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Forming a quartet that also includes Wax Idols’ Amy Rosenoff on bass, the band’s just released \u003cem>Memory Work\u003c/em>. The album, rich with atmospherics, was produced by SF’s Monte Vallier, who has also recorded great albums for Weekend, Wax Idols and others.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/New-Faultlines.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/New-Faultlines-400x265.jpg\" alt=\"New-Faultlines\" width=\"400\" height=\"265\" class=\"alignleft size-thumbnail wp-image-10140692\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/New-Faultlines-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/New-Faultlines-300x198.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/New-Faultlines.jpg 590w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003ch5>\u003ca href=\"https://www.facebook.com/newfaultlines\" target=\"_blank\" rel=\"noopener\">New Faultlines\u003c/a> – “Lifeguard”\u003cbr>From: Oakland\u003cbr>\u003c/h5>\n\u003cp>Led by brothers Zach and Luke Robbins, the members of New Faultlines have performed with Nobunny, The Mallard, Useless Eaters, and more over the years. In addition to two cassette tapes, the garage pop group’s recent 7″ is the last record from the reliable Dulc-i-tone label, which describes it as “a perfect final offering from Dulc-i-Tone’s fine family of beautifully handmade and fucked-up musical treasures.”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Pat-Thomas3.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Pat-Thomas3-400x269.jpg\" alt=\"Pat-Thomas3\" width=\"400\" height=\"269\" class=\"alignleft size-thumbnail wp-image-10140695\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Pat-Thomas3-400x269.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Pat-Thomas3-300x202.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Pat-Thomas3.jpg 590w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003ch5>\u003ca href=\"https://www.facebook.com/coolghouls\" target=\"_blank\" rel=\"noopener\">Pat Thomas\u003c/a> – “Not Right Now”\u003cbr>From: San Francisco\u003cbr>\u003c/h5>\n\u003cp>As the bassist of the beloved Cool Ghouls, Pat Thomas has written one third of the band’s songs, but he wrote and performed all of his solo album, \u003cem>Coasters Riding in the Air\u003c/em>. Out now on Empty Cellar Records, the LP offers more of the consistently great rock and roll the Ghouls are known for.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/MINOT.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/MINOT-400x266.jpg\" alt=\"MINOT\" width=\"400\" height=\"266\" class=\"alignleft size-thumbnail wp-image-10140698\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/MINOT-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/MINOT-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/MINOT.jpg 900w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003ch5>\u003ca href=\"https://www.facebook.com/Minotband\" target=\"_blank\" rel=\"noopener\">MINOT\u003c/a> – “Tharsis”\u003cbr>From: Oakland\u003cbr>\u003c/h5>\n\u003cp>Out last month, \u003cem>Equal/Opposite\u003c/em> is the first LP from MINOT, a rock trio whose tight, intricate playing confirms its members’ lengthy musical experience. Matthew Solberg previously played guitar in the stellar instrumental band From Monument To Masses and was a member of Turks with MINOT drummer Shannon Corr. Bass player Ben Thorne also performs complex rock songs in the terrific Tartufi.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/joel-gion-apple-bonkers.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/joel-gion-apple-bonkers-400x400.jpg\" alt=\"joel-gion-apple-bonkers\" width=\"400\" height=\"400\" class=\"alignleft size-thumbnail wp-image-10140699\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/joel-gion-apple-bonkers-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/joel-gion-apple-bonkers-300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/joel-gion-apple-bonkers-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/joel-gion-apple-bonkers-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/joel-gion-apple-bonkers-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/joel-gion-apple-bonkers-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/joel-gion-apple-bonkers-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/joel-gion-apple-bonkers.jpg 1030w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003ch5>\u003ca href=\"https://www.facebook.com/joelgionapplebonkers\" target=\"_blank\" rel=\"noopener\">Joel Gion\u003c/a> – “Yes”\u003cbr>From: San Francisco\u003cbr>\u003c/h5>\n\u003cp>Current and former members of Brian Jonestown Massacre appear on Joel Gion’s solo debut, which is hardly a surprise given Gion’s longstanding role as BJM’s tambourine player. \u003cem>Apple Bonkers\u003c/em> — a reference to the tech boom, according to the label — offers the musician an opportunity to showcase his personal take on psychedelic rock-pop.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Foli1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Foli1-400x266.jpg\" alt=\"Foli1\" width=\"400\" height=\"266\" class=\"alignleft size-thumbnail wp-image-10140701\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Foli1-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Foli1-300x199.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Foli1.jpg 590w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003ch5>\u003ca href=\"https://www.facebook.com/folisound\" target=\"_blank\" rel=\"noopener\">Foli\u003c/a> – “Figure Eight”\u003cbr>From: San Francisco\u003cbr>\u003c/h5>\n\u003cp>Ben McClintock and Tom Smith, both members of the stellar indie pop band Social Studies, are joined by Cam Bateman in Foli. The psych-touched rock band isn’t maybe as new as some of the others in this mix, having released \u003cem>A La Maquina\u003c/em> early last year, but the group is definitely one to keep an eye on, especially with a new LP coming soon.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Sandys.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Sandys-400x400.jpg\" alt=\"Sandys\" width=\"400\" height=\"400\" class=\"alignleft size-thumbnail wp-image-10140702\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Sandys-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Sandys-300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Sandys-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Sandys-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Sandys-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Sandys-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Sandys-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Sandys.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003ch5>\u003ca href=\"https://www.facebook.com/sandyscastle\" target=\"_blank\" rel=\"noopener\">Sandy’s\u003c/a> – “Yuba Diamond”\u003cbr>From: San Francisco\u003cbr>\u003c/h5>\n\u003cp>Sandy’s is a new project from Alexi Glickman, whose band The Botticellis released \u003cem>Old Home Movies\u003c/em>, one of our favorite 2008 albums. After that group broke up, Glickman recorded and toured with Little Wings before developing Sandy’s as a solo project. \u003cem>Fourth Dementia\u003c/em> features a revolving cast of performers joining him, including members of Sonny & The Sunsets, The Botticellis, and Yesway.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/image0024.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/image0024-400x263.jpg\" alt=\"image0024\" width=\"400\" height=\"263\" class=\"alignleft size-thumbnail wp-image-10140703\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/image0024-400x263.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/image0024-300x197.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/image0024.jpg 769w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003ch5>\u003ca href=\"https://www.facebook.com/miserablegrl\" target=\"_blank\" rel=\"noopener\">Miserable\u003c/a> – “Bell Jar”\u003cbr>From: San Francisco\u003cbr>\u003c/h5>\n\u003cp>Previously a singer in local heavy shoegaze band Whirr, Kristina Esfandiari recently launched two compelling projects, Miserable and \u003ca href=\"https://www.facebook.com/pages/King-Woman/116386155058898\" target=\"_blank\" rel=\"noopener\">King Woman\u003c/a>. The \u003cem>Halloween Dream\u003c/em> EP, which came out in February on \u003ca href=\"http://thenativesound.limitedrun.com/products/523173-miserable-halloween-dream\" target=\"_blank\" rel=\"noopener\">The Native Sound\u003c/a>, is alternately dreamy and intense.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Flesh-World.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Flesh-World-400x400.jpg\" alt=\"Flesh-World\" width=\"400\" height=\"400\" class=\"alignleft size-thumbnail wp-image-10140704\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Flesh-World-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Flesh-World-300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Flesh-World-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Flesh-World-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Flesh-World-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Flesh-World-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Flesh-World-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Flesh-World.jpg 864w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003ch5>\u003ca href=\"https://www.facebook.com/pages/Flesh-World/692261370835698\" target=\"_blank\" rel=\"noopener\">Flesh World\u003c/a> – “A Sturdy Swiss Hiker”\u003cbr>From: San Francisco\u003cbr>\u003c/h5>\n\u003cp>Jess Scott’s terrific band Brilliant Colors and vital label Make-a-Mess Records make any new project she’s involved in one to check out. And Flesh World, formed with Scott Moore of Limp Wrist, offers melodic punk-meets-post-punk with a roughly distorted edge. \u003ca href=\"http://lavidaesunmus.bandcamp.com/album/flesh-world-mlp\" target=\"_blank\" rel=\"noopener\">La Vida Es En Mus\u003c/a> released the band’s first LP late last year.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/544214_417198231704504_623812546_n1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/544214_417198231704504_623812546_n1-400x324.jpg\" alt=\"544214_417198231704504_623812546_n1\" width=\"400\" height=\"324\" class=\"alignleft size-thumbnail wp-image-10140705\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/544214_417198231704504_623812546_n1-400x324.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/544214_417198231704504_623812546_n1-300x243.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/544214_417198231704504_623812546_n1.jpg 590w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003ch5>\u003ca href=\"https://www.facebook.com/keyofnow\" target=\"_blank\" rel=\"noopener\">Joshua Cook & The Key of Now\u003c/a> – “A Prayer For You”\u003cbr>From: San Francisco\u003cbr>\u003c/h5>\n\u003cp>\u003c/p>\n\u003cp>Joshua Cook used to be the lead guitarist and backing vocalist for the ascending The Soft White Sixties, and he’s brought both of those talents to his new solo project with The Key of Now. Cook’s debut solo album, \u003cem>Misadventures Part One\u003c/em>, arrived last November.\u003c/p>\n\n",
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"excerpt": "Listen to \u003ci>The Bay Bridged\u003c/i> mix of new Bay Area bands with great musical resumes, including VANIISH, Miserable, Joel Gion, Joshua Cook & the Key of Now, Flesh World, Foli and more.",
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"description": "Listen to The Bay Bridged mix of new Bay Area bands with great musical resumes, including VANIISH, Miserable, Joel Gion, Joshua Cook & the Key of Now, Flesh World, Foli and more.",
"title": "Mixtape: New Bay Area Bands with Great Musical Resumes | KQED",
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"headline": "Mixtape: New Bay Area Bands with Great Musical Resumes",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>Listen to \u003ci>The Bay Bridged\u003c/i> mix of bands with great musical resumes, including VANIISH, Miserable, Joel Gion, Joshua Cook & the Key of Now, Flesh World, Foli and more.\u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/Musical_Resumes_Mix.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>In a scene as active as the San Francisco Bay Area, it’s not uncommon to learn that the members of your favorite band are also involved in other musical projects. It’s also not surprising to see bands break up, burn out or go through significant lineup changes, enabling former players to explore new terrain on their own. All of this means that a number of newer bands with unfamiliar names might have some familiar faces — or, perhaps more appropriately, voices — involved. It also means that if you’re a fan of a San Francisco band, chances are you’d also be interested in some of the other projects of its current and former members.\u003c/p>\n\u003cp>This mixtape collects songs from emerging Bay Area bands whose members have been in other notable local projects. As you’ll hear, a number of these groups occupy the same universes as their members’ other works, but they’re all unique and interesting irrespective of their biographies. They’re also ten bands you’ll definitely want to check out.\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">\u003cstrong>About the bands:\u003c/strong>\u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Vaniish.png\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Vaniish-400x267.png\" alt=\"Vaniish\" width=\"400\" height=\"267\" class=\"alignleft size-thumbnail wp-image-10140685\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Vaniish-400x267.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Vaniish-300x200.png 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Vaniish.png 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003ch5>\u003ca href=\"https://www.facebook.com/vaniishband\" target=\"_blank\" rel=\"noopener\">VANIISH\u003c/a> – “Memory Work”\u003cbr>From: San Francisco\u003cbr>\u003c/h5>\n\u003cp>Keven Tecon (currently also of Wax Idols, formerly of The Soft Moon) began his new project VANIISH last year. Forming a quartet that also includes Wax Idols’ Amy Rosenoff on bass, the band’s just released \u003cem>Memory Work\u003c/em>. The album, rich with atmospherics, was produced by SF’s Monte Vallier, who has also recorded great albums for Weekend, Wax Idols and others.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/New-Faultlines.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/New-Faultlines-400x265.jpg\" alt=\"New-Faultlines\" width=\"400\" height=\"265\" class=\"alignleft size-thumbnail wp-image-10140692\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/New-Faultlines-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/New-Faultlines-300x198.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/New-Faultlines.jpg 590w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003ch5>\u003ca href=\"https://www.facebook.com/newfaultlines\" target=\"_blank\" rel=\"noopener\">New Faultlines\u003c/a> – “Lifeguard”\u003cbr>From: Oakland\u003cbr>\u003c/h5>\n\u003cp>Led by brothers Zach and Luke Robbins, the members of New Faultlines have performed with Nobunny, The Mallard, Useless Eaters, and more over the years. In addition to two cassette tapes, the garage pop group’s recent 7″ is the last record from the reliable Dulc-i-tone label, which describes it as “a perfect final offering from Dulc-i-Tone’s fine family of beautifully handmade and fucked-up musical treasures.”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Pat-Thomas3.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Pat-Thomas3-400x269.jpg\" alt=\"Pat-Thomas3\" width=\"400\" height=\"269\" class=\"alignleft size-thumbnail wp-image-10140695\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Pat-Thomas3-400x269.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Pat-Thomas3-300x202.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Pat-Thomas3.jpg 590w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003ch5>\u003ca href=\"https://www.facebook.com/coolghouls\" target=\"_blank\" rel=\"noopener\">Pat Thomas\u003c/a> – “Not Right Now”\u003cbr>From: San Francisco\u003cbr>\u003c/h5>\n\u003cp>As the bassist of the beloved Cool Ghouls, Pat Thomas has written one third of the band’s songs, but he wrote and performed all of his solo album, \u003cem>Coasters Riding in the Air\u003c/em>. Out now on Empty Cellar Records, the LP offers more of the consistently great rock and roll the Ghouls are known for.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/MINOT.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/MINOT-400x266.jpg\" alt=\"MINOT\" width=\"400\" height=\"266\" class=\"alignleft size-thumbnail wp-image-10140698\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/MINOT-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/MINOT-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/MINOT.jpg 900w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003ch5>\u003ca href=\"https://www.facebook.com/Minotband\" target=\"_blank\" rel=\"noopener\">MINOT\u003c/a> – “Tharsis”\u003cbr>From: Oakland\u003cbr>\u003c/h5>\n\u003cp>Out last month, \u003cem>Equal/Opposite\u003c/em> is the first LP from MINOT, a rock trio whose tight, intricate playing confirms its members’ lengthy musical experience. Matthew Solberg previously played guitar in the stellar instrumental band From Monument To Masses and was a member of Turks with MINOT drummer Shannon Corr. Bass player Ben Thorne also performs complex rock songs in the terrific Tartufi.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/joel-gion-apple-bonkers.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/joel-gion-apple-bonkers-400x400.jpg\" alt=\"joel-gion-apple-bonkers\" width=\"400\" height=\"400\" class=\"alignleft size-thumbnail wp-image-10140699\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/joel-gion-apple-bonkers-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/joel-gion-apple-bonkers-300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/joel-gion-apple-bonkers-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/joel-gion-apple-bonkers-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/joel-gion-apple-bonkers-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/joel-gion-apple-bonkers-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/joel-gion-apple-bonkers-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/joel-gion-apple-bonkers.jpg 1030w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003ch5>\u003ca href=\"https://www.facebook.com/joelgionapplebonkers\" target=\"_blank\" rel=\"noopener\">Joel Gion\u003c/a> – “Yes”\u003cbr>From: San Francisco\u003cbr>\u003c/h5>\n\u003cp>Current and former members of Brian Jonestown Massacre appear on Joel Gion’s solo debut, which is hardly a surprise given Gion’s longstanding role as BJM’s tambourine player. \u003cem>Apple Bonkers\u003c/em> — a reference to the tech boom, according to the label — offers the musician an opportunity to showcase his personal take on psychedelic rock-pop.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Foli1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Foli1-400x266.jpg\" alt=\"Foli1\" width=\"400\" height=\"266\" class=\"alignleft size-thumbnail wp-image-10140701\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Foli1-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Foli1-300x199.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Foli1.jpg 590w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003ch5>\u003ca href=\"https://www.facebook.com/folisound\" target=\"_blank\" rel=\"noopener\">Foli\u003c/a> – “Figure Eight”\u003cbr>From: San Francisco\u003cbr>\u003c/h5>\n\u003cp>Ben McClintock and Tom Smith, both members of the stellar indie pop band Social Studies, are joined by Cam Bateman in Foli. The psych-touched rock band isn’t maybe as new as some of the others in this mix, having released \u003cem>A La Maquina\u003c/em> early last year, but the group is definitely one to keep an eye on, especially with a new LP coming soon.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Sandys.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Sandys-400x400.jpg\" alt=\"Sandys\" width=\"400\" height=\"400\" class=\"alignleft size-thumbnail wp-image-10140702\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Sandys-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Sandys-300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Sandys-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Sandys-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Sandys-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Sandys-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Sandys-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Sandys.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003ch5>\u003ca href=\"https://www.facebook.com/sandyscastle\" target=\"_blank\" rel=\"noopener\">Sandy’s\u003c/a> – “Yuba Diamond”\u003cbr>From: San Francisco\u003cbr>\u003c/h5>\n\u003cp>Sandy’s is a new project from Alexi Glickman, whose band The Botticellis released \u003cem>Old Home Movies\u003c/em>, one of our favorite 2008 albums. After that group broke up, Glickman recorded and toured with Little Wings before developing Sandy’s as a solo project. \u003cem>Fourth Dementia\u003c/em> features a revolving cast of performers joining him, including members of Sonny & The Sunsets, The Botticellis, and Yesway.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/image0024.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/image0024-400x263.jpg\" alt=\"image0024\" width=\"400\" height=\"263\" class=\"alignleft size-thumbnail wp-image-10140703\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/image0024-400x263.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/image0024-300x197.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/image0024.jpg 769w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003ch5>\u003ca href=\"https://www.facebook.com/miserablegrl\" target=\"_blank\" rel=\"noopener\">Miserable\u003c/a> – “Bell Jar”\u003cbr>From: San Francisco\u003cbr>\u003c/h5>\n\u003cp>Previously a singer in local heavy shoegaze band Whirr, Kristina Esfandiari recently launched two compelling projects, Miserable and \u003ca href=\"https://www.facebook.com/pages/King-Woman/116386155058898\" target=\"_blank\" rel=\"noopener\">King Woman\u003c/a>. The \u003cem>Halloween Dream\u003c/em> EP, which came out in February on \u003ca href=\"http://thenativesound.limitedrun.com/products/523173-miserable-halloween-dream\" target=\"_blank\" rel=\"noopener\">The Native Sound\u003c/a>, is alternately dreamy and intense.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Flesh-World.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Flesh-World-400x400.jpg\" alt=\"Flesh-World\" width=\"400\" height=\"400\" class=\"alignleft size-thumbnail wp-image-10140704\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Flesh-World-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Flesh-World-300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Flesh-World-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Flesh-World-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Flesh-World-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Flesh-World-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Flesh-World-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Flesh-World.jpg 864w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003ch5>\u003ca href=\"https://www.facebook.com/pages/Flesh-World/692261370835698\" target=\"_blank\" rel=\"noopener\">Flesh World\u003c/a> – “A Sturdy Swiss Hiker”\u003cbr>From: San Francisco\u003cbr>\u003c/h5>\n\u003cp>Jess Scott’s terrific band Brilliant Colors and vital label Make-a-Mess Records make any new project she’s involved in one to check out. And Flesh World, formed with Scott Moore of Limp Wrist, offers melodic punk-meets-post-punk with a roughly distorted edge. \u003ca href=\"http://lavidaesunmus.bandcamp.com/album/flesh-world-mlp\" target=\"_blank\" rel=\"noopener\">La Vida Es En Mus\u003c/a> released the band’s first LP late last year.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/544214_417198231704504_623812546_n1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/544214_417198231704504_623812546_n1-400x324.jpg\" alt=\"544214_417198231704504_623812546_n1\" width=\"400\" height=\"324\" class=\"alignleft size-thumbnail wp-image-10140705\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/544214_417198231704504_623812546_n1-400x324.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/544214_417198231704504_623812546_n1-300x243.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/544214_417198231704504_623812546_n1.jpg 590w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003ch5>\u003ca href=\"https://www.facebook.com/keyofnow\" target=\"_blank\" rel=\"noopener\">Joshua Cook & The Key of Now\u003c/a> – “A Prayer For You”\u003cbr>From: San Francisco\u003cbr>\u003c/h5>\n\u003cp>\u003c/p>\n\u003cp>Joshua Cook used to be the lead guitarist and backing vocalist for the ascending The Soft White Sixties, and he’s brought both of those talents to his new solo project with The Key of Now. Cook’s debut solo album, \u003cem>Misadventures Part One\u003c/em>, arrived last November.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Taylor Swift Debuts New Single \"Shake It Off\" a.k.a. Your New Guilty Pleasure",
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"content": "\u003cp>\u003cimg class=\"aligncenter size-full wp-image-13154\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/08/taylor-swift.jpg\" alt=\"taylor-swift\" width=\"640\" height=\"361\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/08/taylor-swift.jpg 640w, https://ww2.kqed.org/app/uploads/sites/12/2014/08/taylor-swift-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/p>\n\u003cp>I don't know about you, but I sure felt 22 (or, let's be real, a lot younger) while waiting for Taylor Swift's secretive live feed to begin. Elevator music eventually gave way to Taylor on the top of the Empire State Building awkwardly waving at a helicopter. Wind got in her eyes a lot. Then, she went inside to greet the mostly high school girl audience and tell them three secrets. Since you're busy and don't want anyone finding you reading an article about Taylor Swift, I'll just get right to it.\u003c/p>\n\u003cp>1. She has a new single called \"Shake It Off,\" which actually has the phrase \"\u003ca href=\"http://www.raidious.com/wp-content/uploads/2014/01/42924-haters-gonna-hate-fat-kid-gif-VHex.gif\">haters gonna hate\u003c/a>\" in it. Taylor danced with audience members and messed people's hair up and generally was a creature with 0% social anxiety, the yang to the \u003ca href=\"http://bkhemphill.files.wordpress.com/2013/01/tumblr_lv0ux7nfhc1qc665yo1_400.gif?w=474\">the Zoloft egg\u003c/a>'s yin.\u003c/p>\n\u003cp>\u003ciframe src=\"//giphy.com/embed/ylyUQlefrsHXL8CLvi\" width=\"500\" height=\"268\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\">\u003c/iframe>\u003c/p>\n\u003cp>2. She named her new album \u003cem>1989\u003c/em>, which comes out on October 27th, because that's the year she was born and she's obsessed with the boldness of late '80s pop. She also loves Polaroids so she used one for the cover. She also had this to say about what led to the album's theme: \"All I think about are metaphors and cats.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-13151\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/08/tumblr_naix12pVk01s5j98io1_500.gif\" alt=\"taylor swift 1989\" width=\"500\" height=\"350\">\u003c/p>\n\u003cp>3. She shot a music video for \"Shake It Off\" that captured how much she loves dancing, even if she looks silly doing it (see: every award show she's ever been to). Taylor is put amidst ballerinas, interpretive dancers, cheerleaders, and -- sigh -- twerkers, to cheesy, but mostly cute results. This song will be everywhere for the next few months so you might as well learn all the words now.\u003cbr>\nhttp://youtu.be/nfWlot6h_JM\u003c/p>\n\u003cp style=\"text-align: center\">Fin.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-13153\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/08/tumblr_naiwz6c35d1rnwc9zo2_500.gif\" alt=\"taylor swift shake it off\" width=\"500\" height=\"205\">\u003c/p>\n\n",
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"title": "Taylor Swift Debuts New Single “Shake It Off” a.k.a. Your New Guilty Pleasure",
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"content": "\u003cp>I don’t know about you, but I sure felt 22 (or, let’s be real, a lot younger) while waiting for Taylor Swift’s secretive live feed to begin. Elevator music eventually gave way to Taylor on the top of the Empire State Building awkwardly waving at a helicopter. Wind got in \u003ca href=\"http://ww2.kqed.org/pop/2014/08/18/taylor-swift-debuts-new-single-shake-it-off-a-k-a-your-new-guilty-pleasure-1989/\" target=\"_self\" class=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source: \u003ca href=\"http://ww2.kqed.org/pop/2014/08/18/taylor-swift-debuts-new-single-shake-it-off-a-k-a-your-new-guilty-pleasure-1989/\" target=\"_self\" title=\"Taylor Swift Debuts New Single “Shake It Off” a.k.a. Your New Guilty Pleasure\" rel=\"noopener\">Pop Music\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Listen to Youth Radio’s piece on Stockton’s storefront punk scene:\u003c/h4>\n\u003cp>http://pd.npr.org/anon.npr-mp3/npr/me/2014/08/20140813_me_in_stockton_calif_punks_are_the_new_mall_rats.mp3\u003c/p>\n\u003c/aside>\n\u003cp>\u003cem>Part of a series on the past, present and future of America’s malls\u003c/em>\u003c/p>\n\u003cp>I’m outside a strip mall in Stockton, Calif. It’s got a big Asian grocery store, a pet shop and a secondhand store called D. Thrift. There are about 50 kids my age — all in their late teens and early 20s — talking and smoking in front of an empty storefront. It used to be a cellphone shop and before that a place that sold diet pills, but tonight it’s the best underground rock show in town, headlining Stockton’s own \u003ca href=\"http://www.bandsintown.com/SatanWriders\">Satan Wriders\u003c/a>.\u003c/p>\n\u003cp>Now, this vacant retail space is one of the only places for young bands in Stockton to play. So how did this pretty normal strip mall come to be the hub of a blossoming indie scene? Well, it has pretty much everything to do with Frankie Soto and Long Nguyen.\u003c/p>\n\u003cp>Soto is the frontman for a dream pop band called \u003ca href=\"http://surfclub.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Surf Club\u003c/a>, and Nguyen is the landlord at this strip mall.\u003c/p>\n\u003cfigure id=\"attachment_10140575\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/frankie_soto_sq-d20cae0e23954df5a4f78e13fc8c0c1e2a68dfe2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10140575 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/frankie_soto_sq-d20cae0e23954df5a4f78e13fc8c0c1e2a68dfe2-400x400.jpg\" alt=\"Frankie Soto is in charge of the "underground" rock shows at an empty storefront in Stockton's Normandy Village Shopping Center.\" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/frankie_soto_sq-d20cae0e23954df5a4f78e13fc8c0c1e2a68dfe2-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/frankie_soto_sq-d20cae0e23954df5a4f78e13fc8c0c1e2a68dfe2-300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/frankie_soto_sq-d20cae0e23954df5a4f78e13fc8c0c1e2a68dfe2-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/frankie_soto_sq-d20cae0e23954df5a4f78e13fc8c0c1e2a68dfe2-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/frankie_soto_sq-d20cae0e23954df5a4f78e13fc8c0c1e2a68dfe2-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/frankie_soto_sq-d20cae0e23954df5a4f78e13fc8c0c1e2a68dfe2-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/frankie_soto_sq-d20cae0e23954df5a4f78e13fc8c0c1e2a68dfe2-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/frankie_soto_sq-d20cae0e23954df5a4f78e13fc8c0c1e2a68dfe2.jpg 844w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Frankie Soto is in charge of the “underground” rock shows at an empty storefront in Stockton’s Normandy Village Shopping Center. \u003ccite>(Brett Myers/Youth Radio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You don’t often find 20-year-old Latino indie rock kids and 40-something Asian mall owners becoming fast friends, but that’s exactly what happened here. Soto and Nguyen’s story starts at a music festival in San Francisco, back in 2012. Nguyen was amazed to see a Stockton band, Soto’s Surf Club, onstage.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“They just blew me out of the water,” Nguyen recalls. “They were really young. I think half of the band was under 21. So after they were playing at the bar, they had to immediately get off the stage and they could only watch from the sidewalk.”\u003c/p>\n\u003cp>Nguyen eagerly introduced himself, saying, “I own the D. Thrift! Just come play in it.”\u003c/p>\n\u003cp>It wasn’t until a few months later, with few local music venues left in Stockton, that Soto decided to take him up on the offer.\u003c/p>\n\u003cp>Once Soto stepped inside the spot, he fell in love with it. “It’s like super intimate. I kind of like it. It’s, like, perfect. It’s kind of small but it’s, like, exactly what we need,” he says.\u003c/p>\n\u003cp>For the past two years, the D. Thrift has become a place for young Stockton bands to play their first concert. As word got out, touring acts that might have skipped over the town started to book their shows here. Lately there’s been about a show a month.\u003c/p>\n\u003cp>Besides that, there isn’t too much for young people to do in town. “I think that’s why a lot of kids come out to our shows every time — it’s something to do,” Soto says.\u003c/p>\n\u003cp>Looking at the crowd, you do get the sense that it is for everyone. There’s a $5 suggested donation at the entrance, but even if you’re broke you’re still welcome. All night long, Soto waves in curious people. In one way, it’s like every mall you’ve ever driven by, but on closer inspection, there’s something special about this place and these concerts.\u003c/p>\n\u003cp>Standing proudly in front of his strip mall, Nguyen described the population he serves: “It is a boiling pot of Americans: white Americans, black Americans, Latinos, Cambodians, Vietnamese, all kinds of Middle Eastern, Indian as well.”\u003c/p>\n\u003cp>There’s a certain magic about the D. Thrift, especially when you compare it to a lot of other places in Stockton. Kim Eng and Bob Guevara are the performers in tonight’s opening act, \u003ca href=\"https://soundcloud.com/civil-act\" target=\"_blank\" rel=\"noopener\">Kismet Aura\u003c/a>. Their families fled violence in Cambodia and Mexico, respectively, only to find more here in Stockton. “It’s all right here. … Honestly, there’s parks where you can find guns in,” Guevera says, as he points down the street.\u003c/p>\n\u003cp>But the shows at D. Thrift are one of their favorite things in town.\u003c/p>\n\u003cp>Guevera says, “It’s the only thing giving me hope right now. Where I hope it goes is the direction where we find a new community out here.”\u003c/p>\n\u003cp>“Just some stability, some community,” adds Eng, “’cause we never really had that.”\u003c/p>\n\u003cp>Long Nguyen and Frankie Soto’s friendship has created a home for a new music scene.\u003c/p>\n\u003cp>“No one throws shows like us. But no one really can just have access. I consider us super lucky to have Long on our side,” Soto says.\u003c/p>\n\u003cp>And tonight, Long Nguyen is leaning on a back wall near Soto, grinning and proud. He shouts over the music to me: “Can you feel this? This positive energy?”\u003c/p>\n\u003cp>It’s an energy that turned an empty storefront into something more.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was produced by\u003c/em> \u003ca href=\"http://youthradio.org/\" target=\"_blank\" rel=\"noopener\">Youth Radio\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 Youth Radio. To see more, visit \u003ca href=\"http://www.youthradio.org/\">http://www.youthradio.org/\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+Stockton%2C+Calif.%2C+Punks+Are+The+New+Mall+Rats&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\" alt=\"\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>Listen to Youth Radio’s piece on Stockton’s storefront punk scene:\u003c/h4>\n\u003cp>http://pd.npr.org/anon.npr-mp3/npr/me/2014/08/20140813_me_in_stockton_calif_punks_are_the_new_mall_rats.mp3\u003c/p>\n\u003c/aside>\n\u003cp>\u003cem>Part of a series on the past, present and future of America’s malls\u003c/em>\u003c/p>\n\u003cp>I’m outside a strip mall in Stockton, Calif. It’s got a big Asian grocery store, a pet shop and a secondhand store called D. Thrift. There are about 50 kids my age — all in their late teens and early 20s — talking and smoking in front of an empty storefront. It used to be a cellphone shop and before that a place that sold diet pills, but tonight it’s the best underground rock show in town, headlining Stockton’s own \u003ca href=\"http://www.bandsintown.com/SatanWriders\">Satan Wriders\u003c/a>.\u003c/p>\n\u003cp>Now, this vacant retail space is one of the only places for young bands in Stockton to play. So how did this pretty normal strip mall come to be the hub of a blossoming indie scene? Well, it has pretty much everything to do with Frankie Soto and Long Nguyen.\u003c/p>\n\u003cp>Soto is the frontman for a dream pop band called \u003ca href=\"http://surfclub.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Surf Club\u003c/a>, and Nguyen is the landlord at this strip mall.\u003c/p>\n\u003cfigure id=\"attachment_10140575\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/frankie_soto_sq-d20cae0e23954df5a4f78e13fc8c0c1e2a68dfe2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10140575 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/frankie_soto_sq-d20cae0e23954df5a4f78e13fc8c0c1e2a68dfe2-400x400.jpg\" alt=\"Frankie Soto is in charge of the "underground" rock shows at an empty storefront in Stockton's Normandy Village Shopping Center.\" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/frankie_soto_sq-d20cae0e23954df5a4f78e13fc8c0c1e2a68dfe2-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/frankie_soto_sq-d20cae0e23954df5a4f78e13fc8c0c1e2a68dfe2-300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/frankie_soto_sq-d20cae0e23954df5a4f78e13fc8c0c1e2a68dfe2-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/frankie_soto_sq-d20cae0e23954df5a4f78e13fc8c0c1e2a68dfe2-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/frankie_soto_sq-d20cae0e23954df5a4f78e13fc8c0c1e2a68dfe2-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/frankie_soto_sq-d20cae0e23954df5a4f78e13fc8c0c1e2a68dfe2-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/frankie_soto_sq-d20cae0e23954df5a4f78e13fc8c0c1e2a68dfe2-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/frankie_soto_sq-d20cae0e23954df5a4f78e13fc8c0c1e2a68dfe2.jpg 844w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Frankie Soto is in charge of the “underground” rock shows at an empty storefront in Stockton’s Normandy Village Shopping Center. \u003ccite>(Brett Myers/Youth Radio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You don’t often find 20-year-old Latino indie rock kids and 40-something Asian mall owners becoming fast friends, but that’s exactly what happened here. Soto and Nguyen’s story starts at a music festival in San Francisco, back in 2012. Nguyen was amazed to see a Stockton band, Soto’s Surf Club, onstage.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“They just blew me out of the water,” Nguyen recalls. “They were really young. I think half of the band was under 21. So after they were playing at the bar, they had to immediately get off the stage and they could only watch from the sidewalk.”\u003c/p>\n\u003cp>Nguyen eagerly introduced himself, saying, “I own the D. Thrift! Just come play in it.”\u003c/p>\n\u003cp>It wasn’t until a few months later, with few local music venues left in Stockton, that Soto decided to take him up on the offer.\u003c/p>\n\u003cp>Once Soto stepped inside the spot, he fell in love with it. “It’s like super intimate. I kind of like it. It’s, like, perfect. It’s kind of small but it’s, like, exactly what we need,” he says.\u003c/p>\n\u003cp>For the past two years, the D. Thrift has become a place for young Stockton bands to play their first concert. As word got out, touring acts that might have skipped over the town started to book their shows here. Lately there’s been about a show a month.\u003c/p>\n\u003cp>Besides that, there isn’t too much for young people to do in town. “I think that’s why a lot of kids come out to our shows every time — it’s something to do,” Soto says.\u003c/p>\n\u003cp>Looking at the crowd, you do get the sense that it is for everyone. There’s a $5 suggested donation at the entrance, but even if you’re broke you’re still welcome. All night long, Soto waves in curious people. In one way, it’s like every mall you’ve ever driven by, but on closer inspection, there’s something special about this place and these concerts.\u003c/p>\n\u003cp>Standing proudly in front of his strip mall, Nguyen described the population he serves: “It is a boiling pot of Americans: white Americans, black Americans, Latinos, Cambodians, Vietnamese, all kinds of Middle Eastern, Indian as well.”\u003c/p>\n\u003cp>There’s a certain magic about the D. Thrift, especially when you compare it to a lot of other places in Stockton. Kim Eng and Bob Guevara are the performers in tonight’s opening act, \u003ca href=\"https://soundcloud.com/civil-act\" target=\"_blank\" rel=\"noopener\">Kismet Aura\u003c/a>. Their families fled violence in Cambodia and Mexico, respectively, only to find more here in Stockton. “It’s all right here. … Honestly, there’s parks where you can find guns in,” Guevera says, as he points down the street.\u003c/p>\n\u003cp>But the shows at D. Thrift are one of their favorite things in town.\u003c/p>\n\u003cp>Guevera says, “It’s the only thing giving me hope right now. Where I hope it goes is the direction where we find a new community out here.”\u003c/p>\n\u003cp>“Just some stability, some community,” adds Eng, “’cause we never really had that.”\u003c/p>\n\u003cp>Long Nguyen and Frankie Soto’s friendship has created a home for a new music scene.\u003c/p>\n\u003cp>“No one throws shows like us. But no one really can just have access. I consider us super lucky to have Long on our side,” Soto says.\u003c/p>\n\u003cp>And tonight, Long Nguyen is leaning on a back wall near Soto, grinning and proud. He shouts over the music to me: “Can you feel this? This positive energy?”\u003c/p>\n\u003cp>It’s an energy that turned an empty storefront into something more.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was produced by\u003c/em> \u003ca href=\"http://youthradio.org/\" target=\"_blank\" rel=\"noopener\">Youth Radio\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 Youth Radio. To see more, visit \u003ca href=\"http://www.youthradio.org/\">http://www.youthradio.org/\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+Stockton%2C+Calif.%2C+Punks+Are+The+New+Mall+Rats&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\" alt=\"\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Outside Lands 2014 Photos + Video: Haim Hair, Big Freedia's Bouncing Beignets, Macklemore Proposal",
"title": "Outside Lands 2014 Photos + Video: Haim Hair, Big Freedia's Bouncing Beignets, Macklemore Proposal",
"headTitle": "Bay Area Bites | KQED Food",
"content": "\u003cp>This weekend's \u003ca href=\"http://www.sfoutsidelands.com/home/\" target=\"_blank\">Outside Lands\u003c/a> festival in San Francisco's Golden Gate Park was a whirlwind of overstimulation. Quality hand-held food & drink offerings from local restaurants and vendors trended towards \u003ca href=\"http://ww2.kqed.org/bayareabites/2014/08/10/from-bacon-to-bounce-twerking-and-pigging-out-at-outside-lands/\" target=\"_blank\">\u003cstrong>pork indulgence and chocolate obsession\u003c/strong>\u003c/a>. The new \u003ca href=\"http://www.sfoutsidelands.com/gastromagic/\" target=\"_blank\">GastroMagic\u003c/a> stage further enhanced the mashup of food and performance that is so characteristic of Bay Area culture. Between \u003ca href=\"http://ww2.kqed.org/bayareabites/2014/08/10/from-bacon-to-bounce-twerking-and-pigging-out-at-outside-lands/\" target=\"_blank\">meals\u003c/a> there was music. Here is a collection of memorable moments from the festivities. \u003c/p>\n\u003cp>\u003cstrong>All photos and video by Wendy Goodfriend\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_85953\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003ca href=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2014/08/este-haim-hair1000.jpg\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2014/08/este-haim-hair1000.jpg\" alt=\"Serious hair flipping from Este Haim. Photo: Wendy Goodfriend\" width=\"1000\" height=\"667\" class=\"size-full wp-image-85953\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Serious hair flipping accompanying bass face from Este Haim.\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_85942\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003ca href=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2014/08/danielle-haim1000guitar.jpg\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2014/08/danielle-haim1000guitar.jpg\" alt=\"Danielle Haim from Haim. Photo: Wendy Goodfriend\" width=\"1000\" height=\"667\" class=\"size-full wp-image-85942\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Danielle Haim from Haim.\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_85978\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003ca href=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2014/08/haim-sisters10001.jpg\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2014/08/haim-sisters10001.jpg\" alt=\"Danielle and Este Haim. Photo: Wendy Goodfriend\" width=\"1000\" height=\"667\" class=\"size-full wp-image-85978\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Danielle and Este Haim.\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_85925\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003ca href=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2014/08/happy-people1000.jpg\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2014/08/happy-people1000.jpg\" alt=\"Festive Happy People at Outside Lands. Photo: Wendy Goodfriend\" width=\"1000\" height=\"667\" class=\"size-full wp-image-85925\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Festive Happy People at Outside Lands.\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_85933\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003ca href=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2014/08/big-freedia10001.jpg\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2014/08/big-freedia10001.jpg\" alt='Big Freedia \"Queen of Bounce\" at the Beignets & Bounce Brunch. Photo: Wendy Goodfriend' width=\"1000\" height=\"667\" class=\"size-full wp-image-85933\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Big Freedia \"Queen of Bounce\" at the Beignets & Bounce Brunch.\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_85934\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003ca href=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2014/08/big-freedia1000a.jpg\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2014/08/big-freedia1000a.jpg\" alt=\"Big Freedia performs at GastroMagic. Photo: Wendy Goodfriend\" width=\"1000\" height=\"667\" class=\"size-full wp-image-85934\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Big Freedia call and response performance at GastroMagic.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Warning: Explicit material contains graphic twerking\u003c/strong>\u003cbr>\n[youtube //www.youtube.com/watch?v=QhJaf0MXvLs]\u003c/p>\n\u003cfigure id=\"attachment_85932\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003ca href=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2014/08/big-freedia-fans1000.jpg\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2014/08/big-freedia-fans1000.jpg\" alt=\"Watching Big Freedia Beignets & Bounce Brunch. Photo: Wendy Goodfriend\" width=\"1000\" height=\"667\" class=\"size-full wp-image-85932\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Watching Big Freedia Beignets & Bounce Brunch.\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_85985\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003ca href=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2014/08/macklemore-point1000.jpg\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2014/08/macklemore-point1000.jpg\" alt=\"Macklemore initiates the on stage marriage proposal. Photo: Wendy Goodfriend\" width=\"1000\" height=\"667\" class=\"size-full wp-image-85985\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Macklemore initiates the on stage marriage proposal.\u003c/figcaption>\u003c/figure>\n\u003cp>[gallery type=\"slideshow\" link=\"file\" ids=\"86004,86037,86036,86005,86006,86002,86007,85986\"]\u003c/p>\n\u003cfigure id=\"attachment_85990\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003ca href=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2014/08/mary-lambert1000.jpg\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2014/08/mary-lambert1000.jpg\" alt='Mary Lambert sings \"Same Love\".' width=\"1000\" height=\"667\" class=\"size-full wp-image-85990\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mary Lambert sings \"Same Love.\"\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_85969\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003ca href=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2014/08/grouplove1000c.jpg\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2014/08/grouplove1000c.jpg\" alt=\"Hannah Hooper from Grouplove. Photo: Wendy Goodfriend\" width=\"1000\" height=\"667\" class=\"size-full wp-image-85969\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Hannah Hooper from Grouplove.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2014/08/singer-winelands.jpg\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2014/08/singer-winelands.jpg\" alt=\"Singer at Outside Lands. Photo: Wendy Goodfriend\" width=\"1000\" height=\"667\" class=\"aligncenter size-full wp-image-86012\">\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_85971\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003ca href=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2014/08/guy-lawrence-disclosure1000.jpg\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2014/08/guy-lawrence-disclosure1000.jpg\" alt=\"Guy Lawrence from Disclosure. Photo: Wendy Goodfriend\" width=\"1000\" height=\"667\" class=\"size-full wp-image-85971\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Guy Lawrence from Disclosure.\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_86119\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003ca href=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2014/08/dumdumgirl1000.jpg\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2014/08/dumdumgirl1000.jpg\" alt=\"Jules from the Dum Dum Girls. Photo: Wendy Goodfriend\" width=\"1000\" height=\"1031\" class=\"size-full wp-image-86119\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jules from the Dum Dum Girls.\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_86016\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003ca href=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2014/08/smoking1000.jpg\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2014/08/smoking1000.jpg\" alt=\"Smoking a cigarette. Photo: Wendy Goodfriend\" width=\"1000\" height=\"667\" class=\"size-full wp-image-86016\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Smoking a cigarette.\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_86001\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003ca href=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2014/08/pot-flag1000.jpg\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2014/08/pot-flag1000.jpg\" alt=\"United States of Marijuana. Photo: Wendy Goodfriend\" width=\"1000\" height=\"667\" class=\"size-full wp-image-86001\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">United States of Marijuana.\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_85998\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003ca href=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2014/08/none-of-your-biz1000.jpg\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2014/08/none-of-your-biz1000.jpg\" alt=\"24 Bottles of None of Your Fucking Business at Hell Brew Revue. Photo: Wendy Goodfriend\" width=\"1000\" height=\"667\" class=\"size-full wp-image-85998\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">24 Bottles of None of Your Fucking Business at Hell Brew Revue.\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_85957\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003ca href=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2014/08/flotsam-band-fans1000.jpg\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2014/08/flotsam-band-fans1000.jpg\" alt=\"Slim Jenkins at Hell Brew Revue. Photo: Wendy Goodfriend\" width=\"1000\" height=\"667\" class=\"size-full wp-image-85957\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Slim Jenkins at Hell Brew Revue.\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_86010\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003ca href=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2014/08/sculpture1000a.jpg\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2014/08/sculpture1000a.jpg\" alt=\"Climbable sculptures by Eos Montana - perfect for texting. Photo: Wendy Goodfriend\" width=\"1000\" height=\"667\" class=\"size-full wp-image-86010\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Climbable sculptures by Eos Montana - perfect for texting.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Warning: Explicit material contains graphic language.\u003c/strong>\u003cbr>\n[youtube //www.youtube.com/watch?v=qMHgKyi8B-E]\u003c/p>\n\u003cfigure id=\"attachment_86108\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003ca href=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2014/08/audience1000.jpg\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2014/08/audience1000.jpg\" alt=\"The crowd for Duck Sauce. Photo: Wendy Goodfriend\" width=\"1000\" height=\"667\" class=\"size-full wp-image-86108\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The crowd for Duck Sauce.\u003c/figcaption>\u003c/figure>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "This weekend’s Outside Lands festival in San Francisco’s Golden Gate Park was a whirlwind of overstimulation. The new GastroMagic stage further enhanced the mashup of food and performance that is so characteristic of Bay Area culture. Between meals there was music. Here is a collection of memorable moments from the festivities.",
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"title": "Outside Lands 2014 Photos + Video: Haim Hair, Big Freedia's Bouncing Beignets, Macklemore Proposal | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This weekend's \u003ca href=\"http://www.sfoutsidelands.com/home/\" target=\"_blank\">Outside Lands\u003c/a> festival in San Francisco's Golden Gate Park was a whirlwind of overstimulation. Quality hand-held food & drink offerings from local restaurants and vendors trended towards \u003ca href=\"http://ww2.kqed.org/bayareabites/2014/08/10/from-bacon-to-bounce-twerking-and-pigging-out-at-outside-lands/\" target=\"_blank\">\u003cstrong>pork indulgence and chocolate obsession\u003c/strong>\u003c/a>. The new \u003ca href=\"http://www.sfoutsidelands.com/gastromagic/\" target=\"_blank\">GastroMagic\u003c/a> stage further enhanced the mashup of food and performance that is so characteristic of Bay Area culture. Between \u003ca href=\"http://ww2.kqed.org/bayareabites/2014/08/10/from-bacon-to-bounce-twerking-and-pigging-out-at-outside-lands/\" target=\"_blank\">meals\u003c/a> there was music. Here is a collection of memorable moments from the festivities. \u003c/p>\n\u003cp>\u003cstrong>All photos and video by Wendy Goodfriend\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_85953\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003ca href=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2014/08/este-haim-hair1000.jpg\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2014/08/este-haim-hair1000.jpg\" alt=\"Serious hair flipping from Este Haim. Photo: Wendy Goodfriend\" width=\"1000\" height=\"667\" class=\"size-full wp-image-85953\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Serious hair flipping accompanying bass face from Este Haim.\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_85942\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003ca href=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2014/08/danielle-haim1000guitar.jpg\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2014/08/danielle-haim1000guitar.jpg\" alt=\"Danielle Haim from Haim. Photo: Wendy Goodfriend\" width=\"1000\" height=\"667\" class=\"size-full wp-image-85942\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Danielle Haim from Haim.\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_85978\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003ca href=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2014/08/haim-sisters10001.jpg\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2014/08/haim-sisters10001.jpg\" alt=\"Danielle and Este Haim. Photo: Wendy Goodfriend\" width=\"1000\" height=\"667\" class=\"size-full wp-image-85978\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Danielle and Este Haim.\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_85925\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003ca href=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2014/08/happy-people1000.jpg\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2014/08/happy-people1000.jpg\" alt=\"Festive Happy People at Outside Lands. 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"disqusTitle": "Outside Lands 2014: Kanye, Kim Kardashian, Macklemore and Everything Else You Missed",
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"content": "\u003cfigure id=\"attachment_13088\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/08/outside-lands-2014.jpg\" alt=\"Photo: Wendy Goodfriend\" width=\"640\" height=\"360\" class=\"size-full wp-image-13088\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/08/outside-lands-2014.jpg 640w, https://ww2.kqed.org/app/uploads/sites/12/2014/08/outside-lands-2014-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca>\u003c/a>Wendy Goodfriend\u003c/figcaption>\u003c/figure>\n\u003cp>There are plenty of reasons why you might decide not to attend Outside Lands. Agoraphobia, a malnourished checking account, a distaste for frostbite, etc. If you didn't make it out to Golden Gate Park this weekend for whatever reason, don't sweat it; here's what you missed.\u003c/p>\n\u003cp>- Kanye West wore a weird mask and stopped mid-song several times to rant about his haters and teach the audience how to mosh. \"This ain't no concierge, maitre'd music,\" he reminded the crowd. Despite the hopes and dreams of many, Jay Z and Beyonce \u003ca href=\"http://blogs.kqed.org/pop/2014/08/07/beyonce-and-jay-z-divorce-on-the-run-tour-san-francisco/\">did not stick around\u003c/a> San Francisco to make a cameo. But Kim Kardashian made an appearance. We were hoping for Khloe, but this will do.\u003c/p>\n\u003cp>http://youtu.be/k0DlUnl3imk\u003c/p>\n\u003cp>- Big Freedia. Bounce Music. Beignet Brunch. Whoever thought up this alliterative daydream deserves the key to the city or something. Just watch.\u003c/p>\n\u003cp>http://youtu.be/pGwxP_xV450\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>- Judging by the huge crowd that chose Macklemore's set over Tom Petty's, it appears as though he's here to stay. It's hard to decide if that's a good thing or not cause, for every stupid thing he does (coming out in a mariachi costume), he pulls a nice gesture to equal things out (giving the stage to a woman who proposed to her girlfriend).\u003c/p>\n\u003cp>http://youtu.be/6_BbxW6Av00\u003c/p>\n\u003cp>- Wayne Coyne of the Flaming Lips wore \u003ca href=\"http://www.billboard.com/files/styles/promo_650/public/media/wayne-coyne-flaming-lips-outside-lands-billboard-2014-650x430.jpg\">a muscle bodysuit\u003c/a> with tinsel hanging off his crotch and was surrounded by people dressed like a rainbow, a mushroom, and a jolly sun. He then got into his trademark bubble and rolled around the crowd. Acid trip or concert?\u003c/p>\n\u003cp>http://youtu.be/VByddk2wCmY\u003c/p>\n\u003cp>- San Francisco has changed so much since Bay Area legend Jerry Garcia was cruising around, but Tom Petty kept the spirit of what the city used to be alive with a tribute.\u003c/p>\n\u003cp>http://youtu.be/BaNeq23U6eo\u003c/p>\n\u003cp>- Something you didn't miss out on: Chvrches. Only half the band made it out of Vancouver. Really, Canada? First Justin Bieber, now this?\u003c/p>\n\u003cblockquote class=\"twitter-tweet\" lang=\"en\">\u003cp>Guys, we are so sorry that we can't play \u003ca href=\"https://twitter.com/sfoutsidelands\">@sfoutsidelands\u003c/a> due Vancouver airport mess ups+a healthy dose of bad luck: \u003ca href=\"https://t.co/6dMFh9XqtH\">https://t.co/6dMFh9XqtH\u003c/a>\u003c/p>\n\u003cp>— CHVRCHΞS (@CHVRCHES) \u003ca href=\"https://twitter.com/CHVRCHES/statuses/498558170831134720\">August 10, 2014\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp> \u003c/p>\n\u003cp>Haven't had enough of Outside Lands? \u003ca href=\"http://blogs.kqed.org/pop/2014/04/08/outside-lands-2014-the-only-playlist-you-need-to-get-ready-kanye-macklemore-tom-petty/\">Check out our playlist\u003c/a>, featuring all the acts from this year's lineup!\u003c/p>\n\u003cfigure id=\"attachment_13089\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/08/kanye.jpg\" alt=\"Photo: Wendy Goodfriend\" width=\"640\" height=\"427\" class=\"size-full wp-image-13089\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/08/kanye.jpg 640w, https://ww2.kqed.org/app/uploads/sites/12/2014/08/kanye-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca>\u003c/a>Wendy Goodfriend\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>Kanye thanks you for your time!\u003c/p>\n\n",
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"excerpt": "Agoraphobia or a distaste for frostbite get in the way of you and Outside Lands this year? No sweat; here's what you missed!",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>- Judging by the huge crowd that chose Macklemore's set over Tom Petty's, it appears as though he's here to stay. It's hard to decide if that's a good thing or not cause, for every stupid thing he does (coming out in a mariachi costume), he pulls a nice gesture to equal things out (giving the stage to a woman who proposed to her girlfriend).\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/6_BbxW6Av00'\n title='//www.youtube.com/embed/6_BbxW6Av00'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>- Wayne Coyne of the Flaming Lips wore \u003ca href=\"http://www.billboard.com/files/styles/promo_650/public/media/wayne-coyne-flaming-lips-outside-lands-billboard-2014-650x430.jpg\">a muscle bodysuit\u003c/a> with tinsel hanging off his crotch and was surrounded by people dressed like a rainbow, a mushroom, and a jolly sun. He then got into his trademark bubble and rolled around the crowd. Acid trip or concert?\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/VByddk2wCmY'\n title='//www.youtube.com/embed/VByddk2wCmY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>- San Francisco has changed so much since Bay Area legend Jerry Garcia was cruising around, but Tom Petty kept the spirit of what the city used to be alive with a tribute.\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/BaNeq23U6eo'\n title='//www.youtube.com/embed/BaNeq23U6eo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>- Something you didn't miss out on: Chvrches. Only half the band made it out of Vancouver. Really, Canada? First Justin Bieber, now this?\u003c/p>\n\u003cblockquote class=\"twitter-tweet\" lang=\"en\">\u003cp>Guys, we are so sorry that we can't play \u003ca href=\"https://twitter.com/sfoutsidelands\">@sfoutsidelands\u003c/a> due Vancouver airport mess ups+a healthy dose of bad luck: \u003ca href=\"https://t.co/6dMFh9XqtH\">https://t.co/6dMFh9XqtH\u003c/a>\u003c/p>\n\u003cp>— CHVRCHΞS (@CHVRCHES) \u003ca href=\"https://twitter.com/CHVRCHES/statuses/498558170831134720\">August 10, 2014\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp> \u003c/p>\n\u003cp>Haven't had enough of Outside Lands? \u003ca href=\"http://blogs.kqed.org/pop/2014/04/08/outside-lands-2014-the-only-playlist-you-need-to-get-ready-kanye-macklemore-tom-petty/\">Check out our playlist\u003c/a>, featuring all the acts from this year's lineup!\u003c/p>\n\u003cfigure id=\"attachment_13089\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2014/08/kanye.jpg\" alt=\"Photo: Wendy Goodfriend\" width=\"640\" height=\"427\" class=\"size-full wp-image-13089\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2014/08/kanye.jpg 640w, https://ww2.kqed.org/app/uploads/sites/12/2014/08/kanye-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Photo: \u003ca>\u003c/a>Wendy Goodfriend\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>Kanye thanks you for your time!\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "McCartney’s Candlestick Concert Has Many Remembering Beatlemania",
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"content": "\u003cdiv>\n\u003cp>The Beatles leave London for their U.S. tour in 1964. The band opened the tour at Cow Palace in San Francisco. (AFP/Getty Images)\u003c/p>\n\u003c/div>\n\u003cp>Later this week Sir Paul McCartney will play Candlestick Park at the last public event at the old stadium before it’s demolished.\u003c/p>\n\u003cp>The concert has brought back memories of \u003ca href=\"http://ww2.kqed.org/news/2014/08/11/mccartney-candlestick-concert-has-many-remembering-beatlemania/\" target=\"_self\" class=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source: \u003ca href=\"http://ww2.kqed.org/news/2014/08/11/mccartney-candlestick-concert-has-many-remembering-beatlemania/\" target=\"_self\" title=\"McCartney’s Candlestick Concert Has Many Remembering Beatlemania\" rel=\"noopener\">News Fix Arts\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "\u003cdiv>\n\u003cp>The Beatles leave London for their U.S. tour in 1964. The band opened the tour at Cow Palace in San Francisco. (AFP/Getty Images)\u003c/p>\n\u003c/div>\n\u003cp>Later this week Sir Paul McCartney will play Candlestick Park at the last public event at the old stadium before it's demolished.\u003c/p>\n\u003cp>The concert has brought back memories of \u003ca href=\"http://ww2.kqed.org/news/2014/08/11/mccartney-candlestick-concert-has-many-remembering-beatlemania/\" target=\"_self\" class=\"rssmi_more\" rel=\"noopener\"> ...read more\u003c/a>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cdiv>\n\u003cp>The Beatles leave London for their U.S. tour in 1964. The band opened the tour at Cow Palace in San Francisco. (AFP/Getty Images)\u003c/p>\n\u003c/div>\n\u003cp>Later this week Sir Paul McCartney will play Candlestick Park at the last public event at the old stadium before it’s demolished.\u003c/p>\n\u003cp>The concert has brought back memories of \u003ca href=\"http://ww2.kqed.org/news/2014/08/11/mccartney-candlestick-concert-has-many-remembering-beatlemania/\" target=\"_self\" class=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source: \u003ca href=\"http://ww2.kqed.org/news/2014/08/11/mccartney-candlestick-concert-has-many-remembering-beatlemania/\" target=\"_self\" title=\"McCartney’s Candlestick Concert Has Many Remembering Beatlemania\" rel=\"noopener\">News Fix Arts\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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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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"description": "The third and final report in our series about this year's Outside Lands Music Festival, and how the third day included Star Trek: Next Generation 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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"excerpt": "The second in our series of daily reports on the perpetually growing crowds and dance heavy rock tunes played at brain-smashing volume at this year’s \u003ci>Outside Lands Music Festival.\u003c/i>",
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"description": "The second in our series of daily reports on the perpetually growing crowds and dance heavy rock tunes played at brain-smashing volume at this year’s Outside Lands Music Festival.",
"title": "How I Survived Outside Lands 2014, Day 2: Time to Rock | KQED",
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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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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
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