slits of the 21st century (which was the Slits until Ari Up passed.) Lots of great grooves carrying their unconventional, siren-song melodies that sound like they came from Bananarama if they had joined the Manson Family. Add some sprinkling of angular guitars and you got a good time on your hands.\u003c/p>\n\u003cfigure id=\"attachment_10140217\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Mikal-Cronin-2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Mikal-Cronin-2.jpg\" alt=\"Mikal Cronin\" width=\"800\" height=\"533\" class=\"size-full wp-image-10140217\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Mikal-Cronin-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Mikal-Cronin-2-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Mikal-Cronin-2-300x199.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mikal Cronin\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Mikal Cronin:\u003c/b> I’ve been waiting to see Mikal Cronin for a while now and his set did not disappoint. The bass player for Ty Segall, it’s hard to ignore that connection when listening to Cronin’s music, but Cronin likes to concentrate more on the melody side of the lo-fi psych garage that Segall is known for. Upon further reflection, Cronin’s tunes sound like if the Pixies had a singer who didn’t scream and the band was on Lookout Records. Throw in some serious feedback and guitar shredding, and you get the point. And despite the fact that they played the night before at the Independent, they still came at the crowd with a lot of energy, inspiring the only mosh pit I witnessed at the festival.\u003c/p>\n\u003cfigure id=\"attachment_10140213\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Disclosure.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Disclosure.jpg\" alt=\"Disclosure\" width=\"800\" height=\"450\" class=\"size-full wp-image-10140213\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Disclosure.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Disclosure-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Disclosure-300x168.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Disclosure\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Disclosure:\u003c/b> After watching Chromeo’s slamming, 4-on-the-floor set of dance tracks that were reminiscent of Zapp and early Prince, I braved the already packed crowd around the Lands End stage for Disclosure. I used to be quite the techno fan back in the ’90s, staying up late on Saturday nights to watch \u003ci>Amp\u003c/i> on MTV to catch videos from Laurent Garnier, Coldcut and Roni Size, and Disclosure definitely gave me eletronica flashbacks. Didn’t cut a rug like I should’ve, especially since they played this jamming track:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=chAG0xEX_iA \u003c/p>\n\u003cfigure id=\"attachment_10140229\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Tegan-Sara2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Tegan-Sara2.jpg\" alt=\"Tegan & Sara\" width=\"800\" height=\"450\" class=\"size-full wp-image-10140229\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Tegan-Sara2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Tegan-Sara2-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Tegan-Sara2-300x168.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Tegan & Sara\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Tegan and Sara:\u003c/b> It’s been a long time since “Walking With A Ghost” but the Canadian twins Tegan and Sara have been prolific as ever. Though their new synth pop sound is a little “one note,” it’s because their voices are so dominating — each track has a catchy hook that only those two sisters can sing. But they were great this set, cranking out the kind of jams one blasts while driving a Ferrari at high speeds. The two sisters also looked cool as hell, I might add, even though one of them wore a black flight jacket — if she would’ve had a Chelsea, she would’ve looked like a skinhead’s girlfriend. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>So concludes my rundown of day one of \u003cb>Outside Lands.\u003c/b> Be sure to read my rundown of Day 2 and follow \u003ca href=\"https://twitter.com/kqedarts\" target=\"_blank\" rel=\"noopener\">@KQEDArts\u003c/a> on Twitter as I’m live tweeting from the festival.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Listen to the Noise Pop Podcast’s latest mix of songs buzzing around the internet.\u003c/h4>\n\u003cp>http://traffic.libsyn.com/noisepop/New_Music_July.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp> Last month was a busy one for music blogs, as there was just so much great new music released. This playlist features selections of the best of those songs, from Jessie Ware, Death from Above 1979, Tennis, and great new singles from Bon Iver, Saint Pepsi and more…\u003c/p>\n\u003cp>Enjoy the mix!\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">Track Listing:\u003c/span>\u003c/p>\n\u003col>\n\u003cli>“Edo Method” — The Bilinda Butchers,\u003ci>Heaven\u003c/i>\u003c/li>\n\u003cli>“Can’t Do Without You” — Caribou, \u003ci>Our Love\u003c/i>\u003c/li>\n\u003cli>“Trainwreck” — Death From Above 1979, \u003ci>The Physical World\u003c/i>\u003c/li>\n\u003cli>“Fiona Coyne” — Saint Pepsi, \u003ci>Fiona Coyne / Fall Harder\u003c/i>\u003c/li>\n\u003cli>“Metric” — Phosphene, \u003ci>Phosphene\u003c/i>\u003c/li>\n\u003cli>“Heavenly Father” — Bon Iver, \u003ci>Wish I Was Here (Soundtrack)\u003c/i>\u003c/li>\n\u003cli>“Girls” — Slow Magic, \u003ci>Single\u003c/i>\u003c/li>\n\u003cli>“Tough Love” — Jessie Ware, \u003ci>Tough Love\u003c/i>\u003c/li>\n\u003cli>“Dangerous Days” — Zola Jesus, \u003ci>Taiga\u003c/i>\u003c/li>\n\u003cli>“TRUE” — Operators, \u003ci>Single\u003c/i>\u003c/li>\n\u003cli>“East of Eden” — Zella Day, \u003ci>Single\u003c/i>\u003c/li>\n\u003cli>“Bluets” — Suno Deko, \u003ci>Single\u003c/i>\u003c/li>\n\u003cli>“King of the Fall” –The Weeknd, \u003ci>Single\u003c/i>\u003c/li>\n\u003cli>“Preacher” — Dana Buoy, \u003ci>Preacher\u003c/i>\u003c/li>\n\u003cli>“Never Work for Free” — Tennis, \u003ci>Ritual in Repeat\u003c/i>\u003c/li>\n\u003c/ol>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "Sacramento-Based Group Gives Kids of Color Much-Needed Creative Outlets",
"headTitle": "Sacramento-Based Group Gives Kids of Color Much-Needed Creative Outlets | KQED",
"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Listen to Anne Hoffman’s report for California Report Magazine:\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/tcrmag/2014/08/2014-08-08d-tcrmag.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>A bunch of teenage girls, outfitted in their best vintage gear, stand around a set of turntables at the \u003ca href=\"http://freesolarts.wordpress.com/\" target=\"_blank\" rel=\"noopener\">Sol Collective\u003c/a> in Sacramento. Nicole Martinez is teaching the all-girl class how to line up tracks and change songs during a DJ set.\u003c/p>\n\u003cp>“Got it?” asks Martinez, as she switches from a bass-heavy track to a Bollywood beat. “You’re a star!”\u003c/p>\n\u003cp>For the past several years, California schools have faced a series of harsh budget cuts. Art and music classes are typically the first to go, which can leave low-income kids without much-needed creative outlets. In Sacramento, a community organization called Sol Collective was founded in 2003 to specifically combat this phenomenon. \u003c/p>\n\u003cp>It’s a homegrown arts and activism center that offers free and low-cost after-school classes to kids of color. The building houses a recording studio, an art gallery and performance spaces. Images of Frida Kahlo are everywhere, along with Día de los Muertos themed posters.\u003c/p>\n\u003cp>The all-girls DJ class is just one class in Sol Collective’s vast summer offerings. \u003c/p>\n\u003cfigure id=\"attachment_10140189\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/photo-2-sol-collective.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/photo-2-sol-collective.jpg\" alt=\"Half of the all-girl DJ class takes turns learning how to spin. Including Sanchez’s daughter, Star (second from right) and her friend, Sacra Garcia (far right).\" width=\"800\" height=\"576\" class=\"size-full wp-image-10140189\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/photo-2-sol-collective.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/photo-2-sol-collective-400x288.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/photo-2-sol-collective-300x216.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Half of the all-girl DJ class takes turns learning how to spin. Including Sanchez’s daughter, Star (second from right) and her friend, Sacra Garcia (far right).\u003cbr>\u003c/figcaption>\u003c/figure>\n\u003cp>Most of the girls here are a little self-conscious, but not Karina Lopez. She’s 15 years old and wears a pair of bright red headphones. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The first time I got into DJing, I was like 8 years year old,” says Lopez. “I kept on listening to music 24/7. My dad was like, Nina get off your music and do your chores!” \u003c/p>\n\u003cp>Lopez is brimming with enthusiasm. She looks up to famous DJs like Skrillex, and her goal is to one day spin like the 26-year-old Dubstep legend. Lopez’s mother saw a Facebook post about Sol Collective earlier in the summer and jumped at the chance to sign up her daughter. \u003c/p>\n\u003cp>Sol Collective was founded by Estella Sanchez, who’s a DJ and performer herself. Like the young female DJs, Sanchez writes and records songs for her own band, called World Hood, in Sol Collective’s recording studio. \u003c/p>\n\u003cp>Sanchez started Sol Collective while working as a teacher in 2003. She witnessed firsthand how state budget cuts were affecting kids. “There was really nothing for them to do,” she says. \u003c/p>\n\u003cp>So during her lunch break, Sanchez saw a huge empty building with a “for rent” sign. She had a little extra income from living with her Dad and decided to put it toward renting the space.\u003c/p>\n\u003cp>Now, more than ten years later, Sanchez receives substantial outside funding. Her biggest supporters are the California Endowment: Building Healthy Communities, (which also funds the RYSE Center in Richmond) and stores who rent out space at Sol Collective. \u003c/p>\n\u003cp>But Sanchez wasn’t always a multitasking artist and teacher. Her parents were immigrant farm workers from Mexico and they didn’t have a lot of money for extracurricular activities. So Sanchez had no creative outlets, a problem which she cites as one of the reasons she dropped out of high school. Sol Collective is for kids who remind Sanchez of herself.\u003c/p>\n\u003cp>“We get a lot of young people who are first-timers, right?” Lopez says of Sol Collective’s students. “Who maybe haven’t had the ten years of piano or like a whole background of working with software and programs on the computer.” \u003c/p>\n\u003cp>Sanchez eventually went back to school at California State University at Sacramento. She discovered that some of her professors there had been members of the city’s most famous radical arts collective: The Royal Chicano Air force. Back in the 1970s, the group painted murals all over Sacramento and showed up at United Farm Worker protests in military garb as an act of political performance art.\u003c/p>\n\u003cfigure id=\"attachment_10140188\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Photo-3-Sol-Collective.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Photo-3-Sol-Collective.jpg\" alt=\"One of the Royal Chicano Airforce’s surviving murals in Sacramento’s Southside Park. Many of the collective’s murals have been painted over.\" width=\"800\" height=\"600\" class=\"size-full wp-image-10140188\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Photo-3-Sol-Collective.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Photo-3-Sol-Collective-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Photo-3-Sol-Collective-300x225.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">One of the Royal Chicano Airforce’s surviving murals in Sacramento’s Southside Park. Many of the collective’s murals have been painted over.\u003c/figcaption>\u003c/figure>\n\u003cp>One of the group’s founding members, Jose Montoya, painted bold Mexican-style murals and wrote poems about themes common to the California-Chicano experience, like the famous Highway 99, which stretches across the Central Valley. In his poem \u003cem>On the 99\u003c/em>, the speaker addresses a young Chicano man named Gabi who was killed in the Vietnam War. \u003c/p>\n\u003cp>“That impersonal 99, and not even crosses for the dead alongside this road…and in that infinity you dared to dream, Gabi,” wrote Montoya.\u003c/p>\n\u003cp>Sanchez sees herself as standing on the shoulders of Montoya and the RCAF. \u003c/p>\n\u003cp>“I often say that with the work that they did, it allowed me to dream that we, as young Chicanos, could have a place like Sol Collective,” she says reflectively. \u003c/p>\n\u003cp>State Assemblyman Roger Dickinson (D-Sacramento) has been a supporter of Sol Collective since he first visited the space a few years ago. Dickinson says that the center fills a vacuum for underprivileged kids.\u003c/p>\n\u003cp>“Over the years it’s become something of a Sacramento institution,” says Dickinson. “But I also think it points out that virtually everywhere, especially in California with our diversity, has a population that needs a place like a Sol Collective.”\u003c/p>\n\u003cp>And it’s a place where Karina Lopez has come alive. She and her new friends look energized after a few hours of spinning records and mixing songs. “When I first walked in through here, I felt a really good connection with it. I just had a feeling that this might work for me,” she says.\u003c/p>\n\u003cp>No one is quite mixing or scratching like a master DJ yet. In fact, one of the girls’ teachers, Sal Herrera is making the class get back to basics and practice clapping to the rhythm of a song. He warns the all lady group that the road to becoming a female DJ will be difficult. \u003c/p>\n\u003cp>“This is a male dominated, you know, type of arena, and they feel females can’t do it,” said Herrera. “You just let them know, right off the rip, hey I know what I’m doing, I’m going to do my thing.” \u003c/p>\n\u003cp>At its most basic, that’s Sol Collective’s mission; Recognizing that it isn’t always easy to make art when you’re a woman, or low-income, or Chicano — but providing the tools to go ahead and do it anyway.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>To listen to Sanchez’s band World Hood, go to \u003ca href=\"http://worldhoodmusic.bandcamp.com/album/world-hood\" target=\"_blank\" rel=\"noopener\">worldhoodmusic.bandcamp.com\u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>Listen to Anne Hoffman’s report for California Report Magazine:\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/tcrmag/2014/08/2014-08-08d-tcrmag.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>A bunch of teenage girls, outfitted in their best vintage gear, stand around a set of turntables at the \u003ca href=\"http://freesolarts.wordpress.com/\" target=\"_blank\" rel=\"noopener\">Sol Collective\u003c/a> in Sacramento. Nicole Martinez is teaching the all-girl class how to line up tracks and change songs during a DJ set.\u003c/p>\n\u003cp>“Got it?” asks Martinez, as she switches from a bass-heavy track to a Bollywood beat. “You’re a star!”\u003c/p>\n\u003cp>For the past several years, California schools have faced a series of harsh budget cuts. Art and music classes are typically the first to go, which can leave low-income kids without much-needed creative outlets. In Sacramento, a community organization called Sol Collective was founded in 2003 to specifically combat this phenomenon. \u003c/p>\n\u003cp>It’s a homegrown arts and activism center that offers free and low-cost after-school classes to kids of color. The building houses a recording studio, an art gallery and performance spaces. Images of Frida Kahlo are everywhere, along with Día de los Muertos themed posters.\u003c/p>\n\u003cp>The all-girls DJ class is just one class in Sol Collective’s vast summer offerings. \u003c/p>\n\u003cfigure id=\"attachment_10140189\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/photo-2-sol-collective.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/photo-2-sol-collective.jpg\" alt=\"Half of the all-girl DJ class takes turns learning how to spin. Including Sanchez’s daughter, Star (second from right) and her friend, Sacra Garcia (far right).\" width=\"800\" height=\"576\" class=\"size-full wp-image-10140189\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/photo-2-sol-collective.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/photo-2-sol-collective-400x288.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/photo-2-sol-collective-300x216.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Half of the all-girl DJ class takes turns learning how to spin. Including Sanchez’s daughter, Star (second from right) and her friend, Sacra Garcia (far right).\u003cbr>\u003c/figcaption>\u003c/figure>\n\u003cp>Most of the girls here are a little self-conscious, but not Karina Lopez. She’s 15 years old and wears a pair of bright red headphones. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The first time I got into DJing, I was like 8 years year old,” says Lopez. “I kept on listening to music 24/7. My dad was like, Nina get off your music and do your chores!” \u003c/p>\n\u003cp>Lopez is brimming with enthusiasm. She looks up to famous DJs like Skrillex, and her goal is to one day spin like the 26-year-old Dubstep legend. Lopez’s mother saw a Facebook post about Sol Collective earlier in the summer and jumped at the chance to sign up her daughter. \u003c/p>\n\u003cp>Sol Collective was founded by Estella Sanchez, who’s a DJ and performer herself. Like the young female DJs, Sanchez writes and records songs for her own band, called World Hood, in Sol Collective’s recording studio. \u003c/p>\n\u003cp>Sanchez started Sol Collective while working as a teacher in 2003. She witnessed firsthand how state budget cuts were affecting kids. “There was really nothing for them to do,” she says. \u003c/p>\n\u003cp>So during her lunch break, Sanchez saw a huge empty building with a “for rent” sign. She had a little extra income from living with her Dad and decided to put it toward renting the space.\u003c/p>\n\u003cp>Now, more than ten years later, Sanchez receives substantial outside funding. Her biggest supporters are the California Endowment: Building Healthy Communities, (which also funds the RYSE Center in Richmond) and stores who rent out space at Sol Collective. \u003c/p>\n\u003cp>But Sanchez wasn’t always a multitasking artist and teacher. Her parents were immigrant farm workers from Mexico and they didn’t have a lot of money for extracurricular activities. So Sanchez had no creative outlets, a problem which she cites as one of the reasons she dropped out of high school. Sol Collective is for kids who remind Sanchez of herself.\u003c/p>\n\u003cp>“We get a lot of young people who are first-timers, right?” Lopez says of Sol Collective’s students. “Who maybe haven’t had the ten years of piano or like a whole background of working with software and programs on the computer.” \u003c/p>\n\u003cp>Sanchez eventually went back to school at California State University at Sacramento. She discovered that some of her professors there had been members of the city’s most famous radical arts collective: The Royal Chicano Air force. Back in the 1970s, the group painted murals all over Sacramento and showed up at United Farm Worker protests in military garb as an act of political performance art.\u003c/p>\n\u003cfigure id=\"attachment_10140188\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Photo-3-Sol-Collective.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Photo-3-Sol-Collective.jpg\" alt=\"One of the Royal Chicano Airforce’s surviving murals in Sacramento’s Southside Park. Many of the collective’s murals have been painted over.\" width=\"800\" height=\"600\" class=\"size-full wp-image-10140188\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Photo-3-Sol-Collective.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Photo-3-Sol-Collective-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Photo-3-Sol-Collective-300x225.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">One of the Royal Chicano Airforce’s surviving murals in Sacramento’s Southside Park. Many of the collective’s murals have been painted over.\u003c/figcaption>\u003c/figure>\n\u003cp>One of the group’s founding members, Jose Montoya, painted bold Mexican-style murals and wrote poems about themes common to the California-Chicano experience, like the famous Highway 99, which stretches across the Central Valley. In his poem \u003cem>On the 99\u003c/em>, the speaker addresses a young Chicano man named Gabi who was killed in the Vietnam War. \u003c/p>\n\u003cp>“That impersonal 99, and not even crosses for the dead alongside this road…and in that infinity you dared to dream, Gabi,” wrote Montoya.\u003c/p>\n\u003cp>Sanchez sees herself as standing on the shoulders of Montoya and the RCAF. \u003c/p>\n\u003cp>“I often say that with the work that they did, it allowed me to dream that we, as young Chicanos, could have a place like Sol Collective,” she says reflectively. \u003c/p>\n\u003cp>State Assemblyman Roger Dickinson (D-Sacramento) has been a supporter of Sol Collective since he first visited the space a few years ago. Dickinson says that the center fills a vacuum for underprivileged kids.\u003c/p>\n\u003cp>“Over the years it’s become something of a Sacramento institution,” says Dickinson. “But I also think it points out that virtually everywhere, especially in California with our diversity, has a population that needs a place like a Sol Collective.”\u003c/p>\n\u003cp>And it’s a place where Karina Lopez has come alive. She and her new friends look energized after a few hours of spinning records and mixing songs. “When I first walked in through here, I felt a really good connection with it. I just had a feeling that this might work for me,” she says.\u003c/p>\n\u003cp>No one is quite mixing or scratching like a master DJ yet. In fact, one of the girls’ teachers, Sal Herrera is making the class get back to basics and practice clapping to the rhythm of a song. He warns the all lady group that the road to becoming a female DJ will be difficult. \u003c/p>\n\u003cp>“This is a male dominated, you know, type of arena, and they feel females can’t do it,” said Herrera. “You just let them know, right off the rip, hey I know what I’m doing, I’m going to do my thing.” \u003c/p>\n\u003cp>At its most basic, that’s Sol Collective’s mission; Recognizing that it isn’t always easy to make art when you’re a woman, or low-income, or Chicano — but providing the tools to go ahead and do it anyway.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>To listen to Sanchez’s band World Hood, go to \u003ca href=\"http://worldhoodmusic.bandcamp.com/album/world-hood\" target=\"_blank\" rel=\"noopener\">worldhoodmusic.bandcamp.com\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Beyonce and Jay Z: Divorce Or Marketing Scheme?",
"title": "Beyonce and Jay Z: Divorce Or Marketing Scheme?",
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"content": "\u003cp>\u003cimg class=\"aligncenter size-full wp-image-13064\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/08/bey.jpg\" alt=\"bey\" width=\"640\" height=\"480\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/08/bey.jpg 640w, https://ww2.kqed.org/app/uploads/sites/12/2014/08/bey-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/p>\n\u003cp>We're used to constantly talking about Beyonce. From \u003ca href=\"http://blogs.kqed.org/pop/2013/12/13/the-genius-behind-beyonces-surprise-game-changing-visual-album-self-titled/\">surprise releases\u003c/a> and \u003ca href=\"http://blogs.kqed.org/pop/2013/12/16/beyonce-and-chimamanda-ngozi-adichie-make-feminism-go-viral/\">feminist schooling\u003c/a> to elevator brawls and divorce rumors, she's often the topic of water-cooler conversation, but never more so for San Franciscans than this week, which saw not one, but two shows at AT&T Park with her partner in crime, Jay Z. At least three people have told you that they could hear the concert from their house. And you probably already know that \u003ca href=\"http://www.sfgate.com/bayarea/nevius/article/Here-s-why-Beyonc-could-be-heard-all-over-S-F-5673191.php\">the cause was science\u003c/a>. But what's more interesting than noise pollution is the whole marital spectacle of the On the Run tour.\u003c/p>\n\u003cp>Infidelity rumors have plagued the power couple for years, but the speculation around a possible breakup reached crescendo thanks to the infamous elevator footage of the Mortal Kombat-esque beatdown Solange administered to Jay Z, while her sister sentineled nearby. Because of the lack of audio and that bodyguard's confidentiality agreement, we will probably never know exactly what that was about, but it didn't take long for people to assume the kickboxing was inspired by cheating. It was an unusual crack in the perfect facade Beyonce and her team have maintained since the Destiny's Child days. But, instead of compromising her brand and this tour, the debacle actually brought more interest.\u003c/p>\n\u003cp>Of course, most attended these shows for the music, but there's also a sort of twisted voyeuristic schadenfreude at work here. Because of everything that led up to the tour, it began to feel like the final act of a great romance we've all been a part of in a strange parasitic way for years. We watched as they strutted their young love back in 2003 for Beyonce's debut single \"\u003ca href=\"http://youtu.be/ViwtNLUqkMY\">Crazy In Love\u003c/a>.\" We watched as she \u003ca href=\"http://youtu.be/uRVcKXlF42o\">revealed her pregnant belly\u003c/a> at an awards show. We watched them vacation and \u003ca href=\"http://youtu.be/pAT8CdKkKAY\">talk about utopia, Jesus, and Sade on a yacht\u003c/a>. So it makes sense that we would want to be there for the undoing of all that romantic history.\u003c/p>\n\u003cp>\u003cimg class=\"alignright wp-image-13070\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/08/bey-cryy.jpg\" alt=\"bey-cryy\" width=\"350\" height=\"439\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/08/bey-cryy.jpg 480w, https://ww2.kqed.org/app/uploads/sites/12/2014/08/bey-cryy-400x501.jpg 400w\" sizes=\"(max-width: 350px) 100vw, 350px\">The tour's lights and video montages and pyrotechnics couldn't fully distract from the main event: taking a microscope to every choreographed interaction Beyonce and Jay shared on stage. Having attended both shows (\u003ca href=\"http://media.giphy.com/media/13jJIY0llDdip2/giphy.gif\">YOLO\u003c/a>), I had a lot of time to parse the body language and the main takeaway was that something is not right. Jay sidles up to hug Beyonce from behind at the end of \"Drunk In Love\" and Beyonce does her best not to recoil (\"OMG, she hates him!\" screamed two girls in front of me). Beyonce is a good actress, but she always lets a little something slip during these few interactions. And then there's Beyonce in a wedding dress fighting back tears while singing a song about a lying, trifling man from a 12 year relationship (the same time span as her courtship with Jay), or Beyonce borrowing Lauryn Hill's wounded \"It ain't workin, it ain't workin\" mantra from \"Ex Factor,\" or Jay mournfully rapping \"\u003cspan style=\"color: #000000\">I can understand why you want a divorce now\" in \"Song Cry.\" These songs are old, but the fact that they were specifically selected over countless others is noteworthy.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So all of this could mean two things. A. The rumors are true. They're only staying together to make bank ($100 million so far from this tour) before announcing their conscious uncoupling after the tour wraps. Or B. This entire divorce thing is part publicity stunt, part performance art. Messing with the idea of their marriage and family for profit would be a cynical move, but perhaps there are two marriages at work here, the one they live at home and the one they live for us on stage. Maybe they feel fine messing with our conception of them because, at the end of the day, we \u003cem>don't\u003c/em> know them; it's all fiction. And what makes better fiction than a plot twist or a heartbreaking betrayal? As much as we are obsessed with happily ever after, we sure do get bored of it pretty quickly.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Maybe the fantasy they package and present to us holds no real value in their day-to-day reality; maybe they are just playing characters in a modern day opera, putting on the show they know we want to see. Certainly Beyonce and Jay Z, two of the most famous people on the planet, know how to manipulate the media and the rest of us by now. Would it be that surprising if they were savvy enough to create a narrative that would keep us interested, keep us buying $300 tickets, while they laugh all the way to the bank?\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cimg class=\"aligncenter size-full wp-image-13064\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/08/bey.jpg\" alt=\"bey\" width=\"640\" height=\"480\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/08/bey.jpg 640w, https://ww2.kqed.org/app/uploads/sites/12/2014/08/bey-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/p>\n\u003cp>We're used to constantly talking about Beyonce. From \u003ca href=\"http://blogs.kqed.org/pop/2013/12/13/the-genius-behind-beyonces-surprise-game-changing-visual-album-self-titled/\">surprise releases\u003c/a> and \u003ca href=\"http://blogs.kqed.org/pop/2013/12/16/beyonce-and-chimamanda-ngozi-adichie-make-feminism-go-viral/\">feminist schooling\u003c/a> to elevator brawls and divorce rumors, she's often the topic of water-cooler conversation, but never more so for San Franciscans than this week, which saw not one, but two shows at AT&T Park with her partner in crime, Jay Z. At least three people have told you that they could hear the concert from their house. And you probably already know that \u003ca href=\"http://www.sfgate.com/bayarea/nevius/article/Here-s-why-Beyonc-could-be-heard-all-over-S-F-5673191.php\">the cause was science\u003c/a>. But what's more interesting than noise pollution is the whole marital spectacle of the On the Run tour.\u003c/p>\n\u003cp>Infidelity rumors have plagued the power couple for years, but the speculation around a possible breakup reached crescendo thanks to the infamous elevator footage of the Mortal Kombat-esque beatdown Solange administered to Jay Z, while her sister sentineled nearby. Because of the lack of audio and that bodyguard's confidentiality agreement, we will probably never know exactly what that was about, but it didn't take long for people to assume the kickboxing was inspired by cheating. It was an unusual crack in the perfect facade Beyonce and her team have maintained since the Destiny's Child days. But, instead of compromising her brand and this tour, the debacle actually brought more interest.\u003c/p>\n\u003cp>Of course, most attended these shows for the music, but there's also a sort of twisted voyeuristic schadenfreude at work here. Because of everything that led up to the tour, it began to feel like the final act of a great romance we've all been a part of in a strange parasitic way for years. We watched as they strutted their young love back in 2003 for Beyonce's debut single \"\u003ca href=\"http://youtu.be/ViwtNLUqkMY\">Crazy In Love\u003c/a>.\" We watched as she \u003ca href=\"http://youtu.be/uRVcKXlF42o\">revealed her pregnant belly\u003c/a> at an awards show. We watched them vacation and \u003ca href=\"http://youtu.be/pAT8CdKkKAY\">talk about utopia, Jesus, and Sade on a yacht\u003c/a>. So it makes sense that we would want to be there for the undoing of all that romantic history.\u003c/p>\n\u003cp>\u003cimg class=\"alignright wp-image-13070\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/08/bey-cryy.jpg\" alt=\"bey-cryy\" width=\"350\" height=\"439\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/08/bey-cryy.jpg 480w, https://ww2.kqed.org/app/uploads/sites/12/2014/08/bey-cryy-400x501.jpg 400w\" sizes=\"(max-width: 350px) 100vw, 350px\">The tour's lights and video montages and pyrotechnics couldn't fully distract from the main event: taking a microscope to every choreographed interaction Beyonce and Jay shared on stage. Having attended both shows (\u003ca href=\"http://media.giphy.com/media/13jJIY0llDdip2/giphy.gif\">YOLO\u003c/a>), I had a lot of time to parse the body language and the main takeaway was that something is not right. Jay sidles up to hug Beyonce from behind at the end of \"Drunk In Love\" and Beyonce does her best not to recoil (\"OMG, she hates him!\" screamed two girls in front of me). Beyonce is a good actress, but she always lets a little something slip during these few interactions. And then there's Beyonce in a wedding dress fighting back tears while singing a song about a lying, trifling man from a 12 year relationship (the same time span as her courtship with Jay), or Beyonce borrowing Lauryn Hill's wounded \"It ain't workin, it ain't workin\" mantra from \"Ex Factor,\" or Jay mournfully rapping \"\u003cspan style=\"color: #000000\">I can understand why you want a divorce now\" in \"Song Cry.\" These songs are old, but the fact that they were specifically selected over countless others is noteworthy.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So all of this could mean two things. A. The rumors are true. They're only staying together to make bank ($100 million so far from this tour) before announcing their conscious uncoupling after the tour wraps. Or B. This entire divorce thing is part publicity stunt, part performance art. Messing with the idea of their marriage and family for profit would be a cynical move, but perhaps there are two marriages at work here, the one they live at home and the one they live for us on stage. Maybe they feel fine messing with our conception of them because, at the end of the day, we \u003cem>don't\u003c/em> know them; it's all fiction. And what makes better fiction than a plot twist or a heartbreaking betrayal? As much as we are obsessed with happily ever after, we sure do get bored of it pretty quickly.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Maybe the fantasy they package and present to us holds no real value in their day-to-day reality; maybe they are just playing characters in a modern day opera, putting on the show they know we want to see. Certainly Beyonce and Jay Z, two of the most famous people on the planet, know how to manipulate the media and the rest of us by now. Would it be that surprising if they were savvy enough to create a narrative that would keep us interested, keep us buying $300 tickets, while they laugh all the way to the bank?\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\n\tKris Bowers covers Kendrick Lamar’s “Rigamortis”:\u003c/p>\n\n\u003cp> \u003ca href=\"http://www.kqed.org/epArchive/R201408071000?pid=RD19\" target=\"_self\" class=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source: \u003ca href=\"http://www.kqed.org/epArchive/R201408071000?pid=RD19\" target=\"_self\" title=\"Redefining Modern Jazz With Pianist Kris Bowers\" rel=\"noopener\">Forum Music\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "How to Survive Outside Lands: A Veteran's Guide",
"headTitle": "How to Survive Outside Lands: A Veteran’s Guide | KQED",
"content": "\u003cp>“Surviving \u003ca href=\"http://www.sfoutsidelands.com/home/\" target=\"_blank\" rel=\"noopener\">Outside Lands\u003c/a>?” my friend asks me, incredulously. “The only way to survive three days of loud music, hot weather and hordes of people is to \u003cem>not go\u003c/em> to Outside Lands.”\u003c/p>\n\u003cp>It’s a common misconception, the idea that huge music festivals are for teenagers with boundless energy and a bottomless capacity for indulgence. But even if, like me, you’re not exactly a spring chicken anymore, there are ways to spend three days in Golden Gate Park this weekend, see great performers, and get out of there alive.\u003c/p>\n\u003cp>Take it from someone who’s been at Outside Lands every year since its inception. Here’s what I’ve learned in the last decade.\u003c/p>\n\u003ch4>Getting There\u003c/h4>\n\u003cp>There’s only been a couple years I actually parked in the neighborhood, and even then, it was an eight-block, hilly walk to the park. One year I fought the crowds on MUNI, waiting in a huge throng to squeeze onto a packed bus. Neither were ideal. And Uber’s \u003ca href=\"https://archives.sfweekly.com/thesnitch/2014/08/11/uber-charges-up-to-290-per-ride-at-outside-lands\" target=\"_blank\" rel=\"noopener\">“surge pricing” for the festival\u003c/a> is insane.\u003c/p>\n\u003cp>Easily the best way to get to Outside Lands is to take that clunky old 10-speed, throw it in your trunk with a bungee cord, park for free near Ocean Beach and \u003cstrong>ride your bike in\u003c/strong>. This way you can pick up any provisions you’ve forgotten (and cheap sandwiches!) at the supermarket \u003cem>and\u003c/em> say hi to \u003ca href=\"http://openplac.es/trips/bison-in-golden-gate-park-san-francisco\" target=\"_blank\" rel=\"noopener\">the buffalo\u003c/a> along the way. And at the end of the long day, it’s a downhill ride all the way to your car, with no traffic getting out. Easy.\u003c/p>\n\u003cfigure id=\"attachment_10139935\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/OL.Wear_.jpg\" alt=\"\" width=\"500\" height=\"724\" class=\"size-full wp-image-10139935\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/OL.Wear_.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/OL.Wear_-400x579.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/OL.Wear_-207x300.jpg 207w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">One word, folks: layers.\u003c/figcaption>\u003c/figure>\n\u003ch4>What to Wear\u003c/h4>\n\u003cp>Clothes-wise, a music festival is like snow skiing — you’re gonna have to set aside delusions of fashion for optimal functionality. Don’t try to wind up on a “15 Sexiest Outfits from Outside Lands (NSFW)” clickbait list. Realize that the fog rolls in. Remember that you will get dusty. Be prepared to walk between stages, logging multiple miles each day. There’s no shame in looking like a Kirkland model from the Costco catalog if it’ll keep you comfortable. Rock those lame-looking tennis shoes, man. Put on an A’s hat. And yes: wear sunscreen.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Important: In 2018, the festival began a \u003ca href=\"https://www.sfoutsidelands.com/clear-bag/\" rel=\"noopener\" target=\"_blank\">very restrictive bag policy\u003c/a>. Similar to the NFL’s \u003ca href=\"https://www.xojane.com/sports/the-nfls-new-bag-policy-is-just-plain-stupid\" rel=\"noopener\" target=\"_blank\">widely criticized\u003c/a> bag policy, it requires you to bring a clear, transparent bag in place of a purse, backpack or messenger bag. Read up on it \u003ca href=\"https://www.sfoutsidelands.com/clear-bag/\" rel=\"noopener\" target=\"_blank\">here\u003c/a>, and be prepared. (I don’t know where the hell to buy a clear backpack, sorry.)\u003c/p>\n\u003ch4>Where to Watch\u003c/h4>\n\u003cp>The best vantage point at each stage varies depending on your taste, but here’s what I recommend. At the large \u003cstrong>Lands End\u003c/strong> stage at the Polo Field, walk along the food booths on the south side all the way to the left side of the stage. The north side is clogged with the VIP area, and so sidling southward can get you close, with some nice breathing room. At the \u003cstrong>Twin Peaks\u003c/strong> stage over in Hellman Hollow, crush past the logjam near the bathrooms and head up the incline to the left of the stage; there’s often a sea of blankets, but finding a place to stand isn’t hard. The \u003cstrong>Panhandle\u003c/strong> stage area gets downright claustrophobic for more popular bands, but if you walk along the eco-themed booths on the left of the stage, you can get right up front. (If you’re sneaky, you can even walk \u003cem>behind\u003c/em> the booths, but I didn’t tell you so.)\u003c/p>\n\u003cp>By far the most frustrating stage is the \u003cstrong>Sutro\u003c/strong> stage. Because the ground at Lindley Meadow takes a sharp dip in front of the stage, if you’re not down in the “bowl” at the front, it’s very hard to see the performer. You can angle for a spot on the crowded hill to the right of the stage, but I recommend snaking around the disabled seating platform to the left of the stage. Be persistent, and once you’re on the other side, you’ll find plenty of room, shade, a nice incline and even some picnic tables. You’ll also be close to the band.\u003c/p>\n\u003cfigure id=\"attachment_10139936\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/OL.Eat_.jpg\" alt=\"Arcade Fire\" width=\"500\" height=\"748\" class=\"size-full wp-image-10139936\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/OL.Eat_.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/OL.Eat_-400x598.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/OL.Eat_-200x300.jpg 200w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Win Butler of Arcade Fire at Outside Lands in 2011. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch4>What to Eat\u003c/h4>\n\u003cp>Outside Lands has such an \u003ca href=\"https://www.sfoutsidelands.com/taste/\" target=\"_blank\" rel=\"noopener\">excellent variety of cuisine\u003c/a> that it’s easy to forget you can bring in your own food. But if you’re not going to pack deli sandwiches with fruits and vegetables in a backpack, then remember to bring money, because foodie delights like banh mi, huaraches, empanadas, pork belly, porcini donuts, arepas and fried egg sandwiches don’t exactly come cheap. (Over near the Sutro stage, there’s usually more common festival fare like Philly cheesesteak and chicken sandwiches.) The Choco-Lands area is where you’ll find your sugar fix. Remember that lines for pour-over coffee and wood-fired pizza will move very, very slowly.\u003c/p>\n\u003cp>I’ve said it a hundred times: all outdoor festivals should supply free water. Outside Lands is \u003ca href=\"https://www.sfoutsidelands.com/eco-lands/\" target=\"_blank\" rel=\"noopener\">finally doing so\u003c/a>, after years of charging you to fill up your own reusable water bottle, or charging for a commemorative water bottle that comes with free refills. Water fountains are virtually nonexistent (there’s one near the fenced-off bathrooms adjacent to the Twin Peaks stage), and ground spigots, last I checked, are turned off. Thank goodness, then, for \u003ca href=\"http://www.rockmed.org/\" target=\"_blank\" rel=\"noopener\">Rock Medicine\u003c/a>, which always keeps a water cooler and paper cups on hand for thirsty festival-goers. Their booth is usually between the Panhandle Stage and the Polo Fields.\u003c/p>\n\u003cp>As for alcohol, there’s plenty of \u003ca href=\"https://www.sfoutsidelands.com/wine-lands/\" target=\"_blank\" rel=\"noopener\">fine wine\u003c/a> and \u003ca href=\"https://www.sfoutsidelands.com/beer-lands/\" target=\"_blank\" rel=\"noopener\">craft beer\u003c/a> on offer. Or you can always do what some locals do: \u003ca href=\"http://instagram.com/p/qsEnhbvUOa/\" target=\"_blank\" rel=\"noopener\">bury bottles of liquor in Golden Gate Park\u003c/a> a week before the festival and dig it up later after you’ve slid past security.\u003c/p>\n\u003ch4>Besides the Bands\u003c/h4>\n\u003cp>Make sure to walk through McLaren Pass, a forest-like path where all manner of weird clowns and marching bands seem to show up. (This is also where \u003ca href=\"https://www.youtube.com/watch?v=aVRpRxRJg9E\" target=\"_blank\" rel=\"noopener\">Jack White once played an unannounced set\u003c/a>.) Do definitely inhale aerosol art at the triangular graffiti wall. Avoid any and all marketers handing you glossy handbills for a cheaper phone plan or a new social network. Be wary of special events in corporate tents draped with logos of credit card companies. Do not, I repeat \u003cem>do not\u003c/em>, agree to see any “intimate show” that requires you to “like” a company on Facebook to get in.\u003c/p>\n\u003cp>Certainly, gawk at the slow-moving line for the Buckminster Fuller-esque DJ tent, which is always filled with colorfully dressed people hoping their MDMA high lasts until they can get inside. Also try to find time for the Barbary Coast comedy tent — the old-style wooden décor is beautiful inside, and if nothing else, you’ll be able to sit for a while. (More popular comedy acts are accessed via a Fastpass-style situation with the line; be sure to check in well ahead of time to get a reservation.)\u003c/p>\n\u003cfigure id=\"attachment_10139939\" class=\"wp-caption aligncenter\" style=\"max-width: 628px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10139939 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/IMG_8435.jpg\" alt=\"Deadmau5 Mask\" width=\"628\" height=\"418\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/IMG_8435.jpg 628w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/IMG_8435-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/IMG_8435-300x199.jpg 300w\" sizes=\"(max-width: 628px) 100vw, 628px\">\u003cfigcaption class=\"wp-caption-text\">Don’t be that guy. Just don’t. (Photo by Gabe Meline.)\u003c/figcaption>\u003c/figure>\n\u003ch4>And Remember…\u003c/h4>\n\u003cp>You can plot your day ahead of time using the \u003ca href=\"http://lineup.sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener\">performance schedule\u003c/a>, but don’t cleave too tightly to any rigid plan. Chances are you’ll be happiest if you float around freely. Go ahead and ditch out on a living legend and see a smaller local rapper instead. If your favorite indie band starts putting you to sleep this weekend, go see whatever weird jazz performance is happening in the forest. Or heck, go check out someone you’ve never heard of. After all, at their best, music festivals are all about discovery. Come with an open mind, and leave with a well-rounded sense of what’s happening.\u003c/p>\n\u003cp>And… congratulations! You’ve survived!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The Outside Lands Music and Arts Festival runs Friday–Sunday in Golden Gate Park. For \u003ca href=\"http://www.sfoutsidelands.com\" target=\"_blank\" rel=\"noopener\">more information\u003c/a>, visit sfoutsidelands.com.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Everything you need to know to get through the three-day festival in Golden Gate Park with your health, your wallet and your dignity intact.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Surviving \u003ca href=\"http://www.sfoutsidelands.com/home/\" target=\"_blank\" rel=\"noopener\">Outside Lands\u003c/a>?” my friend asks me, incredulously. “The only way to survive three days of loud music, hot weather and hordes of people is to \u003cem>not go\u003c/em> to Outside Lands.”\u003c/p>\n\u003cp>It’s a common misconception, the idea that huge music festivals are for teenagers with boundless energy and a bottomless capacity for indulgence. But even if, like me, you’re not exactly a spring chicken anymore, there are ways to spend three days in Golden Gate Park this weekend, see great performers, and get out of there alive.\u003c/p>\n\u003cp>Take it from someone who’s been at Outside Lands every year since its inception. Here’s what I’ve learned in the last decade.\u003c/p>\n\u003ch4>Getting There\u003c/h4>\n\u003cp>There’s only been a couple years I actually parked in the neighborhood, and even then, it was an eight-block, hilly walk to the park. One year I fought the crowds on MUNI, waiting in a huge throng to squeeze onto a packed bus. Neither were ideal. And Uber’s \u003ca href=\"https://archives.sfweekly.com/thesnitch/2014/08/11/uber-charges-up-to-290-per-ride-at-outside-lands\" target=\"_blank\" rel=\"noopener\">“surge pricing” for the festival\u003c/a> is insane.\u003c/p>\n\u003cp>Easily the best way to get to Outside Lands is to take that clunky old 10-speed, throw it in your trunk with a bungee cord, park for free near Ocean Beach and \u003cstrong>ride your bike in\u003c/strong>. This way you can pick up any provisions you’ve forgotten (and cheap sandwiches!) at the supermarket \u003cem>and\u003c/em> say hi to \u003ca href=\"http://openplac.es/trips/bison-in-golden-gate-park-san-francisco\" target=\"_blank\" rel=\"noopener\">the buffalo\u003c/a> along the way. And at the end of the long day, it’s a downhill ride all the way to your car, with no traffic getting out. Easy.\u003c/p>\n\u003cfigure id=\"attachment_10139935\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/OL.Wear_.jpg\" alt=\"\" width=\"500\" height=\"724\" class=\"size-full wp-image-10139935\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/OL.Wear_.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/OL.Wear_-400x579.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/OL.Wear_-207x300.jpg 207w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">One word, folks: layers.\u003c/figcaption>\u003c/figure>\n\u003ch4>What to Wear\u003c/h4>\n\u003cp>Clothes-wise, a music festival is like snow skiing — you’re gonna have to set aside delusions of fashion for optimal functionality. Don’t try to wind up on a “15 Sexiest Outfits from Outside Lands (NSFW)” clickbait list. Realize that the fog rolls in. Remember that you will get dusty. Be prepared to walk between stages, logging multiple miles each day. There’s no shame in looking like a Kirkland model from the Costco catalog if it’ll keep you comfortable. Rock those lame-looking tennis shoes, man. Put on an A’s hat. And yes: wear sunscreen.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Important: In 2018, the festival began a \u003ca href=\"https://www.sfoutsidelands.com/clear-bag/\" rel=\"noopener\" target=\"_blank\">very restrictive bag policy\u003c/a>. Similar to the NFL’s \u003ca href=\"https://www.xojane.com/sports/the-nfls-new-bag-policy-is-just-plain-stupid\" rel=\"noopener\" target=\"_blank\">widely criticized\u003c/a> bag policy, it requires you to bring a clear, transparent bag in place of a purse, backpack or messenger bag. Read up on it \u003ca href=\"https://www.sfoutsidelands.com/clear-bag/\" rel=\"noopener\" target=\"_blank\">here\u003c/a>, and be prepared. (I don’t know where the hell to buy a clear backpack, sorry.)\u003c/p>\n\u003ch4>Where to Watch\u003c/h4>\n\u003cp>The best vantage point at each stage varies depending on your taste, but here’s what I recommend. At the large \u003cstrong>Lands End\u003c/strong> stage at the Polo Field, walk along the food booths on the south side all the way to the left side of the stage. The north side is clogged with the VIP area, and so sidling southward can get you close, with some nice breathing room. At the \u003cstrong>Twin Peaks\u003c/strong> stage over in Hellman Hollow, crush past the logjam near the bathrooms and head up the incline to the left of the stage; there’s often a sea of blankets, but finding a place to stand isn’t hard. The \u003cstrong>Panhandle\u003c/strong> stage area gets downright claustrophobic for more popular bands, but if you walk along the eco-themed booths on the left of the stage, you can get right up front. (If you’re sneaky, you can even walk \u003cem>behind\u003c/em> the booths, but I didn’t tell you so.)\u003c/p>\n\u003cp>By far the most frustrating stage is the \u003cstrong>Sutro\u003c/strong> stage. Because the ground at Lindley Meadow takes a sharp dip in front of the stage, if you’re not down in the “bowl” at the front, it’s very hard to see the performer. You can angle for a spot on the crowded hill to the right of the stage, but I recommend snaking around the disabled seating platform to the left of the stage. Be persistent, and once you’re on the other side, you’ll find plenty of room, shade, a nice incline and even some picnic tables. You’ll also be close to the band.\u003c/p>\n\u003cfigure id=\"attachment_10139936\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/OL.Eat_.jpg\" alt=\"Arcade Fire\" width=\"500\" height=\"748\" class=\"size-full wp-image-10139936\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/OL.Eat_.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/OL.Eat_-400x598.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/OL.Eat_-200x300.jpg 200w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Win Butler of Arcade Fire at Outside Lands in 2011. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch4>What to Eat\u003c/h4>\n\u003cp>Outside Lands has such an \u003ca href=\"https://www.sfoutsidelands.com/taste/\" target=\"_blank\" rel=\"noopener\">excellent variety of cuisine\u003c/a> that it’s easy to forget you can bring in your own food. But if you’re not going to pack deli sandwiches with fruits and vegetables in a backpack, then remember to bring money, because foodie delights like banh mi, huaraches, empanadas, pork belly, porcini donuts, arepas and fried egg sandwiches don’t exactly come cheap. (Over near the Sutro stage, there’s usually more common festival fare like Philly cheesesteak and chicken sandwiches.) The Choco-Lands area is where you’ll find your sugar fix. Remember that lines for pour-over coffee and wood-fired pizza will move very, very slowly.\u003c/p>\n\u003cp>I’ve said it a hundred times: all outdoor festivals should supply free water. Outside Lands is \u003ca href=\"https://www.sfoutsidelands.com/eco-lands/\" target=\"_blank\" rel=\"noopener\">finally doing so\u003c/a>, after years of charging you to fill up your own reusable water bottle, or charging for a commemorative water bottle that comes with free refills. Water fountains are virtually nonexistent (there’s one near the fenced-off bathrooms adjacent to the Twin Peaks stage), and ground spigots, last I checked, are turned off. Thank goodness, then, for \u003ca href=\"http://www.rockmed.org/\" target=\"_blank\" rel=\"noopener\">Rock Medicine\u003c/a>, which always keeps a water cooler and paper cups on hand for thirsty festival-goers. Their booth is usually between the Panhandle Stage and the Polo Fields.\u003c/p>\n\u003cp>As for alcohol, there’s plenty of \u003ca href=\"https://www.sfoutsidelands.com/wine-lands/\" target=\"_blank\" rel=\"noopener\">fine wine\u003c/a> and \u003ca href=\"https://www.sfoutsidelands.com/beer-lands/\" target=\"_blank\" rel=\"noopener\">craft beer\u003c/a> on offer. Or you can always do what some locals do: \u003ca href=\"http://instagram.com/p/qsEnhbvUOa/\" target=\"_blank\" rel=\"noopener\">bury bottles of liquor in Golden Gate Park\u003c/a> a week before the festival and dig it up later after you’ve slid past security.\u003c/p>\n\u003ch4>Besides the Bands\u003c/h4>\n\u003cp>Make sure to walk through McLaren Pass, a forest-like path where all manner of weird clowns and marching bands seem to show up. (This is also where \u003ca href=\"https://www.youtube.com/watch?v=aVRpRxRJg9E\" target=\"_blank\" rel=\"noopener\">Jack White once played an unannounced set\u003c/a>.) Do definitely inhale aerosol art at the triangular graffiti wall. Avoid any and all marketers handing you glossy handbills for a cheaper phone plan or a new social network. Be wary of special events in corporate tents draped with logos of credit card companies. Do not, I repeat \u003cem>do not\u003c/em>, agree to see any “intimate show” that requires you to “like” a company on Facebook to get in.\u003c/p>\n\u003cp>Certainly, gawk at the slow-moving line for the Buckminster Fuller-esque DJ tent, which is always filled with colorfully dressed people hoping their MDMA high lasts until they can get inside. Also try to find time for the Barbary Coast comedy tent — the old-style wooden décor is beautiful inside, and if nothing else, you’ll be able to sit for a while. (More popular comedy acts are accessed via a Fastpass-style situation with the line; be sure to check in well ahead of time to get a reservation.)\u003c/p>\n\u003cfigure id=\"attachment_10139939\" class=\"wp-caption aligncenter\" style=\"max-width: 628px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10139939 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/IMG_8435.jpg\" alt=\"Deadmau5 Mask\" width=\"628\" height=\"418\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/IMG_8435.jpg 628w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/IMG_8435-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/IMG_8435-300x199.jpg 300w\" sizes=\"(max-width: 628px) 100vw, 628px\">\u003cfigcaption class=\"wp-caption-text\">Don’t be that guy. Just don’t. (Photo by Gabe Meline.)\u003c/figcaption>\u003c/figure>\n\u003ch4>And Remember…\u003c/h4>\n\u003cp>You can plot your day ahead of time using the \u003ca href=\"http://lineup.sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener\">performance schedule\u003c/a>, but don’t cleave too tightly to any rigid plan. Chances are you’ll be happiest if you float around freely. Go ahead and ditch out on a living legend and see a smaller local rapper instead. If your favorite indie band starts putting you to sleep this weekend, go see whatever weird jazz performance is happening in the forest. Or heck, go check out someone you’ve never heard of. After all, at their best, music festivals are all about discovery. Come with an open mind, and leave with a well-rounded sense of what’s happening.\u003c/p>\n\u003cp>And… congratulations! You’ve survived!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The Outside Lands Music and Arts Festival runs Friday–Sunday in Golden Gate Park. For \u003ca href=\"http://www.sfoutsidelands.com\" target=\"_blank\" rel=\"noopener\">more information\u003c/a>, visit sfoutsidelands.com.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Best Tunes of Summertime",
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"content": "\u003cp> \u003ca href=\"http://www.kqed.org/epArchive/R201408041000?pid=RD19\" target=\"_self\" class=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source: \u003ca href=\"http://www.kqed.org/epArchive/R201408041000?pid=RD19\" target=\"_self\" title=\"The Best Tunes of Summertime\" rel=\"noopener\">Forum Music\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "Live This Month: August 2014",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Listen to the \u003ci>Bay Bridged\u003c/i> mix of bands playing the Bay Area in August 2014, including: Liars, Mr. Kind, Black Cobra Vipers, Wimps, Joanna Gruesome, Whirr and more.\u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/LTM_August_2014.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>Any discussion of SF music in August has to begin with \u003ca href=\"http://sfoutsidelands.com\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Outside Lands 2014\u003c/strong>\u003c/a>. Tickets sold out in the blink of an eye, a well-deserved achievement considering the extremely packed lineup of everything from Kanye to (Mikal) Cronin. It’s great to see Outside Lands continue to soar. Now when do we start talking about extending it to a second weekend?\u003c/p>\n\u003cp>OSL is the biggest, but it certainly isn’t the only festival happening this month: the \u003ca href=\"http://20thstreetblockparty.com/2014/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>20th Street Block Party\u003c/strong>\u003c/a> returns for another day of free music in the Mission; the \u003ca href=\"http://www.firstcityfestival.com/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>First City Festival\u003c/strong>\u003c/a> brings Beck, The National and many more to Monterey; and the \u003ca href=\"http://www.woodsist.com/news/woodsist-festival-big-sur-2014/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Woodsist Festival\u003c/strong>\u003c/a> offers two days of great indie bands in Big Sur’s Henry Miller Library.\u003c/p>\n\u003cp>Beyond the fests, a number of local and locally-affiliated bands have new albums they’re celebrating with Bay Area shows. Local shoegazers \u003cstrong>\u003ca href=\"https://www.facebook.com/whirrband\" target=\"_blank\" rel=\"noopener\">Whirr\u003c/a>\u003c/strong>, who now share bandmember Nick Bassett with Philadelphia’s Nothing, are about to launch \u003cem>Sway\u003c/em>, and the song we’ve included here sounds like the group’s best work yet. \u003cstrong>\u003ca href=\"https://www.facebook.com/wetdreamsdrymagic\" target=\"_blank\" rel=\"noopener\">Luke Sweeney\u003c/a>\u003c/strong> of Vows has a new solo LP of psych-pop coming soon. “Doin’ It to You” has us very excited about checking out \u003cem>Adventure:Us\u003c/em> in full. Finally, Oakland’s \u003cstrong>\u003ca href=\"https://www.facebook.com/meetmrkind\" target=\"_blank\" rel=\"noopener\">Mr. Kind\u003c/a>\u003c/strong> is a quintet on the rise; the group brings a new EP to Bottom of the Hill later this month.\u003c/p>\n\u003cp>Enjoy the podcast and then go see some concerts!\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">\u003cstrong>About the bands:\u003c/strong>\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/TheRosebuds\" target=\"_blank\" rel=\"noopener\">The Rosebuds\u003c/a> – “Blue Eyes”\u003cbr>\nComing to \u003ca href=\"http://www.theindependentsf.com/\" target=\"_blank\" rel=\"noopener\">The Independent\u003c/a> with El May on August 26.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/thebilindabutchersmusic\" target=\"_blank\" rel=\"noopener\">The Bilinda Butchers\u003c/a> – “Edo Method”\u003cbr>\nPlaying a free show on August 5 at the \u003ca href=\"http://www.brickandmortarmusic.com/\" target=\"_blank\" rel=\"noopener\">Brick & Mortar Music Hall\u003c/a> and joining the \u003ca href=\"http://20thstreetblockparty.com/2014/\" target=\"_blank\" rel=\"noopener\">20th Street Block Party\u003c/a> on August 23.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/LiarsOfficial\" target=\"_blank\" rel=\"noopener\">Liars\u003c/a> – “Mess on a Mission”\u003cbr>\nThe band performs at the \u003ca href=\"http://www.firstcityfestival.com/\" target=\"_blank\" rel=\"noopener\">First City Festival\u003c/a> in Monterey on August 24.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/whirrband\" target=\"_blank\" rel=\"noopener\">Whirr\u003c/a> – “Mumble”\u003cbr>\nHeadlining the \u003ca href=\"http://www.rickshawstop.com/calendar/\" target=\"_blank\" rel=\"noopener\">Rickshaw Stop\u003c/a> on August 30 alongside Sad Actor and Night School.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/wetdreamsdrymagic\" target=\"_blank\" rel=\"noopener\">Luke Sweeney\u003c/a> – “Doin’ It to You”\u003cbr>\nCelebrating his new LP on August 30 with Magic Trick and Will Sprott at the \u003ca href=\"http://www.brickandmortarmusic.com/\" target=\"_blank\" rel=\"noopener\">Brick & Mortar Music Hall\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/sandyalexg\" target=\"_blank\" rel=\"noopener\">Alex G\u003c/a> – “Harvey”\u003cbr>\nThe \u003ca href=\"http://www.rickshawstop.com/calendar/\" target=\"_blank\" rel=\"noopener\">Rickshaw Stop\u003c/a> hosts the Philadelphia artist on August 5 with Elvis Depressedly and Never Young.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/woodsfamilyband\" target=\"_blank\" rel=\"noopener\">Woods\u003c/a> – “Moving to the Left”\u003cbr>\nAppearing at the \u003ca href=\"http://www.woodsist.com/news/woodsist-festival-big-sur-2014/\" target=\"_blank\" rel=\"noopener\">Woodsist Festival\u003c/a> on August 5, the \u003ca href=\"http://www.brickandmortarmusic.com/\" target=\"_blank\" rel=\"noopener\">Brick & Mortar Music Hall\u003c/a> on August 9, and at \u003ca href=\"http://sfoutsidelands.com\" target=\"_blank\" rel=\"noopener\">Outside Lands\u003c/a> on August 10.\u003c/p>\n\u003cp>\u003ca href=\"http://ratcolumns.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Rat Columns\u003c/a> – “Another Day”\u003cbr>\nHeadlining the \u003ca href=\"http://www.hemlocktavern.com/calendar/month/\" target=\"_blank\" rel=\"noopener\">Hemlock Tavern\u003c/a> on August 29 and supporting The Young at \u003ca href=\"https://www.facebook.com/1234gorecords/\" target=\"_blank\" rel=\"noopener\">1-2-3-4 Go! Records\u003c/a> on August 31.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/pages/Joanna-Gruesome/116457368434206\" target=\"_blank\" rel=\"noopener\">Joanna Gruesome\u003c/a> – “Jerome (Liar)”\u003cbr>\nComing to \u003ca href=\"https://www.facebook.com/1234gorecords/\" target=\"_blank\" rel=\"noopener\">1-2-3-4 Go! Records\u003c/a> on August 20 and the \u003ca href=\"http://www.rickshawstop.com/calendar/\" target=\"_blank\" rel=\"noopener\">Rickshaw Stop\u003c/a> on August 21. \u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/thesewimps\" target=\"_blank\" rel=\"noopener\">Wimps\u003c/a> – “Distraction (Live)”\u003cbr>\nThe Seattle band’s summer tour hits \u003ca href=\"http://www.hemlocktavern.com/calendar/month/\" target=\"_blank\" rel=\"noopener\">Hemlock Tavern\u003c/a> on August 13; Big Tits and Talkies also perform.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/blackcobravipers\" target=\"_blank\" rel=\"noopener\">Black Cobra Vipers\u003c/a> – “On the Road”\u003cbr>\nThe local group’s residency at \u003ca href=\"http://www.thechapelsf.com\" target=\"_blank\" rel=\"noopener\">The Chapel\u003c/a> with French Cassettes and Flagship takes place on August 14, 21, and 28. \u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/drengeboys\" target=\"_blank\" rel=\"noopener\">Drenge\u003c/a> – “Backwaters”\u003cbr>\nUK duo Drenge visits \u003ca href=\"http://www.bottomofthehill.com/\" target=\"_blank\" rel=\"noopener\">Bottom of the Hill\u003c/a> on August 7 along with Wax Witches.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/aveytare\" target=\"_blank\" rel=\"noopener\">Avey Tare’s Slasher Flicks\u003c/a> – “Strange Colores”\u003cbr>\nOn August 24, Avey Tare’s band comes to the \u003ca href=\"http://www.slimspresents.com/calendar/\" target=\"_blank\" rel=\"noopener\">Great American Music Hall\u003c/a>; Raleigh Moncrief opens the show.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/meetmrkind\" target=\"_blank\" rel=\"noopener\">Mr. Kind\u003c/a> – “Edge of the World”\u003cbr>\nThe Oakland band’s EP release show is at \u003ca href=\"http://www.bottomofthehill.com/\" target=\"_blank\" rel=\"noopener\">Bottom of the Hill\u003c/a> on August 15; MC Lars and Rivvrs also perform.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>Listen to the \u003ci>Bay Bridged\u003c/i> mix of bands playing the Bay Area in August 2014, including: Liars, Mr. Kind, Black Cobra Vipers, Wimps, Joanna Gruesome, Whirr and more.\u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/LTM_August_2014.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>Any discussion of SF music in August has to begin with \u003ca href=\"http://sfoutsidelands.com\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Outside Lands 2014\u003c/strong>\u003c/a>. Tickets sold out in the blink of an eye, a well-deserved achievement considering the extremely packed lineup of everything from Kanye to (Mikal) Cronin. It’s great to see Outside Lands continue to soar. Now when do we start talking about extending it to a second weekend?\u003c/p>\n\u003cp>OSL is the biggest, but it certainly isn’t the only festival happening this month: the \u003ca href=\"http://20thstreetblockparty.com/2014/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>20th Street Block Party\u003c/strong>\u003c/a> returns for another day of free music in the Mission; the \u003ca href=\"http://www.firstcityfestival.com/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>First City Festival\u003c/strong>\u003c/a> brings Beck, The National and many more to Monterey; and the \u003ca href=\"http://www.woodsist.com/news/woodsist-festival-big-sur-2014/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Woodsist Festival\u003c/strong>\u003c/a> offers two days of great indie bands in Big Sur’s Henry Miller Library.\u003c/p>\n\u003cp>Beyond the fests, a number of local and locally-affiliated bands have new albums they’re celebrating with Bay Area shows. Local shoegazers \u003cstrong>\u003ca href=\"https://www.facebook.com/whirrband\" target=\"_blank\" rel=\"noopener\">Whirr\u003c/a>\u003c/strong>, who now share bandmember Nick Bassett with Philadelphia’s Nothing, are about to launch \u003cem>Sway\u003c/em>, and the song we’ve included here sounds like the group’s best work yet. \u003cstrong>\u003ca href=\"https://www.facebook.com/wetdreamsdrymagic\" target=\"_blank\" rel=\"noopener\">Luke Sweeney\u003c/a>\u003c/strong> of Vows has a new solo LP of psych-pop coming soon. “Doin’ It to You” has us very excited about checking out \u003cem>Adventure:Us\u003c/em> in full. Finally, Oakland’s \u003cstrong>\u003ca href=\"https://www.facebook.com/meetmrkind\" target=\"_blank\" rel=\"noopener\">Mr. Kind\u003c/a>\u003c/strong> is a quintet on the rise; the group brings a new EP to Bottom of the Hill later this month.\u003c/p>\n\u003cp>Enjoy the podcast and then go see some concerts!\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">\u003cstrong>About the bands:\u003c/strong>\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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Records\u003c/a> on August 31.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/pages/Joanna-Gruesome/116457368434206\" target=\"_blank\" rel=\"noopener\">Joanna Gruesome\u003c/a> – “Jerome (Liar)”\u003cbr>\nComing to \u003ca href=\"https://www.facebook.com/1234gorecords/\" target=\"_blank\" rel=\"noopener\">1-2-3-4 Go! Records\u003c/a> on August 20 and the \u003ca href=\"http://www.rickshawstop.com/calendar/\" target=\"_blank\" rel=\"noopener\">Rickshaw Stop\u003c/a> on August 21. \u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/thesewimps\" target=\"_blank\" rel=\"noopener\">Wimps\u003c/a> – “Distraction (Live)”\u003cbr>\nThe Seattle band’s summer tour hits \u003ca href=\"http://www.hemlocktavern.com/calendar/month/\" target=\"_blank\" rel=\"noopener\">Hemlock Tavern\u003c/a> on August 13; Big Tits and Talkies also perform.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/blackcobravipers\" target=\"_blank\" rel=\"noopener\">Black Cobra Vipers\u003c/a> – “On the Road”\u003cbr>\nThe local group’s residency at \u003ca href=\"http://www.thechapelsf.com\" target=\"_blank\" rel=\"noopener\">The Chapel\u003c/a> with French Cassettes and Flagship takes place on August 14, 21, and 28. \u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/drengeboys\" target=\"_blank\" rel=\"noopener\">Drenge\u003c/a> – “Backwaters”\u003cbr>\nUK duo Drenge visits \u003ca href=\"http://www.bottomofthehill.com/\" target=\"_blank\" rel=\"noopener\">Bottom of the Hill\u003c/a> on August 7 along with Wax Witches.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/aveytare\" target=\"_blank\" rel=\"noopener\">Avey Tare’s Slasher Flicks\u003c/a> – “Strange Colores”\u003cbr>\nOn August 24, Avey Tare’s band comes to the \u003ca href=\"http://www.slimspresents.com/calendar/\" target=\"_blank\" rel=\"noopener\">Great American Music Hall\u003c/a>; Raleigh Moncrief opens the show.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/meetmrkind\" target=\"_blank\" rel=\"noopener\">Mr. Kind\u003c/a> – “Edge of the World”\u003cbr>\nThe Oakland band’s EP release show is at \u003ca href=\"http://www.bottomofthehill.com/\" target=\"_blank\" rel=\"noopener\">Bottom of the Hill\u003c/a> on August 15; MC Lars and Rivvrs also perform.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\n\t\u003ci>By: Steve Hochman\u003c/i>\u003c/p>\n\u003cp>\n\tAh, can’t you just see the Aston Martin zooming along the Monaco coast? A gorgeous, if doomed, bombshell sits in the passenger seat and behind the wheel, who else? Bond, James Bond. Certainly that’s a scene Got A Girl had in mind when creating its debut album — \u003ca href=\"http://www.californiareport.org/archive/R201408011630/e\" target=\"_self\" class=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source: \u003ca href=\"http://www.californiareport.org/archive/R201408011630/e\" target=\"_self\" title=\"Pop Music Review: Got a Girl's 'I Love You, But I Must Drive Off This Cliff Now'\" rel=\"noopener\">TCR Music\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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},
"closealltabs": {
"id": "closealltabs",
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"order": 1
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"source": "Commonwealth Club of California"
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"order": 9
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"meta": {
"site": "radio",
"source": "WNYC"
},
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"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
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"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
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"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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