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"content": "\u003cp>Rapper Travis Scott was the most recognizable figure associated with Astroworld, the Houston music festival that \u003ca href=\"https://www.npr.org/2021/11/08/1053425095/astroworld-festival-travis-scott-concert\" target=\"_blank\" rel=\"noopener noreferrer\">ended in tragedy Friday\u003c/a> evening when eight people died and hundreds more were injured. Also among the event organizers, however, was the conglomerate Live Nation, the world’s largest live-events company—and one that has already been linked to hundreds of deaths and injuries in the past 15 years.\u003c/p>\n\u003cp>[aside postid='arts_13905983']Live Nation Entertainment and its subsidiary Live Nation Worldwide have been connected to about 200 deaths and at least 750 injuries since 2006, the \u003ca href=\"https://www.houstonchronicle.com/news/houston-texas/article/Astroworld-Festival-concert-producer-has-history-16597508.php\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Houston Chronicle \u003c/em>\u003c/a>reported on Monday after searching past court records, Occupational Safety and Health Administration (OSHA) reports and news coverage. NPR has also found numerous OSHA citations against Live Nation.\u003c/p>\n\u003cp>In a message \u003ca href=\"https://twitter.com/LiveNation/status/1457076597052166145?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">posted\u003c/a> to social media on Saturday, the company wrote: “Heartbroken for those lost and impacted at Astroworld last night. We will continue working to provide as much information and assistance as possible to the local authorities as they investigate the situation.”\u003c/p>\n\u003cp>Houston Public Media reported Monday that \u003ca href=\"https://www.houstonpublicmedia.org/articles/news/arts-culture-news/2021/11/08/412891/victims-from-travis-scotts-astroworld-have-begun-to-sue-the-houston-rapper-and-concert-organizers/\" target=\"_blank\" rel=\"noopener noreferrer\">at least 12\u003c/a> lawsuits have been filed against Travis Scott as well as Live Nation thus far. Other defendants in the suits include Drake, who was also performing at the event, and the festival’s venue, NRG Park.\u003c/p>\n\u003cp>In a statement to NPR on Monday afternoon, Live Nation wrote: “We continue to support and assist local authorities in their ongoing investigation so that both the fans who attended and their families can get the answers they want and deserve, and we will address all legal matters at the appropriate time.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In a statement Live Nation published on social media Monday afternoon, the company \u003ca href=\"https://twitter.com/LiveNation/status/1457781719885516809?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">added\u003c/a>: “Load out of the site and equipment is currently paused to give investigators the time they requested to walk and document the grounds. Full refunds are being offered for all those who purchased tickets.”\u003c/p>\n\u003cp>The statement continued: “And most importantly we are working on ways to support attendees, the families of victims, and staff, from providing mental health counseling to setting up a health fund to help with costs for medical expenses. Our entire team is mourning alongside the community.”\u003c/p>\n\u003cp>[aside postid='pop_84656']The Live Nation-linked incidents reported by the \u003cem>Houston Chronicle\u003c/em> include deaths and injuries committed by intruders, including the suicide bomber who \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/05/22/529588482/british-police-confirm-deaths-after-explosion-at-manchester-arena-concert\" target=\"_blank\" rel=\"noopener noreferrer\">attacked\u003c/a> an Ariana Grande concert in Manchester, England, in 2017 and the \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/10/02/554976369/section-of-las-vegas-strip-is-closed-after-music-festival-shooting\" target=\"_blank\" rel=\"noopener noreferrer\">mass shooting\u003c/a> at the Route 91 Harvest country music festival in Las Vegas later that year.\u003c/p>\n\u003cp>However, those incidents also include a 2011 stage collapse in Indiana in which seven people were killed and 61 injured; the company settled with the victims for $50 million. In a 2013 incident, a concert staffer in Long Island, N.Y., suffered brain damage after a forklift tipped over the booth he had been working in. A jury awarded him $101 million.\u003c/p>\n\u003cp>NPR has also found records on OSHA’s website showing that Live Nation has been cited for previous safety violations, including an incident in 2018 when a Live Nation employee was hit on the head by a 6-foot steel metal post that tipped over; the victim required hospitalization.\u003c/p>\n\u003cp>Just last week, Live Nation reported \u003ca href=\"https://www.livenationentertainment.com/2021/11/live-nation-entertainment-reports-third-quarter-2021-results/\" target=\"_blank\" rel=\"noopener noreferrer\">$2.7 billion\u003c/a> in revenue for its third quarter, beating Wall Street expectations. The company attributed its growth to consumers’ pent-up demand for concerts, festivals and other live events that had been squelched by the coronavirus pandemic. The company has also been able to corner even more of the live-events market during the last 19 months, as smaller independent venues and organizers have struggled to stay afloat during lockdowns. 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"content": "\u003cdiv class=\"post-body\">\u003cp>The Live Nation-linked incidents reported by the \u003cem>Houston Chronicle\u003c/em> include deaths and injuries committed by intruders, including the suicide bomber who \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/05/22/529588482/british-police-confirm-deaths-after-explosion-at-manchester-arena-concert\" target=\"_blank\" rel=\"noopener noreferrer\">attacked\u003c/a> an Ariana Grande concert in Manchester, England, in 2017 and the \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/10/02/554976369/section-of-las-vegas-strip-is-closed-after-music-festival-shooting\" target=\"_blank\" rel=\"noopener noreferrer\">mass shooting\u003c/a> at the Route 91 Harvest country music festival in Las Vegas later that year.\u003c/p>\n\u003cp>However, those incidents also include a 2011 stage collapse in Indiana in which seven people were killed and 61 injured; the company settled with the victims for $50 million. In a 2013 incident, a concert staffer in Long Island, N.Y., suffered brain damage after a forklift tipped over the booth he had been working in. A jury awarded him $101 million.\u003c/p>\n\u003cp>NPR has also found records on OSHA’s website showing that Live Nation has been cited for previous safety violations, including an incident in 2018 when a Live Nation employee was hit on the head by a 6-foot steel metal post that tipped over; the victim required hospitalization.\u003c/p>\n\u003cp>Just last week, Live Nation reported \u003ca href=\"https://www.livenationentertainment.com/2021/11/live-nation-entertainment-reports-third-quarter-2021-results/\" target=\"_blank\" rel=\"noopener noreferrer\">$2.7 billion\u003c/a> in revenue for its third quarter, beating Wall Street expectations. The company attributed its growth to consumers’ pent-up demand for concerts, festivals and other live events that had been squelched by the coronavirus pandemic. The company has also been able to corner even more of the live-events market during the last 19 months, as smaller independent venues and organizers have struggled to stay afloat during lockdowns. (In the aftermath of the Astroworld tragedy, Live Nation’s stock price \u003ca href=\"https://finance.yahoo.com/quote/LYV/?guccounter=1&guce_referrer=aHR0cHM6Ly93d3cuZ29vZ2xlLmNvbS8&guce_referrer_sig=AQAAAD0eXgu8wGSeBaqgkIz7oDJqCrV6jCmssyr4VLvvvt5G4a1q04eDlgEb_-WoEPBEoPcZCGnr9w0yuxQm-ojKiVq4uClDU3EFKvylRFAEvdEZPqpMLG0n7B4AMxfFkxx12RJ4M3DyL8QQSXNEunsXktTx_2_mk7zJ8ETwW3X2wETU\" target=\"_blank\" rel=\"noopener noreferrer\">slid\u003c/a> more than 4% during trading Monday, as of publication time.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>At the inaugural edition of Astroworld, in 2019, three people \u003ca href=\"https://abc13.com/astroworld-2019-injuries-houston/5686133/\" target=\"_blank\" rel=\"noopener noreferrer\">were injured\u003c/a> in a stampede while trying to get into the festival, which was also held at NRG Park. The event was canceled in 2020 due to the pandemic.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>On Monday, \u003cem>The New York Times\u003c/em> \u003ca href=\"https://www.nytimes.com/2021/11/07/us/astroworld-travis-scott-deaths.html\" target=\"_blank\" rel=\"noopener noreferrer\">reported\u003c/a> that according to its sources, Houston Police Chief Troy Finner personally visited Scott in his trailer before Friday’s performance “and conveyed concerns about the energy in the crowd.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Live+Nation%2C+a+company+behind+Astroworld%2C+has+a+long+history+of+safety+violations&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Welcome to Pass the Aux, where KQED Arts & Culture brings you our favorite new tracks by Bay Area artists. Check out past entries and submit a song for future coverage \u003ca href=\"https://www.kqed.org/arts/tag/pass-the-aux\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>If you didn’t know any better, you might think \u003ca href=\"https://www.theyaxes.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Y Axes\u003c/a>‘ “Slide” had emerged at some point on the early-’90s indie underground. On first listen, it sounds like a bright-eyed guitar-pop band like \u003ca href=\"https://www.youtube.com/watch?v=eGELjc66kFs\" target=\"_blank\" rel=\"noopener noreferrer\">Throwing Muses\u003c/a> borrowed some dark clouds from British shoegaze contemporaries (think: \u003ca href=\"https://www.youtube.com/watch?v=MKYY0IlTMw4\" target=\"_blank\" rel=\"noopener noreferrer\">Slowdive\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=qGVzyby5kcU\" target=\"_blank\" rel=\"noopener noreferrer\">Lush\u003c/a>) and ran headfirst into a rain shower.\u003c/p>\n\u003cp>In reality, the San Francisco quartet (comprised of vocalist Alexi Rose Belchere, guitarist Devin Nelson, bassist Jack Sundquist and drummer Ash Hyatt) are very much of the here and the now. Despite its ability to harken back to another era, “Slide” was inspired by a very modern problem. “That feeling of uncertainty and listlessness,” the band says, “while waiting to get texted back” by a love interest. It’s about “trying to trick yourself into believing that you don’t care, paired with that blip of euphoria when they do text you.”\u003c/p>\n\u003cp>Despite the anxiety weaving through the song, the video for “Slide” more closely matches Devin Nelson’s choppy, sunshine-infused guitar lines. The almost-five-minute clip is a little slice of San Francisco joy that features a crew of female and nonbinary skateboarders and roller skaters hanging out and hitting ramps. The friends pay a visit to legendary skate spot \u003ca href=\"http://surfergalaxy.com/en/spot/united-states/3rdandarmy\" target=\"_blank\" rel=\"noopener noreferrer\">3rd and Army\u003c/a>, before rolling through \u003ca href=\"https://sfrecpark.org/896/Potrero-del-Sol---Skate-Park\" target=\"_blank\" rel=\"noopener noreferrer\">Potrero Skate Park\u003c/a>, down 24th Street in the Mission, and winding up at \u003ca href=\"https://www.thesecretalley.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Secret Alley\u003c/a>, where the band performed their first show since shelter in place.\u003c/p>\n\u003cp>“Slide” is the follow-up to The Y Axes’ June single, “\u003ca href=\"https://www.youtube.com/watch?v=DTXx4HVLC7o\" target=\"_blank\" rel=\"noopener noreferrer\">Burning Out\u003c/a>“—a decidedly perkier slice of guitar pop. Both will appear on an as-yet-untitled forthcoming EP, via \u003ca href=\"https://www.textmerecords.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Text Me Records\u003c/a>. You can also catch the band at \u003ca href=\"http://www.bottomofthehill.com/20211120.html#.YYBXlKlKgl8\" target=\"_blank\" rel=\"noopener noreferrer\">Bottom of the Hill\u003c/a> on Saturday, Nov. 20.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Watch the video for “Slide” in full, below.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5A0cU7IHf6o\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Welcome to Pass the Aux, where KQED Arts & Culture brings you our favorite new tracks by Bay Area artists. Check out past entries and submit a song for future coverage \u003ca href=\"https://www.kqed.org/arts/tag/pass-the-aux\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>If you didn’t know any better, you might think \u003ca href=\"https://www.theyaxes.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Y Axes\u003c/a>‘ “Slide” had emerged at some point on the early-’90s indie underground. On first listen, it sounds like a bright-eyed guitar-pop band like \u003ca href=\"https://www.youtube.com/watch?v=eGELjc66kFs\" target=\"_blank\" rel=\"noopener noreferrer\">Throwing Muses\u003c/a> borrowed some dark clouds from British shoegaze contemporaries (think: \u003ca href=\"https://www.youtube.com/watch?v=MKYY0IlTMw4\" target=\"_blank\" rel=\"noopener noreferrer\">Slowdive\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=qGVzyby5kcU\" target=\"_blank\" rel=\"noopener noreferrer\">Lush\u003c/a>) and ran headfirst into a rain shower.\u003c/p>\n\u003cp>In reality, the San Francisco quartet (comprised of vocalist Alexi Rose Belchere, guitarist Devin Nelson, bassist Jack Sundquist and drummer Ash Hyatt) are very much of the here and the now. Despite its ability to harken back to another era, “Slide” was inspired by a very modern problem. “That feeling of uncertainty and listlessness,” the band says, “while waiting to get texted back” by a love interest. It’s about “trying to trick yourself into believing that you don’t care, paired with that blip of euphoria when they do text you.”\u003c/p>\n\u003cp>Despite the anxiety weaving through the song, the video for “Slide” more closely matches Devin Nelson’s choppy, sunshine-infused guitar lines. The almost-five-minute clip is a little slice of San Francisco joy that features a crew of female and nonbinary skateboarders and roller skaters hanging out and hitting ramps. The friends pay a visit to legendary skate spot \u003ca href=\"http://surfergalaxy.com/en/spot/united-states/3rdandarmy\" target=\"_blank\" rel=\"noopener noreferrer\">3rd and Army\u003c/a>, before rolling through \u003ca href=\"https://sfrecpark.org/896/Potrero-del-Sol---Skate-Park\" target=\"_blank\" rel=\"noopener noreferrer\">Potrero Skate Park\u003c/a>, down 24th Street in the Mission, and winding up at \u003ca href=\"https://www.thesecretalley.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Secret Alley\u003c/a>, where the band performed their first show since shelter in place.\u003c/p>\n\u003cp>“Slide” is the follow-up to The Y Axes’ June single, “\u003ca href=\"https://www.youtube.com/watch?v=DTXx4HVLC7o\" target=\"_blank\" rel=\"noopener noreferrer\">Burning Out\u003c/a>“—a decidedly perkier slice of guitar pop. Both will appear on an as-yet-untitled forthcoming EP, via \u003ca href=\"https://www.textmerecords.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Text Me Records\u003c/a>. You can also catch the band at \u003ca href=\"http://www.bottomofthehill.com/20211120.html#.YYBXlKlKgl8\" target=\"_blank\" rel=\"noopener noreferrer\">Bottom of the Hill\u003c/a> on Saturday, Nov. 20.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>During the summer of 1969, while Jimi Hendrix improvised his famous psychedelic rendition of the National Anthem at Woodstock, an equally significant festival was going down in New York City. The Harlem Cultural Festival spanned six weekends, with America’s leading funk, soul and gospel musicians performing to crowds of tens of thousands—a mega-event that channeled the revolutionary energy then coursing through the nation just as much as its whiter festival cousin, a hundred miles to the west.\u003c/p>\n\u003cp>[aside postID='arts_13899714']On Saturday, Nov. 6, SFFILM screens \u003cem>Summer of Soul (…Or, When the Revolution Could Not Be Televised)\u003c/em>, the acclaimed documentary on the so-called “Black Woodstock,” with producer Questlove appearing in person for a Q&A with rock journalist Ben Fong-Torres.\u003c/p>\n\u003cp>While the film is available on Hulu, its rarely seen footage of performances by Mahalia Jackson, Stevie Wonder, Nina Simone and others is best admired at larger-than-life size on the silver screen. The Castro Theatre’s ornate interior has only intermittently hosted public events since it shut down for the pandemic last March.\u003c/p>\n\u003cp>The documentary’s archival footage comes from Hal Tulchin, a television director who passed away in 2017. Tulchin filmed the entire Harlem Cultural Festival and preserved the reels for decades, but did not secure the full release of the footage during his lifetime. When the film was released in June, \u003cem>Summer of Soul\u003c/em> attracted widespread praise for its beautiful restoration of Tulchin’s reels and extensive set of interviews with the festival’s stars.\u003c/p>\n\u003cp>\u003cem>Summer of Soul\u003c/em> screens Saturday, Nov. 6, accompanied by a Q&A between Questlove and Ben Fong-Torres, at the Castro Theatre in San Francisco. \u003ca href=\"https://sffilm.org/event/summer-of-soul/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>On Saturday, Nov. 6, SFFILM screens \u003cem>Summer of Soul (…Or, When the Revolution Could Not Be Televised)\u003c/em>, the acclaimed documentary on the so-called “Black Woodstock,” with producer Questlove appearing in person for a Q&A with rock journalist Ben Fong-Torres.\u003c/p>\n\u003cp>While the film is available on Hulu, its rarely seen footage of performances by Mahalia Jackson, Stevie Wonder, Nina Simone and others is best admired at larger-than-life size on the silver screen. The Castro Theatre’s ornate interior has only intermittently hosted public events since it shut down for the pandemic last March.\u003c/p>\n\u003cp>The documentary’s archival footage comes from Hal Tulchin, a television director who passed away in 2017. Tulchin filmed the entire Harlem Cultural Festival and preserved the reels for decades, but did not secure the full release of the footage during his lifetime. When the film was released in June, \u003cem>Summer of Soul\u003c/em> attracted widespread praise for its beautiful restoration of Tulchin’s reels and extensive set of interviews with the festival’s stars.\u003c/p>\n\u003cp>\u003cem>Summer of Soul\u003c/em> screens Saturday, Nov. 6, accompanied by a Q&A between Questlove and Ben Fong-Torres, at the Castro Theatre in San Francisco. \u003ca href=\"https://sffilm.org/event/summer-of-soul/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "After Touring With Beyoncé, Divinity Roxx Brings Positive Vibes to Children's Music",
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"content": "\u003cp>Divinity Roxx, best known for playing bass in Beyoncé’s all female band, is making her mark on the family music scene. From start to finish, her new album, \u003ca href=\"https://diviroxxkids.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Ready, Set, Go\u003c/em>\u003c/a>\u003cem>,\u003c/em> is about positivity in mind and body.\u003c/p>\n\u003cp>Divinity says that as she was writing the album, she thought “about the kid inside of me,” as well as her nieces and nephews.\u003c/p>\n\u003cp>“A lot of times they’re listening to adult music, and these concepts are too mature for them, and I don’t like to hear them singing some of these lyrics,” she says. She set out to write “a jam that’s appropriate for a five-year-old, that makes them feel good about being alive, and makes them think about life in a different way.”\u003c/p>\n\u003cp>The \u003ca href=\"https://www.youtube.com/watch?v=k9ynCrayH5w\" target=\"_blank\" rel=\"noopener noreferrer\">title track\u003c/a> of \u003cem>Ready, Set, Go\u003c/em> is the ultimate morning jam, with its aerobic tempo and rhymes like “Put that pep in your step, put that pride in your stride.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=k9ynCrayH5w\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Weekday mornings were upbeat at the Atlanta home of little Debbie Walker, the future Divinity Roxx. Her mom was president of the local PTA. “She would give us a sermon every morning about how it was time to get up and why we were going to school,” Divinity recalls. “And you got to make opportunities for yourself and…go out there and be something in the world and you got to be prepared.” Channeling her mom’s energy, Divinity says, “The lyrics are just about being prepared for your day, because preparation is the key to success.”\u003c/p>\n\u003cp>[aside postid='arts_13899078']Divinity Roxx was \u003cem>plenty\u003c/em> prepared when she auditioned for Beyoncé, but getting to that point in her career wasn’t always easy. She’s been playing music since she was a little girl, and spent a lot of time with her uncle who played bass and saxophone. Divinity’s first instrument was clarinet.\u003c/p>\n\u003cp>But when she was in middle school, her mother started doing drugs. “She wore herself out. I had this really rare blood disorder as a kid, so she had to take me to the doctor every single week,” Divinity recalls. “And then as soon as I got better, my sister had arthritis in her knees, so then \u003cem>she\u003c/em> started going to the doctor every week. I think my mom just checked out at a certain point.\u003c/p>\n\u003cp>“Addiction is real,” she adds, “and it tears people apart.”\u003c/p>\n\u003cp>Divinity says her mom has been in recovery for 30 years now.\u003c/p>\n\u003cp>Years later, she used a voice-mail recording from her mom in the song “\u003ca href=\"https://divinityroxx.bandcamp.com/track/miracle\" target=\"_blank\" rel=\"noopener noreferrer\">Miracle\u003c/a>,” on her solo album \u003cem>ImPossible\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=btjh_g6MKWw\u003c/p>\n\u003cp>\u003cstrong>‘You walk like a bass player. You talk like a bass player.’\u003c/strong>\u003c/p>\n\u003cp>Divinity went to the University of California at Berkeley to study journalism, but says she ended up mostly hanging out with musicians. She recalls that when she told a bassist friend she was ready to pick up an instrument again, he told her, “You’re a bass player. You walk like a bass player. You talk like a bass player.”\u003c/p>\n\u003cp>[aside postid='arts_13891275']She’s pretty sure now that her “vibe” was responsible: “Bass players are more laid back. They’re cool being in the cut.” (No offense to guitarists, she’s quick to add.)\u003c/p>\n\u003cp>Divinity practiced and played at clubs whenever she could. She learned that her idol, bassist \u003ca href=\"https://www.wgbh.org/news/arts/2021/10/28/first-electric-bass-soloist-to-be-featured-at-boston-symphony-orchestra-this-weekend\" target=\"_blank\" rel=\"noopener noreferrer\">Victor Wooten\u003c/a>, was hosting a bass camp in Tennessee. “He has this philosophy about how music and nature are really connected and interrelated so he was teaching life and survival skills as well as bass,” she says. “And when I heard that he was having the camp, I said, ‘I have to go.'”\u003c/p>\n\u003cp>“Divinity came across as the complete package—more than myself,” Wooten says. He remembers that when she first played for him and the other counselors, “it blew us all away.” When camp was over, Wooten asked Divinity to tour with him and his band. “She was a hit every night,” he says. “She was just riveting and powerful, and just electric on stage.”\u003c/p>\n\u003cfigure id=\"attachment_13905907\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13905907\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/gettyimages-72620874_wide-9d502dc0850906fc0e56fee7cf51f9fe1c99108b-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/gettyimages-72620874_wide-9d502dc0850906fc0e56fee7cf51f9fe1c99108b-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/gettyimages-72620874_wide-9d502dc0850906fc0e56fee7cf51f9fe1c99108b-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/gettyimages-72620874_wide-9d502dc0850906fc0e56fee7cf51f9fe1c99108b-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/gettyimages-72620874_wide-9d502dc0850906fc0e56fee7cf51f9fe1c99108b-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/gettyimages-72620874_wide-9d502dc0850906fc0e56fee7cf51f9fe1c99108b-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/gettyimages-72620874_wide-9d502dc0850906fc0e56fee7cf51f9fe1c99108b-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/gettyimages-72620874_wide-9d502dc0850906fc0e56fee7cf51f9fe1c99108b-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Divinity Roxx (R) on stage with guitarist Bibi McGill (C) and Beyoncé (L), performing “Irreplaceable” at the 2006 American Music Awards. \u003ccite>(Ethan Miller/Getty Images))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Divinity never heard Beyoncé say “I’m tired”\u003c/strong>\u003c/p>\n\u003cp>Divinity was over the moon. She says her “dream” was to have a career like Wooten, a Grammy-winning artist who makes a living writing, recording and performing. “He had his own tour bus!” she remembers thinking.\u003c/p>\n\u003cp>But in 2006, people kept telling her that Beyoncé was forming an all-female band, and that she should audition for it. “I didn’t think anything about it because I was like: Beyoncé is \u003cem>Beyoncé. \u003c/em>She can call anybody. I don’t even understand why she’s having auditions; I can think of five bass players she should hire right now, and none of them equal me, right?”\u003c/p>\n\u003cp>Wrong, it turned out. Having watched the pool of applicants get smaller and smaller after auditions in Atlanta and New York, Divinity and the other musicians still standing learned from Beyoncé’s father, Matthew Knowles, that they were hired.\u003c/p>\n\u003cp>[aside postid='arts_13901650']“He says, ‘OK, so Beyoncé wants all of you to be a part of her all-female band, and get ready, because in two weeks you’re going to play the BET awards,'” Divinity remembers. “We were just there dumbfounded—like, what just happened?!”\u003c/p>\n\u003cp>Touring the world with Beyoncé was a huge learning experience. During an exhausting period of traveling, performing and rehearsing, Divinity happened to get on the elevator with the superstar and her mom, Miss Tina.\u003c/p>\n\u003cp>Beyoncé, Divinity recalls, leaned up against the wall and sighed. “Miss Tina looks at her and says, ‘Are you tired?’ And she stands up and looks at her and says ‘I could run a mile.’ I just laughed and I said: ‘Yeah, that’s the attitude.’ I’ve never heard her say, ‘I’m tired\u003cem>.’\u003c/em> I try to take that out of my vocabulary. Because she’s going to do what she has to do to reach her goal.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=te1crvr4wP0\u003c/p>\n\u003cp>\u003cstrong>Love wins every time\u003c/strong>\u003c/p>\n\u003cp>With her new children’s project, Divinity Roxx has now reached one of her goals. Good thing, says rapper \u003ca href=\"https://www.fyutch.com/\" target=\"_blank\" rel=\"noopener noreferrer\">FYÜTCH\u003c/a>, who’s active in the children’s music scene. He’s one of the guest artists on Divinity’s new album.\u003c/p>\n\u003cp>“The fact that Divinity Roxx is dedicating her mission, her time, her music, her resources, her experience as a world traveled musician to kids’ music and family music and books,” he says, “it’s showing how diverse this industry really is, and much potential there is.”\u003c/p>\n\u003cp>[aside postid='arts_13900514']While unabashed positivity runs throughout \u003cem>Ready, Set, Go\u003c/em>, Divinity also includes a song called “Love, Love, Love\u003cem>“\u003c/em> that recognizes sometimes families argue. “Whenever humans come together, there’s always some kind of conflict you’re going to face,” she says. “But if you can rest on the fact that you love each other and respect each other when you are expressing your differences, that love is what’s going to keep you bonded.” Wise words for grown-ups too.\u003c/p>\n\u003cp>Scholastic is publishing the lyrics of two of the songs from Divinity’s new album: \u003ca href=\"https://www.amazon.com/Happy-Healthy-Divinity-Roxx/dp/1338782630/ref=sr_1_1?dchild=1&keywords=divinity+roxx&qid=1631629374&rnid=2941120011&s=books&sr=1-1&utm_campaign=Happy+%2B+Healthy\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Happy and Healthy\u003c/em>\u003c/a> and the forthcoming \u003ca href=\"https://urldefense.com/v3/__https:/shop.scholastic.com/teachers-ecommerce/teacher/books/rhythm-rhymes-me-you-9781338782646.html__;!!Iwwt!EOZD1QOwyqNZiqov4bSKjq0ITa3kcASu1ScGONn3WCeQ5Qv7eE2F9_mMpLLP9w%24\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Me + You\u003c/em>\u003c/a>, both with illustrations by NaShanta Fletcher.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Now Divinity is working on a one-woman show which she describes as “the origin story of a superhero named Divinity Roxx.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=After+touring+with+Beyonc%C3%A9%2C+Divinity+Roxx+brings+positive+vibes+to+children%27s+music&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Weekday mornings were upbeat at the Atlanta home of little Debbie Walker, the future Divinity Roxx. Her mom was president of the local PTA. “She would give us a sermon every morning about how it was time to get up and why we were going to school,” Divinity recalls. “And you got to make opportunities for yourself and…go out there and be something in the world and you got to be prepared.” Channeling her mom’s energy, Divinity says, “The lyrics are just about being prepared for your day, because preparation is the key to success.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Divinity Roxx was \u003cem>plenty\u003c/em> prepared when she auditioned for Beyoncé, but getting to that point in her career wasn’t always easy. She’s been playing music since she was a little girl, and spent a lot of time with her uncle who played bass and saxophone. Divinity’s first instrument was clarinet.\u003c/p>\n\u003cp>But when she was in middle school, her mother started doing drugs. “She wore herself out. I had this really rare blood disorder as a kid, so she had to take me to the doctor every single week,” Divinity recalls. “And then as soon as I got better, my sister had arthritis in her knees, so then \u003cem>she\u003c/em> started going to the doctor every week. I think my mom just checked out at a certain point.\u003c/p>\n\u003cp>“Addiction is real,” she adds, “and it tears people apart.”\u003c/p>\n\u003cp>Divinity says her mom has been in recovery for 30 years now.\u003c/p>\n\u003cp>Years later, she used a voice-mail recording from her mom in the song “\u003ca href=\"https://divinityroxx.bandcamp.com/track/miracle\" target=\"_blank\" rel=\"noopener noreferrer\">Miracle\u003c/a>,” on her solo album \u003cem>ImPossible\u003c/em>.\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/btjh_g6MKWw'\n title='//www.youtube.com/embed/btjh_g6MKWw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>‘You walk like a bass player. You talk like a bass player.’\u003c/strong>\u003c/p>\n\u003cp>Divinity went to the University of California at Berkeley to study journalism, but says she ended up mostly hanging out with musicians. She recalls that when she told a bassist friend she was ready to pick up an instrument again, he told her, “You’re a bass player. You walk like a bass player. You talk like a bass player.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>She’s pretty sure now that her “vibe” was responsible: “Bass players are more laid back. They’re cool being in the cut.” (No offense to guitarists, she’s quick to add.)\u003c/p>\n\u003cp>Divinity practiced and played at clubs whenever she could. She learned that her idol, bassist \u003ca href=\"https://www.wgbh.org/news/arts/2021/10/28/first-electric-bass-soloist-to-be-featured-at-boston-symphony-orchestra-this-weekend\" target=\"_blank\" rel=\"noopener noreferrer\">Victor Wooten\u003c/a>, was hosting a bass camp in Tennessee. “He has this philosophy about how music and nature are really connected and interrelated so he was teaching life and survival skills as well as bass,” she says. “And when I heard that he was having the camp, I said, ‘I have to go.'”\u003c/p>\n\u003cp>“Divinity came across as the complete package—more than myself,” Wooten says. He remembers that when she first played for him and the other counselors, “it blew us all away.” When camp was over, Wooten asked Divinity to tour with him and his band. “She was a hit every night,” he says. “She was just riveting and powerful, and just electric on stage.”\u003c/p>\n\u003cfigure id=\"attachment_13905907\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13905907\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/gettyimages-72620874_wide-9d502dc0850906fc0e56fee7cf51f9fe1c99108b-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/gettyimages-72620874_wide-9d502dc0850906fc0e56fee7cf51f9fe1c99108b-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/gettyimages-72620874_wide-9d502dc0850906fc0e56fee7cf51f9fe1c99108b-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/gettyimages-72620874_wide-9d502dc0850906fc0e56fee7cf51f9fe1c99108b-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/gettyimages-72620874_wide-9d502dc0850906fc0e56fee7cf51f9fe1c99108b-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/gettyimages-72620874_wide-9d502dc0850906fc0e56fee7cf51f9fe1c99108b-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/gettyimages-72620874_wide-9d502dc0850906fc0e56fee7cf51f9fe1c99108b-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/gettyimages-72620874_wide-9d502dc0850906fc0e56fee7cf51f9fe1c99108b-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Divinity Roxx (R) on stage with guitarist Bibi McGill (C) and Beyoncé (L), performing “Irreplaceable” at the 2006 American Music Awards. \u003ccite>(Ethan Miller/Getty Images))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Divinity never heard Beyoncé say “I’m tired”\u003c/strong>\u003c/p>\n\u003cp>Divinity was over the moon. She says her “dream” was to have a career like Wooten, a Grammy-winning artist who makes a living writing, recording and performing. “He had his own tour bus!” she remembers thinking.\u003c/p>\n\u003cp>But in 2006, people kept telling her that Beyoncé was forming an all-female band, and that she should audition for it. “I didn’t think anything about it because I was like: Beyoncé is \u003cem>Beyoncé. \u003c/em>She can call anybody. I don’t even understand why she’s having auditions; I can think of five bass players she should hire right now, and none of them equal me, right?”\u003c/p>\n\u003cp>Wrong, it turned out. Having watched the pool of applicants get smaller and smaller after auditions in Atlanta and New York, Divinity and the other musicians still standing learned from Beyoncé’s father, Matthew Knowles, that they were hired.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“He says, ‘OK, so Beyoncé wants all of you to be a part of her all-female band, and get ready, because in two weeks you’re going to play the BET awards,'” Divinity remembers. “We were just there dumbfounded—like, what just happened?!”\u003c/p>\n\u003cp>Touring the world with Beyoncé was a huge learning experience. During an exhausting period of traveling, performing and rehearsing, Divinity happened to get on the elevator with the superstar and her mom, Miss Tina.\u003c/p>\n\u003cp>Beyoncé, Divinity recalls, leaned up against the wall and sighed. “Miss Tina looks at her and says, ‘Are you tired?’ And she stands up and looks at her and says ‘I could run a mile.’ I just laughed and I said: ‘Yeah, that’s the attitude.’ I’ve never heard her say, ‘I’m tired\u003cem>.’\u003c/em> I try to take that out of my vocabulary. Because she’s going to do what she has to do to reach her goal.”\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/te1crvr4wP0'\n title='//www.youtube.com/embed/te1crvr4wP0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Love wins every time\u003c/strong>\u003c/p>\n\u003cp>With her new children’s project, Divinity Roxx has now reached one of her goals. Good thing, says rapper \u003ca href=\"https://www.fyutch.com/\" target=\"_blank\" rel=\"noopener noreferrer\">FYÜTCH\u003c/a>, who’s active in the children’s music scene. He’s one of the guest artists on Divinity’s new album.\u003c/p>\n\u003cp>“The fact that Divinity Roxx is dedicating her mission, her time, her music, her resources, her experience as a world traveled musician to kids’ music and family music and books,” he says, “it’s showing how diverse this industry really is, and much potential there is.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>While unabashed positivity runs throughout \u003cem>Ready, Set, Go\u003c/em>, Divinity also includes a song called “Love, Love, Love\u003cem>“\u003c/em> that recognizes sometimes families argue. “Whenever humans come together, there’s always some kind of conflict you’re going to face,” she says. “But if you can rest on the fact that you love each other and respect each other when you are expressing your differences, that love is what’s going to keep you bonded.” Wise words for grown-ups too.\u003c/p>\n\u003cp>Scholastic is publishing the lyrics of two of the songs from Divinity’s new album: \u003ca href=\"https://www.amazon.com/Happy-Healthy-Divinity-Roxx/dp/1338782630/ref=sr_1_1?dchild=1&keywords=divinity+roxx&qid=1631629374&rnid=2941120011&s=books&sr=1-1&utm_campaign=Happy+%2B+Healthy\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Happy and Healthy\u003c/em>\u003c/a> and the forthcoming \u003ca href=\"https://urldefense.com/v3/__https:/shop.scholastic.com/teachers-ecommerce/teacher/books/rhythm-rhymes-me-you-9781338782646.html__;!!Iwwt!EOZD1QOwyqNZiqov4bSKjq0ITa3kcASu1ScGONn3WCeQ5Qv7eE2F9_mMpLLP9w%24\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Me + You\u003c/em>\u003c/a>, both with illustrations by NaShanta Fletcher.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Now Divinity is working on a one-woman show which she describes as “the origin story of a superhero named Divinity Roxx.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=After+touring+with+Beyonc%C3%A9%2C+Divinity+Roxx+brings+positive+vibes+to+children%27s+music&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "PHOTOS: Lizzo’s Sex-Positive Charisma Lights Up Outside Lands Saturday",
"headTitle": "PHOTOS: Lizzo’s Sex-Positive Charisma Lights Up Outside Lands Saturday | KQED",
"content": "\u003cp>After a high-energy opening day, Outside Lands continued its pandemic-era return on an even more packed Saturday, with tens of thousands of fans flocking to Golden Gate Park. The genre-agnostic fest offered nonstop stimuli between the four music stages, culinary offerings, live art, DJ sets and other diversions. And with everything happening at once, it was easy to log several days worth of steps in your health app trying to do it all. Here’s who impressed on day two. [aside postid='arts_13905536'] \u003c/p>\n\u003ch2>Lizzo brings powerhouse vocals and a few laughs\u003c/h2>\n\u003cp>Lizzo makes everyone feel like she could be their bestie. She might be the headliner of Outside Lands, belting out megawatt vocal runs with a full band and cadre of stylish, spandex-wearing dancers. But she’ll also tell you her thong leotard is riding up to uncomfortable places from all the twerking happening on stage. It’s this mix of five-star talent and humor that made her set so endearing. (At one point, she even came out dressed as the creepy doll from \u003cem>Squid Game\u003c/em>.)\u003c/p>\n\u003cfigure id=\"attachment_13905558\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Lizzo-Performs-at-Outside-Lands-on-Saturday-Oct.-30.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-full wp-image-13905558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Lizzo-Performs-at-Outside-Lands-on-Saturday-Oct.-30.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Lizzo-Performs-at-Outside-Lands-on-Saturday-Oct.-30-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Lizzo-Performs-at-Outside-Lands-on-Saturday-Oct.-30-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lizzo Performs at Outside Lands on Saturday, Oct. 30. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pausing to reflect on the pandemic, Lizzo told the crowd, “That’s what music is about, bringing us back together so we can grieve and heal and grow together,” she said before pivoting to a gag. “In these unprecedented times, nothing is for certain. Except that I’ll always have good pussy.” \u003c/p>\n\u003cp>Between sex-positive self-love tracks like “Soulmate” and “Boys,” Lizzo sang snippets of covers of Aretha Franklin and Whitney Houston. These are artists no one should touch unless they really, \u003cem>really\u003c/em> know what they’re doing, and Lizzo did. She remade and remixed “Respect” and “I’m Every Woman” into her own versions, and strategically positioned herself as an heiress to a lineage of all-time greats. It was a bold move matched by her powerhouse voice. \u003c/p>\n\u003cfigure id=\"attachment_13905564\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Rico-Nasty-Performs-at-Outside-Lands-on-Saturday-Oct.-30-3.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-full wp-image-13905564\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Rico-Nasty-Performs-at-Outside-Lands-on-Saturday-Oct.-30-3.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Rico-Nasty-Performs-at-Outside-Lands-on-Saturday-Oct.-30-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Rico-Nasty-Performs-at-Outside-Lands-on-Saturday-Oct.-30-3-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rico Nasty Performs at Outside Lands on Saturday, Oct. 30. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Rico Nasty lets out her rage\u003c/h2>\n\u003cp>Rico Nasty’s early evening set at the Twin Peaks stage was a chaotic good. “Y’all got a lot of energy for me and I appreciate that,” she told the crowd. That was an understatement. As she launched into her rambunctious diss track “STFU,” rapping in the gruffest end of her register, people climbed on metal barricades and sprayed water into the air. The crowd pulsed up and down like an enormous organism—if the area in front of Twin Peaks was especially muddy, this was why. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Rico turned her goth aesthetic up a notch for the Halloween weekend show, taking the stage in a red and black tutu and corset like a sexy-yet-evil harlequin. Dancers in inflatable gremlin outfits hyped her as she rapped hits like “Cold,” “Poppin’” and “Rage.” The latter, with the screamo refrain “I like bad bitches who be ragin’,” unleashed fury in the crowd like a modern-day “Knuck If You Buck,” giving the women in particular permission to let it all out in the mosh pit.\u003c/p>\n\u003cfigure id=\"attachment_13905560\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Reggie-Watts-Performs-at-Outside-Lands-on-Saturday-Oct.-30.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-full wp-image-13905560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Reggie-Watts-Performs-at-Outside-Lands-on-Saturday-Oct.-30.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Reggie-Watts-Performs-at-Outside-Lands-on-Saturday-Oct.-30-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Reggie-Watts-Performs-at-Outside-Lands-on-Saturday-Oct.-30-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Reggie Watts Performs at Outside Lands on Saturday, Oct. 30. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Reggie Watts fits dad jokes between beatboxing\u003c/h2>\n\u003cp>Comedian-with-a-drum machine Marc Rebillet had to bow out of his Sutro Stage set because of an injury, but the festival replaced him with another electronic music star with a sense of humor: Reggie Watts. Though taking the stage completely solo, Watts performed with the power of a three- or four-piece band, beatboxing, looping his voice, rapping, singing into a vocoder and somehow fitting in some stand-up material. Watching him, you get the sensation that his brain has a processing power several times greater than that of an average human. Oh, did I mention he has a four-and-a-half-octave vocal range? \u003c/p>\n\u003cp>Watts says his sets are 100% improvised, which would explain some of the bizarro directions of his lyrics and monologues. He cracked the audience up with dad jokes when he referred to Vampire Weekend as Werewolf Weekday. At one point, he acted like he was about to perform a magic trick with a cloth but used it to clean his glasses, and then sang about how fans give him crap when his lenses are dirty. Ketamine came up as a topic several times—he told the audience to try it while laying in bed and listening to Brian Eno to “allow reality to reveal itself in its natural, unfettered state.” Not sure how many people took him up on that, but his goofy humor and rare abilities left big grins on people’s faces.\u003c/p>\n\u003cfigure id=\"attachment_13905576\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Vampire-Weekend-Performs-at-Outside-Lands-on-Saturday-Oct.-30.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-full wp-image-13905576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Vampire-Weekend-Performs-at-Outside-Lands-on-Saturday-Oct.-30.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Vampire-Weekend-Performs-at-Outside-Lands-on-Saturday-Oct.-30-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Vampire-Weekend-Performs-at-Outside-Lands-on-Saturday-Oct.-30-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vampire Weekend Performs at Outside Lands on Saturday, Oct. 30. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Vampire Weekend’s polished indie rock\u003c/h2>\n\u003cp>Vampire Weekend’s set design was like something you’d see on bumper stickers in the Berkeley Bowl parking lot: a big, hanging globe and a background of symbols alluding to nature, unity and peace. It matched the cheerful vibe of their jangly, hook-driven indie rock, which the mostly 20-something crowd knew word for word even though the band’s heyday was in the late 2000s and early 2010s music blog era.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Vampire Weekend was incredibly efficient and tightly rehearsed, with two guitars and a keyboard often playing in unison like an Olympic synchronized swimming team. The shekere and other African percussion instruments enhanced their clean-cut tracks, and occasionally they broke loose from their structure, like when Brian Robert Jones unleashed a Slash-worthy guitar solo during “Sunshine,” a track from their 2019 album \u003cem>Father of the Bride\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13905548\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/24kGolden-Performs-at-Outside-Lands-on-Saturday-Oct.-30.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-full wp-image-13905548\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/24kGolden-Performs-at-Outside-Lands-on-Saturday-Oct.-30.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/24kGolden-Performs-at-Outside-Lands-on-Saturday-Oct.-30-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/24kGolden-Performs-at-Outside-Lands-on-Saturday-Oct.-30-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">24kGolden Performs at Outside Lands on Saturday, Oct. 30. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905549\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Amin%C3%A9-Performs-at-Outside-Lands-on-Saturday-Oct.-30-2.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-full wp-image-13905549\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Aminé-Performs-at-Outside-Lands-on-Saturday-Oct.-30-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Aminé-Performs-at-Outside-Lands-on-Saturday-Oct.-30-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Aminé-Performs-at-Outside-Lands-on-Saturday-Oct.-30-2-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Aminé Performs at Outside Lands on Saturday, Oct. 30. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905552\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Angel-Olsen-Performs-at-Outside-Lands-on-Saturday-Oct.-30-3.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-full wp-image-13905552\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Angel-Olsen-Performs-at-Outside-Lands-on-Saturday-Oct.-30-3.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Angel-Olsen-Performs-at-Outside-Lands-on-Saturday-Oct.-30-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Angel-Olsen-Performs-at-Outside-Lands-on-Saturday-Oct.-30-3-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Angel Olsen Performs at Outside Lands on Saturday, Oct. 30. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905570\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/The-crowd-at-Outside-Lands-on-Saturday-Oct.-30-6.-CR2.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-full wp-image-13905570\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-crowd-at-Outside-Lands-on-Saturday-Oct.-30-6.-CR2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-crowd-at-Outside-Lands-on-Saturday-Oct.-30-6.-CR2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-crowd-at-Outside-Lands-on-Saturday-Oct.-30-6.-CR2-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands on Saturday, Oct. 30. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905577\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/D7A7588.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-full wp-image-13905577\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/D7A7588.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/D7A7588-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/D7A7588-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brijean Performs at Outside Lands on Saturday, Oct. 30. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905561\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Rexx-Life-Raj-backstage-at-Outisde-Lands-on-Saturday-Oct.-30-2.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-full wp-image-13905561\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Rexx-Life-Raj-backstage-at-Outisde-Lands-on-Saturday-Oct.-30-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Rexx-Life-Raj-backstage-at-Outisde-Lands-on-Saturday-Oct.-30-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Rexx-Life-Raj-backstage-at-Outisde-Lands-on-Saturday-Oct.-30-2-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rexx Life Raj backstage at Outisde Lands on Saturday, Oct. 30. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905569\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/The-crowd-at-Outside-Lands-on-Saturday-Oct.-30-5.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-full wp-image-13905569\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-crowd-at-Outside-Lands-on-Saturday-Oct.-30-5.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-crowd-at-Outside-Lands-on-Saturday-Oct.-30-5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-crowd-at-Outside-Lands-on-Saturday-Oct.-30-5-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands on Saturday, Oct. 30. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905574\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Vampire-Weekend-Performs-at-Outside-Lands-on-Saturday-Oct.-30-2.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-full wp-image-13905574\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Vampire-Weekend-Performs-at-Outside-Lands-on-Saturday-Oct.-30-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Vampire-Weekend-Performs-at-Outside-Lands-on-Saturday-Oct.-30-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Vampire-Weekend-Performs-at-Outside-Lands-on-Saturday-Oct.-30-2-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vampire Weekend Performs at Outside Lands on Saturday, Oct. 30. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905573\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/The-crowd-at-Outside-Lands-on-Saturday-Oct.-30.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-full wp-image-13905573\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-crowd-at-Outside-Lands-on-Saturday-Oct.-30.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-crowd-at-Outside-Lands-on-Saturday-Oct.-30-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-crowd-at-Outside-Lands-on-Saturday-Oct.-30-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands on Saturday, Oct. 30. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"excerpt": "The headliner’s performance put her in a lineage of all-time greats; Rico Nasty, Reggie Watts and Vampire Weekend all impressed.",
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"description": "The headliner’s performance put her in a lineage of all-time greats; Rico Nasty, Reggie Watts and Vampire Weekend all impressed.",
"title": "PHOTOS: Lizzo’s Sex-Positive Charisma Lights Up Outside Lands Saturday | KQED",
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"headline": "PHOTOS: Lizzo’s Sex-Positive Charisma Lights Up Outside Lands Saturday",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After a high-energy opening day, Outside Lands continued its pandemic-era return on an even more packed Saturday, with tens of thousands of fans flocking to Golden Gate Park. The genre-agnostic fest offered nonstop stimuli between the four music stages, culinary offerings, live art, DJ sets and other diversions. And with everything happening at once, it was easy to log several days worth of steps in your health app trying to do it all. Here’s who impressed on day two. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp> \u003c/p>\n\u003ch2>Lizzo brings powerhouse vocals and a few laughs\u003c/h2>\n\u003cp>Lizzo makes everyone feel like she could be their bestie. She might be the headliner of Outside Lands, belting out megawatt vocal runs with a full band and cadre of stylish, spandex-wearing dancers. But she’ll also tell you her thong leotard is riding up to uncomfortable places from all the twerking happening on stage. It’s this mix of five-star talent and humor that made her set so endearing. (At one point, she even came out dressed as the creepy doll from \u003cem>Squid Game\u003c/em>.)\u003c/p>\n\u003cfigure id=\"attachment_13905558\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Lizzo-Performs-at-Outside-Lands-on-Saturday-Oct.-30.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-full wp-image-13905558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Lizzo-Performs-at-Outside-Lands-on-Saturday-Oct.-30.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Lizzo-Performs-at-Outside-Lands-on-Saturday-Oct.-30-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Lizzo-Performs-at-Outside-Lands-on-Saturday-Oct.-30-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lizzo Performs at Outside Lands on Saturday, Oct. 30. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pausing to reflect on the pandemic, Lizzo told the crowd, “That’s what music is about, bringing us back together so we can grieve and heal and grow together,” she said before pivoting to a gag. “In these unprecedented times, nothing is for certain. Except that I’ll always have good pussy.” \u003c/p>\n\u003cp>Between sex-positive self-love tracks like “Soulmate” and “Boys,” Lizzo sang snippets of covers of Aretha Franklin and Whitney Houston. These are artists no one should touch unless they really, \u003cem>really\u003c/em> know what they’re doing, and Lizzo did. She remade and remixed “Respect” and “I’m Every Woman” into her own versions, and strategically positioned herself as an heiress to a lineage of all-time greats. It was a bold move matched by her powerhouse voice. \u003c/p>\n\u003cfigure id=\"attachment_13905564\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Rico-Nasty-Performs-at-Outside-Lands-on-Saturday-Oct.-30-3.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-full wp-image-13905564\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Rico-Nasty-Performs-at-Outside-Lands-on-Saturday-Oct.-30-3.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Rico-Nasty-Performs-at-Outside-Lands-on-Saturday-Oct.-30-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Rico-Nasty-Performs-at-Outside-Lands-on-Saturday-Oct.-30-3-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rico Nasty Performs at Outside Lands on Saturday, Oct. 30. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Rico Nasty lets out her rage\u003c/h2>\n\u003cp>Rico Nasty’s early evening set at the Twin Peaks stage was a chaotic good. “Y’all got a lot of energy for me and I appreciate that,” she told the crowd. That was an understatement. As she launched into her rambunctious diss track “STFU,” rapping in the gruffest end of her register, people climbed on metal barricades and sprayed water into the air. The crowd pulsed up and down like an enormous organism—if the area in front of Twin Peaks was especially muddy, this was why. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Rico turned her goth aesthetic up a notch for the Halloween weekend show, taking the stage in a red and black tutu and corset like a sexy-yet-evil harlequin. Dancers in inflatable gremlin outfits hyped her as she rapped hits like “Cold,” “Poppin’” and “Rage.” The latter, with the screamo refrain “I like bad bitches who be ragin’,” unleashed fury in the crowd like a modern-day “Knuck If You Buck,” giving the women in particular permission to let it all out in the mosh pit.\u003c/p>\n\u003cfigure id=\"attachment_13905560\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Reggie-Watts-Performs-at-Outside-Lands-on-Saturday-Oct.-30.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-full wp-image-13905560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Reggie-Watts-Performs-at-Outside-Lands-on-Saturday-Oct.-30.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Reggie-Watts-Performs-at-Outside-Lands-on-Saturday-Oct.-30-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Reggie-Watts-Performs-at-Outside-Lands-on-Saturday-Oct.-30-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Reggie Watts Performs at Outside Lands on Saturday, Oct. 30. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Reggie Watts fits dad jokes between beatboxing\u003c/h2>\n\u003cp>Comedian-with-a-drum machine Marc Rebillet had to bow out of his Sutro Stage set because of an injury, but the festival replaced him with another electronic music star with a sense of humor: Reggie Watts. Though taking the stage completely solo, Watts performed with the power of a three- or four-piece band, beatboxing, looping his voice, rapping, singing into a vocoder and somehow fitting in some stand-up material. Watching him, you get the sensation that his brain has a processing power several times greater than that of an average human. Oh, did I mention he has a four-and-a-half-octave vocal range? \u003c/p>\n\u003cp>Watts says his sets are 100% improvised, which would explain some of the bizarro directions of his lyrics and monologues. He cracked the audience up with dad jokes when he referred to Vampire Weekend as Werewolf Weekday. At one point, he acted like he was about to perform a magic trick with a cloth but used it to clean his glasses, and then sang about how fans give him crap when his lenses are dirty. Ketamine came up as a topic several times—he told the audience to try it while laying in bed and listening to Brian Eno to “allow reality to reveal itself in its natural, unfettered state.” Not sure how many people took him up on that, but his goofy humor and rare abilities left big grins on people’s faces.\u003c/p>\n\u003cfigure id=\"attachment_13905576\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Vampire-Weekend-Performs-at-Outside-Lands-on-Saturday-Oct.-30.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-full wp-image-13905576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Vampire-Weekend-Performs-at-Outside-Lands-on-Saturday-Oct.-30.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Vampire-Weekend-Performs-at-Outside-Lands-on-Saturday-Oct.-30-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Vampire-Weekend-Performs-at-Outside-Lands-on-Saturday-Oct.-30-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vampire Weekend Performs at Outside Lands on Saturday, Oct. 30. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Vampire Weekend’s polished indie rock\u003c/h2>\n\u003cp>Vampire Weekend’s set design was like something you’d see on bumper stickers in the Berkeley Bowl parking lot: a big, hanging globe and a background of symbols alluding to nature, unity and peace. It matched the cheerful vibe of their jangly, hook-driven indie rock, which the mostly 20-something crowd knew word for word even though the band’s heyday was in the late 2000s and early 2010s music blog era.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Vampire Weekend was incredibly efficient and tightly rehearsed, with two guitars and a keyboard often playing in unison like an Olympic synchronized swimming team. The shekere and other African percussion instruments enhanced their clean-cut tracks, and occasionally they broke loose from their structure, like when Brian Robert Jones unleashed a Slash-worthy guitar solo during “Sunshine,” a track from their 2019 album \u003cem>Father of the Bride\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13905548\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/24kGolden-Performs-at-Outside-Lands-on-Saturday-Oct.-30.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-full wp-image-13905548\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/24kGolden-Performs-at-Outside-Lands-on-Saturday-Oct.-30.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/24kGolden-Performs-at-Outside-Lands-on-Saturday-Oct.-30-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/24kGolden-Performs-at-Outside-Lands-on-Saturday-Oct.-30-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">24kGolden Performs at Outside Lands on Saturday, Oct. 30. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905549\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Amin%C3%A9-Performs-at-Outside-Lands-on-Saturday-Oct.-30-2.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-full wp-image-13905549\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Aminé-Performs-at-Outside-Lands-on-Saturday-Oct.-30-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Aminé-Performs-at-Outside-Lands-on-Saturday-Oct.-30-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Aminé-Performs-at-Outside-Lands-on-Saturday-Oct.-30-2-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Aminé Performs at Outside Lands on Saturday, Oct. 30. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905552\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Angel-Olsen-Performs-at-Outside-Lands-on-Saturday-Oct.-30-3.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-full wp-image-13905552\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Angel-Olsen-Performs-at-Outside-Lands-on-Saturday-Oct.-30-3.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Angel-Olsen-Performs-at-Outside-Lands-on-Saturday-Oct.-30-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Angel-Olsen-Performs-at-Outside-Lands-on-Saturday-Oct.-30-3-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Angel Olsen Performs at Outside Lands on Saturday, Oct. 30. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905570\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/The-crowd-at-Outside-Lands-on-Saturday-Oct.-30-6.-CR2.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-full wp-image-13905570\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-crowd-at-Outside-Lands-on-Saturday-Oct.-30-6.-CR2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-crowd-at-Outside-Lands-on-Saturday-Oct.-30-6.-CR2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-crowd-at-Outside-Lands-on-Saturday-Oct.-30-6.-CR2-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands on Saturday, Oct. 30. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905577\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/D7A7588.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-full wp-image-13905577\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/D7A7588.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/D7A7588-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/D7A7588-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brijean Performs at Outside Lands on Saturday, Oct. 30. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905561\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Rexx-Life-Raj-backstage-at-Outisde-Lands-on-Saturday-Oct.-30-2.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-full wp-image-13905561\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Rexx-Life-Raj-backstage-at-Outisde-Lands-on-Saturday-Oct.-30-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Rexx-Life-Raj-backstage-at-Outisde-Lands-on-Saturday-Oct.-30-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Rexx-Life-Raj-backstage-at-Outisde-Lands-on-Saturday-Oct.-30-2-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rexx Life Raj backstage at Outisde Lands on Saturday, Oct. 30. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905569\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/The-crowd-at-Outside-Lands-on-Saturday-Oct.-30-5.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-full wp-image-13905569\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-crowd-at-Outside-Lands-on-Saturday-Oct.-30-5.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-crowd-at-Outside-Lands-on-Saturday-Oct.-30-5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-crowd-at-Outside-Lands-on-Saturday-Oct.-30-5-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands on Saturday, Oct. 30. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905574\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Vampire-Weekend-Performs-at-Outside-Lands-on-Saturday-Oct.-30-2.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-full wp-image-13905574\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Vampire-Weekend-Performs-at-Outside-Lands-on-Saturday-Oct.-30-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Vampire-Weekend-Performs-at-Outside-Lands-on-Saturday-Oct.-30-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Vampire-Weekend-Performs-at-Outside-Lands-on-Saturday-Oct.-30-2-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vampire Weekend Performs at Outside Lands on Saturday, Oct. 30. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905573\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/The-crowd-at-Outside-Lands-on-Saturday-Oct.-30.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-full wp-image-13905573\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-crowd-at-Outside-Lands-on-Saturday-Oct.-30.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-crowd-at-Outside-Lands-on-Saturday-Oct.-30-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-crowd-at-Outside-Lands-on-Saturday-Oct.-30-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands on Saturday, Oct. 30. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"title": "PHOTOS: An Electric Return for Outside Lands with Tyler, the Creator and More",
"headTitle": "PHOTOS: An Electric Return for Outside Lands with Tyler, the Creator and More | KQED",
"content": "\u003cp>“This really is beautiful,” Tyler, the Creator wondered out loud in the silence in between songs. “The fog came in, that shit was cute. And the trees,” he said, looking out into the thousands of faces jostling in the muddy grounds of Golden Gate Park on Friday.\u003c/p>\n\u003cp>It was true: there was something especially beautiful about the scene set by the first day of Outside Lands. Sometime during Puerto Rican synthpop duo’s Buscabulla’s set the fog rolled in, like the Bay’s natural smoke machine. The haze wrapped around the glowing mushroom sculptures and windmill decor, giving everything an autumnal, Ren Faire look. This was the first time the festival, usually held in August, has taken place this late in the year, and even the park dressed appropriately for the season.\u003c/p>\n\u003cp>In this special Halloween edition of Outside Lands, the festival continued its tilt away from its indie rock origins to its current big-tent incarnation, with acts as disparate as Glass Animals, Kaytranada and Sharon Van Etten sharing space in the lineup.\u003c/p>\n\u003cp>Here’s who impressed the most during the opening day of the festival.\u003c/p>\n\u003cfigure id=\"attachment_13905521\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905521\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/The-crowd-at-Outside-Lands-on-Friday-Oct.-29-8.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-crowd-at-Outside-Lands-on-Friday-Oct.-29-8.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-crowd-at-Outside-Lands-on-Friday-Oct.-29-8-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-crowd-at-Outside-Lands-on-Friday-Oct.-29-8-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Crowd at Outside Lands on Friday, Oct 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Flo Milli’s short but mighty raps\u003c/h2>\n\u003cp>I arrived to Flo Milli’s set after checking out Khruangbin, the Houston trio whose psychedelic, dub-inflected instrumental rock got an initially stiff and awkward audience reaction—this isn’t the Acid Test era of San Francisco anymore. The crowd at Flo Milli, however, was bouncing and screaming her tagline (“Ho, Flo Milli Shit, ho!”) over bass so deep that it made my ribcage vibrate like a tuning fork.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Flo Milli’s debut album, and so far, her only album, has exactly 30 minutes of music on it, so it was hard to imagine how she would fill up the 40 minutes of her allotted stage time. It turns out, she chose to perform a lean, 20 minute set with only her biggest hits. But, hey, it’s hard to complain when the crowd could sing every word of her schoolyard-taunt raps at the top of their lungs.\u003c/p>\n\u003cfigure id=\"attachment_13905525\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905525\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/The-Soul-Rebels-perform-at-Outside-Lands-on-Friday-Oct.-29.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-Soul-Rebels-perform-at-Outside-Lands-on-Friday-Oct.-29.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-Soul-Rebels-perform-at-Outside-Lands-on-Friday-Oct.-29-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-Soul-Rebels-perform-at-Outside-Lands-on-Friday-Oct.-29-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Soul Rebels perform at Outside Lands on Friday, Oct. 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Soul Rebels brought NOLA to the Bay\u003c/h2>\n\u003cp>This New Orleans eight-piece bass band was a surprise hit with festival-goers. Sure, they don’t have the Gold records or Billboard toppers, but who cares when they’re this good? They’re NOLA through and through: their set is accompanied by B-roll featuring the band posing in front of shotgun houses and shopping in the French Quarter. Everyone was dressed up in their best George Clinton funk outfits, and they played their original work mixed in with crowd-pleasing covers of Ice Cube and Thundercat. Though they’ve headlined their own tours for years, some fans know The Soul Rebels as a backing band \u003ca href=\"http://freshisthepodcast.com/breakin-recordz-8-the-soul-rebels/\" target=\"_blank\" rel=\"noopener noreferrer\">for other people’s concerts\u003c/a>. But at Outside Lands, they showed they can hold their own as a main act.\u003c/p>\n\u003cfigure id=\"attachment_13905497\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905497\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/EARTHGANG-performs-at-Outside-Lands-on-Friday-Oct.-29.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/EARTHGANG-performs-at-Outside-Lands-on-Friday-Oct.-29.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/EARTHGANG-performs-at-Outside-Lands-on-Friday-Oct.-29-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/EARTHGANG-performs-at-Outside-Lands-on-Friday-Oct.-29-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">EARTHGANG performs at Outside Lands on Friday, Oct. 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>EARTHGANG’s stripped-down set wowed without distractions\u003c/h2>\n\u003cp>No vocal backing track. No razzle-dazzle. Olu and Wowgr8, the duo behind EARTHGANG, kept it simple: a static logo on screen, one DJ and themselves. I admit, I wondered how these two minor stars managed to secure a prime-time slot on one of the big stages, but they made me swallow my words. By the end of the night, the word on the shuttle bus was that they had Friday’s best set.\u003c/p>\n\u003cp>Their recipe for success is simple: get the crowd hyped, get the music going hard, and then let their talent rip. I mean, these guys are the equivalent of kids who go on \u003cem>America’s Got Talent\u003c/em> and tear through “Flight of the Bumblebee” on the violin—they’re rap virtuosos who aren’t afraid to show it off. Triplet flow, double time, freestyle: EARTHGANG could switch it up on a dime, which they did on almost every track.\u003c/p>\n\u003cp>They even premiered a new single, “Ghetto Gods,” and everyone can check it out via \u003ca href=\"https://www.youtube.com/watch?v=LqG5_Hlkrmo\">surreptitious upload on YouTube\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13905502\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905502\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/JPEGMAFIA-performs-at-Outside-Lands-on-Friday-Oct.-29-3.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/JPEGMAFIA-performs-at-Outside-Lands-on-Friday-Oct.-29-3.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/JPEGMAFIA-performs-at-Outside-Lands-on-Friday-Oct.-29-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/JPEGMAFIA-performs-at-Outside-Lands-on-Friday-Oct.-29-3-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">JPEGMAFIA performs at Outside Lands on Friday, Oct. 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>JPEGMafia didn’t water down his weirdness\u003c/h2>\n\u003cp>The last time I saw Peggy was at 2018’s Treasure Island Music Festival, where he played an early slot on a tiny stage to maybe 50 people. And those 50 people were really into it, thrashing and crashing their bodies into each other like football players on the line of scrimmage. At one point Peggy jumped off the stage, started moshing just as hard as his fans, and looked like he was about to fight one of them (his backstage team seemed to talk him out of it).\u003c/p>\n\u003cp>A few more critically acclaimed albums later, and JPEGMafia’s gotten enough clout to score a prominent spot in Friday’s schedule. But even in the major leagues, Peggy’s punk-y, D.I.Y. ethos remains unchanged. If EARTHGANG’s set was stripped down, I’m not sure what to call JPEGMafia’s performance. There was literally nothing besides his MacBook and the man himself on stage. I mean, he had to walk to his laptop between every song to hit play on the next track. After his first song, a rough and unintelligible performance of “Jesus Forgive Me, I am a Thot,” he took a hard look at his computer screen and announced, a little sheepishly: “Sorry, everyone, I had two layers of autotune on.”\u003c/p>\n\u003cp>Not that Peggy’s experimental hip-hop needs an audio slip-up to sound harsh and dissonant. Parts of the audience kept on peeling off with every song, pushed away by the unfriendly sound (this is an artist, after all, that makes “\u003ca href=\"https://www.vice.com/en/article/kzjpka/jpegmafia-explains-why-he-makes-music-to-be-hated\">Music to be Hated\u003c/a>”). Who was left by the end of the set was the faithful Peggy fans, and for them, they wouldn’t have it any other way.\u003c/p>\n\u003cfigure id=\"attachment_13905533\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905533\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Tyler-The-Creator-performs-at-Outside-Lands-on-Friday-Oct.-29.-9.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Tyler-The-Creator-performs-at-Outside-Lands-on-Friday-Oct.-29.-9.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Tyler-The-Creator-performs-at-Outside-Lands-on-Friday-Oct.-29.-9-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Tyler-The-Creator-performs-at-Outside-Lands-on-Friday-Oct.-29.-9-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tyler, The Creator performs at Outside Lands on Friday, Oct. 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Tyler, the Creator embraced his evolution in a powerful closer\u003c/h2>\n\u003cp>The less said about The Strokes, who played Outside Lands like they were their own cover band, the better. Tyler, the Creator was the better headliner of the night; he played a downscaled version of his critically \u003ca href=\"https://www.vulture.com/2021/08/watch-tyler-the-creators-cinematic-lollapalooza-set.html\" target=\"_blank\" rel=\"noopener noreferrer\">acclaimed Lollapalooza set from July\u003c/a>.\u003c/p>\n\u003cp>Like that earlier show, Tyler’s Outside Lands performance was a sentimental look back at his decade-long career, from his beginnings as an scrappy blogazine favorite to his current softboy pop star aesthetic. He dressed the Land’s End stage up in plastic rocks and projected pine trees to look like a lakeside pier, complete with prop speedboat rocking on fake water. It was all very reminiscent of “\u003ca href=\"https://www.youtube.com/watch?v=fXJc2NYwHjw&ab_channel=SoulsOfMischiefVEVO\" target=\"_blank\" rel=\"noopener noreferrer\">93 ’Til Infinity\u003c/a>,” tapping into a Bay Area tradition of flexing on picturesque scenery.\u003c/p>\n\u003cp>Tyler was relaxed and casual during his set, chatting with his audience between tracks. “A lot of you found me through \u003cem>Call Me If You Get Lost\u003c/em>, \u003cem>Igor\u003c/em>, \u003cem>Flower Boy\u003c/em> … but [there was] a time where [people] were cancelling me in real life,” Tyler said, referring to his controversial and \u003ca href=\"https://genius.com/a/tyler-the-creator-says-his-2011-album-goblin-is-horrible-in-hindsight\" target=\"_blank\" rel=\"noopener noreferrer\">now partially disowned early work\u003c/a>. “Can I do songs from that album?”\u003c/p>\n\u003cp>As he went deeper into his back catalog, the scenery on stage got darker, from a sunny day to the evening to a starry night, and finally, during a performance of “She,” to a blank, pitch-black void. It’s a reflection of the complicated relationship that Tyler has with his past persona of a homophobic, misogynist edgelord—he acknowledges that it came from a dark place in his life, but he’s reluctant to distance himself from his breakout hits any further than that.\u003c/p>\n\u003cp>I’m ambivalent about this gambit, but I can acknowledge that Tyler’s stagecraft is setting a high bar. I mean, how many festival sets are artfully composed enough to allow a glimpse into an artist’s psyche? In the end, the sun rises on stage, and Tyler starts performing songs off his latest album, \u003cem>Call Me If You Get Lost\u003c/em>. The message is clear: whatever you think about his past, for Tyler at least, it’s a new day—a fresh start.\u003c/p>\n\u003cfigure id=\"attachment_13905506\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905506\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Khruangbin-performs-at-Outside-Lands-on-Friday-Oct.-29.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Khruangbin-performs-at-Outside-Lands-on-Friday-Oct.-29.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Khruangbin-performs-at-Outside-Lands-on-Friday-Oct.-29-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Khruangbin-performs-at-Outside-Lands-on-Friday-Oct.-29-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Khruangbin performs at Outside Lands on Friday, Oct. 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905505\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905505\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Khruangbin-performs-at-Outside-Lands-on-Friday-Oct.-29-2.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Khruangbin-performs-at-Outside-Lands-on-Friday-Oct.-29-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Khruangbin-performs-at-Outside-Lands-on-Friday-Oct.-29-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Khruangbin-performs-at-Outside-Lands-on-Friday-Oct.-29-2-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Khruangbin performs at Outside Lands on Friday, Oct. 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905528\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905528\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/The-Strokes-perform-at-Outside-Lands-on-Friday-Oct.-29.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-Strokes-perform-at-Outside-Lands-on-Friday-Oct.-29.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-Strokes-perform-at-Outside-Lands-on-Friday-Oct.-29-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-Strokes-perform-at-Outside-Lands-on-Friday-Oct.-29-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Strokes perform at Outside Lands on Friday, Oct. 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905520\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905520\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/The-crowd-at-Outside-Lands-on-Friday-Oct.-29-7.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-crowd-at-Outside-Lands-on-Friday-Oct.-29-7.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-crowd-at-Outside-Lands-on-Friday-Oct.-29-7-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-crowd-at-Outside-Lands-on-Friday-Oct.-29-7-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Crowd at Outside Lands on Friday, Oct 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905508\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905508\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Madeline-Kenney-backstage-at-Outside-Lands-on-Friday-Oct.-29.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Madeline-Kenney-backstage-at-Outside-Lands-on-Friday-Oct.-29.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Madeline-Kenney-backstage-at-Outside-Lands-on-Friday-Oct.-29-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Madeline-Kenney-backstage-at-Outside-Lands-on-Friday-Oct.-29-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Madeline Kenney backstage at Outside Lands on Friday Oct. 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905509\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905509\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Moses-Sumney-performs-at-Outside-Lands-on-Friday-Oct.-29-2.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Moses-Sumney-performs-at-Outside-Lands-on-Friday-Oct.-29-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Moses-Sumney-performs-at-Outside-Lands-on-Friday-Oct.-29-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Moses-Sumney-performs-at-Outside-Lands-on-Friday-Oct.-29-2-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Moses Sumney performs at Outside Lands on Friday, Oct. 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905513\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905513\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Sharon-Van-Etten-performs-at-Outside-Lands-on-Friday-Oct.-29.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Sharon-Van-Etten-performs-at-Outside-Lands-on-Friday-Oct.-29.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Sharon-Van-Etten-performs-at-Outside-Lands-on-Friday-Oct.-29-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Sharon-Van-Etten-performs-at-Outside-Lands-on-Friday-Oct.-29-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sharon Van Etten performs at Outside Lands on Friday, Oct. 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905515\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905515\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/The-crowd-at-Outside-Lands-on-Friday-Oct.-29-copy.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-crowd-at-Outside-Lands-on-Friday-Oct.-29-copy.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-crowd-at-Outside-Lands-on-Friday-Oct.-29-copy-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-crowd-at-Outside-Lands-on-Friday-Oct.-29-copy-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Crowd at Outside Lands on Friday, Oct 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905529\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905529\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Tyler-The-Creator-performs-at-Outside-Lands-on-Friday-Oct.-29.-3.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Tyler-The-Creator-performs-at-Outside-Lands-on-Friday-Oct.-29.-3.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Tyler-The-Creator-performs-at-Outside-Lands-on-Friday-Oct.-29.-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Tyler-The-Creator-performs-at-Outside-Lands-on-Friday-Oct.-29.-3-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tyler, The Creator performs at Outside Lands on Friday, Oct. 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905535\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905535\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Tyler-The-Creator-performs-at-Outside-Lands-on-Friday-Oct.-29.-11-1.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Tyler-The-Creator-performs-at-Outside-Lands-on-Friday-Oct.-29.-11-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Tyler-The-Creator-performs-at-Outside-Lands-on-Friday-Oct.-29.-11-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Tyler-The-Creator-performs-at-Outside-Lands-on-Friday-Oct.-29.-11-1-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tyler, The Creator performs at Outside Lands on Friday, Oct. 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905518\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905518\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/The-crowd-at-Outside-Lands-on-Friday-Oct.-29-4.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-crowd-at-Outside-Lands-on-Friday-Oct.-29-4.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-crowd-at-Outside-Lands-on-Friday-Oct.-29-4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-crowd-at-Outside-Lands-on-Friday-Oct.-29-4-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Crowd at Outside Lands on Friday, Oct 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905499\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905499\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Glass-Animals-perform-at-Outside-Lands-on-Friday-Oct.-29-6.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Glass-Animals-perform-at-Outside-Lands-on-Friday-Oct.-29-6.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Glass-Animals-perform-at-Outside-Lands-on-Friday-Oct.-29-6-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Glass-Animals-perform-at-Outside-Lands-on-Friday-Oct.-29-6-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Glass Animals perform at Outside Lands on Friday, Oct. 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905514\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905514\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/The-Crowd-at-Outside-Lands-on-Friday-Oct-29.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-Crowd-at-Outside-Lands-on-Friday-Oct-29.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-Crowd-at-Outside-Lands-on-Friday-Oct-29-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-Crowd-at-Outside-Lands-on-Friday-Oct-29-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Crowd at Outside Lands on Friday, Oct 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"excerpt": "EARTHGANG wowed with virtuosic rapping; Nola funk band The Soul Rebels held their own. ",
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"title": "PHOTOS: An Electric Return for Outside Lands with Tyler, the Creator and More | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“This really is beautiful,” Tyler, the Creator wondered out loud in the silence in between songs. “The fog came in, that shit was cute. And the trees,” he said, looking out into the thousands of faces jostling in the muddy grounds of Golden Gate Park on Friday.\u003c/p>\n\u003cp>It was true: there was something especially beautiful about the scene set by the first day of Outside Lands. Sometime during Puerto Rican synthpop duo’s Buscabulla’s set the fog rolled in, like the Bay’s natural smoke machine. The haze wrapped around the glowing mushroom sculptures and windmill decor, giving everything an autumnal, Ren Faire look. This was the first time the festival, usually held in August, has taken place this late in the year, and even the park dressed appropriately for the season.\u003c/p>\n\u003cp>In this special Halloween edition of Outside Lands, the festival continued its tilt away from its indie rock origins to its current big-tent incarnation, with acts as disparate as Glass Animals, Kaytranada and Sharon Van Etten sharing space in the lineup.\u003c/p>\n\u003cp>Here’s who impressed the most during the opening day of the festival.\u003c/p>\n\u003cfigure id=\"attachment_13905521\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905521\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/The-crowd-at-Outside-Lands-on-Friday-Oct.-29-8.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-crowd-at-Outside-Lands-on-Friday-Oct.-29-8.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-crowd-at-Outside-Lands-on-Friday-Oct.-29-8-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-crowd-at-Outside-Lands-on-Friday-Oct.-29-8-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Crowd at Outside Lands on Friday, Oct 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Flo Milli’s short but mighty raps\u003c/h2>\n\u003cp>I arrived to Flo Milli’s set after checking out Khruangbin, the Houston trio whose psychedelic, dub-inflected instrumental rock got an initially stiff and awkward audience reaction—this isn’t the Acid Test era of San Francisco anymore. The crowd at Flo Milli, however, was bouncing and screaming her tagline (“Ho, Flo Milli Shit, ho!”) over bass so deep that it made my ribcage vibrate like a tuning fork.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Flo Milli’s debut album, and so far, her only album, has exactly 30 minutes of music on it, so it was hard to imagine how she would fill up the 40 minutes of her allotted stage time. It turns out, she chose to perform a lean, 20 minute set with only her biggest hits. But, hey, it’s hard to complain when the crowd could sing every word of her schoolyard-taunt raps at the top of their lungs.\u003c/p>\n\u003cfigure id=\"attachment_13905525\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905525\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/The-Soul-Rebels-perform-at-Outside-Lands-on-Friday-Oct.-29.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-Soul-Rebels-perform-at-Outside-Lands-on-Friday-Oct.-29.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-Soul-Rebels-perform-at-Outside-Lands-on-Friday-Oct.-29-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-Soul-Rebels-perform-at-Outside-Lands-on-Friday-Oct.-29-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Soul Rebels perform at Outside Lands on Friday, Oct. 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Soul Rebels brought NOLA to the Bay\u003c/h2>\n\u003cp>This New Orleans eight-piece bass band was a surprise hit with festival-goers. Sure, they don’t have the Gold records or Billboard toppers, but who cares when they’re this good? They’re NOLA through and through: their set is accompanied by B-roll featuring the band posing in front of shotgun houses and shopping in the French Quarter. Everyone was dressed up in their best George Clinton funk outfits, and they played their original work mixed in with crowd-pleasing covers of Ice Cube and Thundercat. Though they’ve headlined their own tours for years, some fans know The Soul Rebels as a backing band \u003ca href=\"http://freshisthepodcast.com/breakin-recordz-8-the-soul-rebels/\" target=\"_blank\" rel=\"noopener noreferrer\">for other people’s concerts\u003c/a>. But at Outside Lands, they showed they can hold their own as a main act.\u003c/p>\n\u003cfigure id=\"attachment_13905497\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905497\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/EARTHGANG-performs-at-Outside-Lands-on-Friday-Oct.-29.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/EARTHGANG-performs-at-Outside-Lands-on-Friday-Oct.-29.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/EARTHGANG-performs-at-Outside-Lands-on-Friday-Oct.-29-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/EARTHGANG-performs-at-Outside-Lands-on-Friday-Oct.-29-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">EARTHGANG performs at Outside Lands on Friday, Oct. 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>EARTHGANG’s stripped-down set wowed without distractions\u003c/h2>\n\u003cp>No vocal backing track. No razzle-dazzle. Olu and Wowgr8, the duo behind EARTHGANG, kept it simple: a static logo on screen, one DJ and themselves. I admit, I wondered how these two minor stars managed to secure a prime-time slot on one of the big stages, but they made me swallow my words. By the end of the night, the word on the shuttle bus was that they had Friday’s best set.\u003c/p>\n\u003cp>Their recipe for success is simple: get the crowd hyped, get the music going hard, and then let their talent rip. I mean, these guys are the equivalent of kids who go on \u003cem>America’s Got Talent\u003c/em> and tear through “Flight of the Bumblebee” on the violin—they’re rap virtuosos who aren’t afraid to show it off. Triplet flow, double time, freestyle: EARTHGANG could switch it up on a dime, which they did on almost every track.\u003c/p>\n\u003cp>They even premiered a new single, “Ghetto Gods,” and everyone can check it out via \u003ca href=\"https://www.youtube.com/watch?v=LqG5_Hlkrmo\">surreptitious upload on YouTube\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13905502\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905502\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/JPEGMAFIA-performs-at-Outside-Lands-on-Friday-Oct.-29-3.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/JPEGMAFIA-performs-at-Outside-Lands-on-Friday-Oct.-29-3.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/JPEGMAFIA-performs-at-Outside-Lands-on-Friday-Oct.-29-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/JPEGMAFIA-performs-at-Outside-Lands-on-Friday-Oct.-29-3-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">JPEGMAFIA performs at Outside Lands on Friday, Oct. 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>JPEGMafia didn’t water down his weirdness\u003c/h2>\n\u003cp>The last time I saw Peggy was at 2018’s Treasure Island Music Festival, where he played an early slot on a tiny stage to maybe 50 people. And those 50 people were really into it, thrashing and crashing their bodies into each other like football players on the line of scrimmage. At one point Peggy jumped off the stage, started moshing just as hard as his fans, and looked like he was about to fight one of them (his backstage team seemed to talk him out of it).\u003c/p>\n\u003cp>A few more critically acclaimed albums later, and JPEGMafia’s gotten enough clout to score a prominent spot in Friday’s schedule. But even in the major leagues, Peggy’s punk-y, D.I.Y. ethos remains unchanged. If EARTHGANG’s set was stripped down, I’m not sure what to call JPEGMafia’s performance. There was literally nothing besides his MacBook and the man himself on stage. I mean, he had to walk to his laptop between every song to hit play on the next track. After his first song, a rough and unintelligible performance of “Jesus Forgive Me, I am a Thot,” he took a hard look at his computer screen and announced, a little sheepishly: “Sorry, everyone, I had two layers of autotune on.”\u003c/p>\n\u003cp>Not that Peggy’s experimental hip-hop needs an audio slip-up to sound harsh and dissonant. Parts of the audience kept on peeling off with every song, pushed away by the unfriendly sound (this is an artist, after all, that makes “\u003ca href=\"https://www.vice.com/en/article/kzjpka/jpegmafia-explains-why-he-makes-music-to-be-hated\">Music to be Hated\u003c/a>”). Who was left by the end of the set was the faithful Peggy fans, and for them, they wouldn’t have it any other way.\u003c/p>\n\u003cfigure id=\"attachment_13905533\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905533\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Tyler-The-Creator-performs-at-Outside-Lands-on-Friday-Oct.-29.-9.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Tyler-The-Creator-performs-at-Outside-Lands-on-Friday-Oct.-29.-9.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Tyler-The-Creator-performs-at-Outside-Lands-on-Friday-Oct.-29.-9-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Tyler-The-Creator-performs-at-Outside-Lands-on-Friday-Oct.-29.-9-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tyler, The Creator performs at Outside Lands on Friday, Oct. 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Tyler, the Creator embraced his evolution in a powerful closer\u003c/h2>\n\u003cp>The less said about The Strokes, who played Outside Lands like they were their own cover band, the better. Tyler, the Creator was the better headliner of the night; he played a downscaled version of his critically \u003ca href=\"https://www.vulture.com/2021/08/watch-tyler-the-creators-cinematic-lollapalooza-set.html\" target=\"_blank\" rel=\"noopener noreferrer\">acclaimed Lollapalooza set from July\u003c/a>.\u003c/p>\n\u003cp>Like that earlier show, Tyler’s Outside Lands performance was a sentimental look back at his decade-long career, from his beginnings as an scrappy blogazine favorite to his current softboy pop star aesthetic. He dressed the Land’s End stage up in plastic rocks and projected pine trees to look like a lakeside pier, complete with prop speedboat rocking on fake water. It was all very reminiscent of “\u003ca href=\"https://www.youtube.com/watch?v=fXJc2NYwHjw&ab_channel=SoulsOfMischiefVEVO\" target=\"_blank\" rel=\"noopener noreferrer\">93 ’Til Infinity\u003c/a>,” tapping into a Bay Area tradition of flexing on picturesque scenery.\u003c/p>\n\u003cp>Tyler was relaxed and casual during his set, chatting with his audience between tracks. “A lot of you found me through \u003cem>Call Me If You Get Lost\u003c/em>, \u003cem>Igor\u003c/em>, \u003cem>Flower Boy\u003c/em> … but [there was] a time where [people] were cancelling me in real life,” Tyler said, referring to his controversial and \u003ca href=\"https://genius.com/a/tyler-the-creator-says-his-2011-album-goblin-is-horrible-in-hindsight\" target=\"_blank\" rel=\"noopener noreferrer\">now partially disowned early work\u003c/a>. “Can I do songs from that album?”\u003c/p>\n\u003cp>As he went deeper into his back catalog, the scenery on stage got darker, from a sunny day to the evening to a starry night, and finally, during a performance of “She,” to a blank, pitch-black void. It’s a reflection of the complicated relationship that Tyler has with his past persona of a homophobic, misogynist edgelord—he acknowledges that it came from a dark place in his life, but he’s reluctant to distance himself from his breakout hits any further than that.\u003c/p>\n\u003cp>I’m ambivalent about this gambit, but I can acknowledge that Tyler’s stagecraft is setting a high bar. I mean, how many festival sets are artfully composed enough to allow a glimpse into an artist’s psyche? In the end, the sun rises on stage, and Tyler starts performing songs off his latest album, \u003cem>Call Me If You Get Lost\u003c/em>. The message is clear: whatever you think about his past, for Tyler at least, it’s a new day—a fresh start.\u003c/p>\n\u003cfigure id=\"attachment_13905506\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905506\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Khruangbin-performs-at-Outside-Lands-on-Friday-Oct.-29.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Khruangbin-performs-at-Outside-Lands-on-Friday-Oct.-29.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Khruangbin-performs-at-Outside-Lands-on-Friday-Oct.-29-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Khruangbin-performs-at-Outside-Lands-on-Friday-Oct.-29-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Khruangbin performs at Outside Lands on Friday, Oct. 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905505\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905505\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Khruangbin-performs-at-Outside-Lands-on-Friday-Oct.-29-2.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Khruangbin-performs-at-Outside-Lands-on-Friday-Oct.-29-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Khruangbin-performs-at-Outside-Lands-on-Friday-Oct.-29-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Khruangbin-performs-at-Outside-Lands-on-Friday-Oct.-29-2-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Khruangbin performs at Outside Lands on Friday, Oct. 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905528\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905528\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/The-Strokes-perform-at-Outside-Lands-on-Friday-Oct.-29.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-Strokes-perform-at-Outside-Lands-on-Friday-Oct.-29.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-Strokes-perform-at-Outside-Lands-on-Friday-Oct.-29-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-Strokes-perform-at-Outside-Lands-on-Friday-Oct.-29-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Strokes perform at Outside Lands on Friday, Oct. 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905520\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905520\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/The-crowd-at-Outside-Lands-on-Friday-Oct.-29-7.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-crowd-at-Outside-Lands-on-Friday-Oct.-29-7.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-crowd-at-Outside-Lands-on-Friday-Oct.-29-7-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-crowd-at-Outside-Lands-on-Friday-Oct.-29-7-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Crowd at Outside Lands on Friday, Oct 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905508\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905508\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Madeline-Kenney-backstage-at-Outside-Lands-on-Friday-Oct.-29.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Madeline-Kenney-backstage-at-Outside-Lands-on-Friday-Oct.-29.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Madeline-Kenney-backstage-at-Outside-Lands-on-Friday-Oct.-29-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Madeline-Kenney-backstage-at-Outside-Lands-on-Friday-Oct.-29-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Madeline Kenney backstage at Outside Lands on Friday Oct. 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905509\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905509\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Moses-Sumney-performs-at-Outside-Lands-on-Friday-Oct.-29-2.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Moses-Sumney-performs-at-Outside-Lands-on-Friday-Oct.-29-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Moses-Sumney-performs-at-Outside-Lands-on-Friday-Oct.-29-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Moses-Sumney-performs-at-Outside-Lands-on-Friday-Oct.-29-2-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Moses Sumney performs at Outside Lands on Friday, Oct. 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905513\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905513\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Sharon-Van-Etten-performs-at-Outside-Lands-on-Friday-Oct.-29.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Sharon-Van-Etten-performs-at-Outside-Lands-on-Friday-Oct.-29.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Sharon-Van-Etten-performs-at-Outside-Lands-on-Friday-Oct.-29-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Sharon-Van-Etten-performs-at-Outside-Lands-on-Friday-Oct.-29-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sharon Van Etten performs at Outside Lands on Friday, Oct. 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905515\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905515\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/The-crowd-at-Outside-Lands-on-Friday-Oct.-29-copy.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-crowd-at-Outside-Lands-on-Friday-Oct.-29-copy.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-crowd-at-Outside-Lands-on-Friday-Oct.-29-copy-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-crowd-at-Outside-Lands-on-Friday-Oct.-29-copy-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Crowd at Outside Lands on Friday, Oct 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905529\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905529\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Tyler-The-Creator-performs-at-Outside-Lands-on-Friday-Oct.-29.-3.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Tyler-The-Creator-performs-at-Outside-Lands-on-Friday-Oct.-29.-3.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Tyler-The-Creator-performs-at-Outside-Lands-on-Friday-Oct.-29.-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Tyler-The-Creator-performs-at-Outside-Lands-on-Friday-Oct.-29.-3-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tyler, The Creator performs at Outside Lands on Friday, Oct. 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905535\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905535\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Tyler-The-Creator-performs-at-Outside-Lands-on-Friday-Oct.-29.-11-1.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Tyler-The-Creator-performs-at-Outside-Lands-on-Friday-Oct.-29.-11-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Tyler-The-Creator-performs-at-Outside-Lands-on-Friday-Oct.-29.-11-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Tyler-The-Creator-performs-at-Outside-Lands-on-Friday-Oct.-29.-11-1-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tyler, The Creator performs at Outside Lands on Friday, Oct. 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905518\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905518\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/The-crowd-at-Outside-Lands-on-Friday-Oct.-29-4.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-crowd-at-Outside-Lands-on-Friday-Oct.-29-4.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-crowd-at-Outside-Lands-on-Friday-Oct.-29-4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-crowd-at-Outside-Lands-on-Friday-Oct.-29-4-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Crowd at Outside Lands on Friday, Oct 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905499\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905499\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Glass-Animals-perform-at-Outside-Lands-on-Friday-Oct.-29-6.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Glass-Animals-perform-at-Outside-Lands-on-Friday-Oct.-29-6.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Glass-Animals-perform-at-Outside-Lands-on-Friday-Oct.-29-6-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Glass-Animals-perform-at-Outside-Lands-on-Friday-Oct.-29-6-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Glass Animals perform at Outside Lands on Friday, Oct. 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13905514\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905514\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/The-Crowd-at-Outside-Lands-on-Friday-Oct-29.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-Crowd-at-Outside-Lands-on-Friday-Oct-29.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-Crowd-at-Outside-Lands-on-Friday-Oct-29-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/The-Crowd-at-Outside-Lands-on-Friday-Oct-29-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Crowd at Outside Lands on Friday, Oct 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>On Oct. 31, the one-year anniversary of MF DOOM’s untimely passing, over two dozen Bay Area artists are taking part in “DOOMSDAY,” an art and music festival in the hip-hop artist’s memory.\u003c/p>\n\u003cp>Dozens of artists will set up booths to sell DOOM-inspired art in the parking lot at the corner of 18th and Valencia in San Francisco’s Mission District. Half of the profits from event sales will go to MF DOOM’s estate.\u003c/p>\n\u003cp>Jason Jägel, a Bay Area artist \u003ca href=\"https://www.juxtapoz.com/news/magazine/the-villain-never-dies-jason-jaegel-honors-mf-doom/\" rel=\"noopener noreferrer\" target=\"_blank\">well known for his collaborations with DOOM\u003c/a>, is one of a group of local creatives putting on the event. “You can say very clearly with certain artists in the world: there’s before their existence and there’s after their existence. And the world is never the same once they’ve stepped on the scene. And that’s actually a thousand percent true of DOOM,” says Jägel.\u003c/p>\n\u003cp>In Jägel’s telling, planning for the event began when Alán González, the creative director at \u003cem>Thrasher\u003c/em>, and Ryen Motzek, co-founder of Atlas Skateboards, approached him with their idea for a DOOM tribute show. Jägel agreed, feeling that Bay Area artists would leap at the chance to celebrate DOOM’s legacy.\u003c/p>\n\u003cfigure id=\"attachment_13905469\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/71H363udhGL._SL1500_-1020x1020.jpg\" alt=\"Jason Jagel's cover for MF DOOM's 'MM... Food.'\" width=\"640\" height=\"640\" class=\"size-large wp-image-13905469\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/71H363udhGL._SL1500_-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/71H363udhGL._SL1500_-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/71H363udhGL._SL1500_-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/71H363udhGL._SL1500_-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/71H363udhGL._SL1500_.jpg 1500w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Jason Jagel’s cover for MF DOOM’s ‘MM… Food.’ \u003ccite>(Rhymesayers Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“MF DOOM is somebody who has inspired a lot of creativity with people, myself included,” says Jägel. “And I think the Bay Area is a place that has wild, wild amounts of creativity. And so for Bay Area artists, I think the idea of creating works that directly benefit the estate was particularly thrilling.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>More than 30 artists will participate in the festival. Art available at the festival will include González’s \u003ca href=\"https://www.instagram.com/p/CVk98ImJRER/?utm_medium=copy_link\">DOOM mask throw pillows\u003c/a>, Sun Night Editions’s custom \u003ca href=\"https://www.instagram.com/p/CVQtL9tPAYp/?utm_medium=copy_link\">record sleeves\u003c/a>, and Jay Midnight’s limited edition tribute mixtape \u003ca href=\"https://runtherecord.bandcamp.com/album/supervillain-strikes-again\">Supervillain Strikes Again\u003c/a>, among many, many others.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>DOOMSDAY goes down on Sunday, Oct. 31, at 18th and Valencia in San Francisco. \u003ca href=\"https://www.instagram.com/p/CVL54I6lNwD/?utm_medium=copy_link\">Details here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Oct. 31, the one-year anniversary of MF DOOM’s untimely passing, over two dozen Bay Area artists are taking part in “DOOMSDAY,” an art and music festival in the hip-hop artist’s memory.\u003c/p>\n\u003cp>Dozens of artists will set up booths to sell DOOM-inspired art in the parking lot at the corner of 18th and Valencia in San Francisco’s Mission District. Half of the profits from event sales will go to MF DOOM’s estate.\u003c/p>\n\u003cp>Jason Jägel, a Bay Area artist \u003ca href=\"https://www.juxtapoz.com/news/magazine/the-villain-never-dies-jason-jaegel-honors-mf-doom/\" rel=\"noopener noreferrer\" target=\"_blank\">well known for his collaborations with DOOM\u003c/a>, is one of a group of local creatives putting on the event. “You can say very clearly with certain artists in the world: there’s before their existence and there’s after their existence. And the world is never the same once they’ve stepped on the scene. And that’s actually a thousand percent true of DOOM,” says Jägel.\u003c/p>\n\u003cp>In Jägel’s telling, planning for the event began when Alán González, the creative director at \u003cem>Thrasher\u003c/em>, and Ryen Motzek, co-founder of Atlas Skateboards, approached him with their idea for a DOOM tribute show. Jägel agreed, feeling that Bay Area artists would leap at the chance to celebrate DOOM’s legacy.\u003c/p>\n\u003cfigure id=\"attachment_13905469\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/71H363udhGL._SL1500_-1020x1020.jpg\" alt=\"Jason Jagel's cover for MF DOOM's 'MM... Food.'\" width=\"640\" height=\"640\" class=\"size-large wp-image-13905469\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/71H363udhGL._SL1500_-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/71H363udhGL._SL1500_-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/71H363udhGL._SL1500_-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/71H363udhGL._SL1500_-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/71H363udhGL._SL1500_.jpg 1500w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Jason Jagel’s cover for MF DOOM’s ‘MM… Food.’ \u003ccite>(Rhymesayers Entertainment)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“MF DOOM is somebody who has inspired a lot of creativity with people, myself included,” says Jägel. “And I think the Bay Area is a place that has wild, wild amounts of creativity. And so for Bay Area artists, I think the idea of creating works that directly benefit the estate was particularly thrilling.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>More than 30 artists will participate in the festival. Art available at the festival will include González’s \u003ca href=\"https://www.instagram.com/p/CVk98ImJRER/?utm_medium=copy_link\">DOOM mask throw pillows\u003c/a>, Sun Night Editions’s custom \u003ca href=\"https://www.instagram.com/p/CVQtL9tPAYp/?utm_medium=copy_link\">record sleeves\u003c/a>, and Jay Midnight’s limited edition tribute mixtape \u003ca href=\"https://runtherecord.bandcamp.com/album/supervillain-strikes-again\">Supervillain Strikes Again\u003c/a>, among many, many others.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>DOOMSDAY goes down on Sunday, Oct. 31, at 18th and Valencia in San Francisco. \u003ca href=\"https://www.instagram.com/p/CVL54I6lNwD/?utm_medium=copy_link\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003ch5 id=\"embed-code\" class=\"inconsolata\">\n\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC8826397786&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003cbr>\n\u003c/h5>\n\u003cp>December 7, 2021 marks 80 years since the bombing of Pearl Harbor, an act that would lead to the United States’ formal involvement in WWII.\u003c/p>\n\u003cp>In support of the war effort, the Bay Area soon became home to a number of small factories and larger shipyards where huge vessels were manufactured, like Sausalito’s \u003ca href=\"http://www.sausalitohistoricalsociety.com/marinship\" target=\"_blank\" rel=\"noopener noreferrer\">Marinship\u003c/a>.\u003c/p>\n\u003cp>As jobs opened up in this industry, hundreds of thousands of African Americans migrated from the South in search of better paying careers and less racism.\u003c/p>\n\u003cp>What they found in Northern California, along with jobs, was housing discrimination and racist unions. On top of that, their contributions from that period have been largely overlooked in \u003ca href=\"https://archive.org/details/chi_00005\">historical documentaries\u003c/a> and public memory.\u003c/p>\n\u003cp>Now, thanks to a group of young people who grew up on that same hallowed ground in Marin County, the tales of some of the Black workers at Marinship are being shared through beats and rhymes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://iamjahi.com/the-marinovators\" target=\"_blank\" rel=\"noopener noreferrer\">The Marinovators\u003c/a>, a collection of a dozen teenagers working under the guidance of \u003ca href=\"https://www.instagram.com/mrjahiofficial/\" target=\"_blank\" rel=\"noopener noreferrer\">MC Jahi\u003c/a>, recently released the album “\u003ca href=\"https://open.spotify.com/album/5eq0retGOvx5vmTf4PM9hN?autoplay=true\" target=\"_blank\" rel=\"noopener noreferrer\">A Way Out Of No Way\u003c/a>,” which highlights the tales of African American laborers at Marinship like \u003cspan style=\"font-weight: 400\">\u003ca href=\"https://www.marinij.com/2018/08/14/rodessa-battle-a-marin-city-rosie-the-riveter-dies-at-97/\" target=\"_blank\" rel=\"noopener noreferrer\">Rodessa Battle,\u003c/a> \u003ca href=\"https://www.marinij.com/2018/07/24/marin-city-rosie-the-riveter-annie-small-dies-at-99/\" target=\"_blank\" rel=\"noopener noreferrer\">Annie Small\u003c/a>, and \u003ca href=\"http://www.sausalitohistoricalsociety.com/2019-columns/2019/2/13/joseph-james-entertainer\" target=\"_blank\" rel=\"noopener noreferrer\">Joseph James. \u003c/a>\u003c/span>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"The Marinovators- A Way Out of No Way [Official Lyric video]\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/pyQdXEpRQuA?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>These unsung heroes helped the fight abroad by constructing wartime ships, and championing civil rights on the home front. Broadway singer turned shipyard welder, Joseph James, notably spearheaded a legal battle against the segregated union at Marniship that denied equal benefits to Black workers. His lawsuit challenged the racial discrimination, and made its way to the California Supreme Court, laying the foundation for other discrimination cases. And it’s a story that get’s told on the album.\u003c/p>\n\u003cp>This week we talk to five of the young artists who appear on the project, Khayree Mitchell (13), Dom Austin (14), Sarah Alexis Williams (15), Jaliyah Cook (12) and Rohan Ayyar (18), about what it means to be young culture keepers and historians using music and \u003ca href=\"https://www.instagram.com/xrlearn/\" target=\"_blank\" rel=\"noopener noreferrer\">virtual reality.\u003c/a> Plus, we talk about what should be done to publicly honor the workers at Marinship.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://iamjahi.com/the-marinovators\" target=\"_blank\" rel=\"noopener noreferrer\">The Marinovators\u003c/a>, a collection of a dozen teenagers working under the guidance of \u003ca href=\"https://www.instagram.com/mrjahiofficial/\" target=\"_blank\" rel=\"noopener noreferrer\">MC Jahi\u003c/a>, recently released the album “\u003ca href=\"https://open.spotify.com/album/5eq0retGOvx5vmTf4PM9hN?autoplay=true\" target=\"_blank\" rel=\"noopener noreferrer\">A Way Out Of No Way\u003c/a>,” which highlights the tales of African American laborers at Marinship like \u003cspan style=\"font-weight: 400\">\u003ca href=\"https://www.marinij.com/2018/08/14/rodessa-battle-a-marin-city-rosie-the-riveter-dies-at-97/\" target=\"_blank\" rel=\"noopener noreferrer\">Rodessa Battle,\u003c/a> \u003ca href=\"https://www.marinij.com/2018/07/24/marin-city-rosie-the-riveter-annie-small-dies-at-99/\" target=\"_blank\" rel=\"noopener noreferrer\">Annie Small\u003c/a>, and \u003ca href=\"http://www.sausalitohistoricalsociety.com/2019-columns/2019/2/13/joseph-james-entertainer\" target=\"_blank\" rel=\"noopener noreferrer\">Joseph James. \u003c/a>\u003c/span>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"The Marinovators- A Way Out of No Way [Official Lyric video]\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/pyQdXEpRQuA?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>These unsung heroes helped the fight abroad by constructing wartime ships, and championing civil rights on the home front. Broadway singer turned shipyard welder, Joseph James, notably spearheaded a legal battle against the segregated union at Marniship that denied equal benefits to Black workers. His lawsuit challenged the racial discrimination, and made its way to the California Supreme Court, laying the foundation for other discrimination cases. And it’s a story that get’s told on the album.\u003c/p>\n\u003cp>This week we talk to five of the young artists who appear on the project, Khayree Mitchell (13), Dom Austin (14), Sarah Alexis Williams (15), Jaliyah Cook (12) and Rohan Ayyar (18), about what it means to be young culture keepers and historians using music and \u003ca href=\"https://www.instagram.com/xrlearn/\" target=\"_blank\" rel=\"noopener noreferrer\">virtual reality.\u003c/a> Plus, we talk about what should be done to publicly honor the workers at Marinship.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "OK, So You're a Punk Rock 'Sellout.' Now What?",
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"content": "\u003cp>“It’s actually scientifically proven you’ll make more money on an independent label if you’re a not-so-great punk band like us,” Jawbreaker singer and guitarist Blake Schwarzenbach once told an \u003ca href=\"https://archive.org/details/jawbreaker07031993/12+indictment.m4a\" target=\"_blank\" rel=\"noopener noreferrer\">audience in 1993\u003c/a>. This, he said on stage, isn’t an empty play to the crowd, but rather good business advice. “The smart money stays on an independent, and actually gets richer. And you can do it scrupulously. So think about that.”\u003c/p>\n\u003cp>Not long after, Jawbreaker would sign a nearly \u003ca href=\"https://www.sfgate.com/entertainment/article/Jawbreaker-Swallows-Deal-With-Geffen-S-F-punk-3023361.php\" target=\"_blank\" rel=\"noopener noreferrer\">million-dollar record\u003c/a> deal with the label Geffen.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Cwyh9cCUzRI\u003c/p>\n\u003cp>And they weren’t the only ones. Immediately following the massive boom that was Nirvana, major labels began scouring local indie punk scenes looking for the next big thing. But if you were the kind of band that earned its cred giving the finger to corporate suits, how were you supposed to navigate shaking their hand for your shot at rock stardom?\u003c/p>\n\u003cp>That’s the question at the center of the new book \u003cem>Sellout: The Major Label Feeding Frenzy That Swept Punk, Emo, and Hardcore 1994 — 2007\u003c/em> from music writer Dan Ozzi. The book uses the major label debuts of 11 bands to examine a music industry in flux, fans feeling betrayed, and bands just trying to navigate the machine. “I wanted to know, what happens to the real people,” says Ozzi. “Is it worth it?”\u003c/p>\n\u003cfigure id=\"attachment_13905412\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13905412\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/sellout-9780358244301_custom-fe5de2ccd0318a39fbe53780d596014611f61e33-800x1192.jpg\" alt=\"\" width=\"800\" height=\"1192\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/sellout-9780358244301_custom-fe5de2ccd0318a39fbe53780d596014611f61e33-800x1192.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/sellout-9780358244301_custom-fe5de2ccd0318a39fbe53780d596014611f61e33-1020x1520.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/sellout-9780358244301_custom-fe5de2ccd0318a39fbe53780d596014611f61e33-160x238.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/sellout-9780358244301_custom-fe5de2ccd0318a39fbe53780d596014611f61e33-768x1144.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/sellout-9780358244301_custom-fe5de2ccd0318a39fbe53780d596014611f61e33-1031x1536.jpg 1031w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/sellout-9780358244301_custom-fe5de2ccd0318a39fbe53780d596014611f61e33-1375x2048.jpg 1375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/sellout-9780358244301_custom-fe5de2ccd0318a39fbe53780d596014611f61e33-scaled.jpg 1718w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Sellout’ by Dan Ozzi. \u003ccite>(Houghton Mifflin Harcourt)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Some chapters are straight-ahead success stories (Green Day, Blink-182, My Chemical Romance). Others, less so. Which brings us back to Jawbreaker.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postid='arts_13804539']“There are stories about kids sitting on the floor while they would play their major label songs, kids turning their back. They got spit on a lot,” says Ozzi.\u003c/p>\n\u003cp>It didn’t matter that their only major-label release, 1995’s \u003cem>Dear You,\u003c/em> was the hardest the band had pushed itself. Or that it was seminal in shaping what we know as emo today. Kids simply weren’t buying, and the band eventually broke up.\u003c/p>\n\u003cp>It’s easy to get cred for never selling out if nobody’s buying. But when you’re \u003cem>really\u003c/em> faced with that decision? “It made you do a lot of self-reflection about yourself as an artist,” says Tim McIlrath in an interview with NPR. McIlrath is the singer and guitarist for the band Rise Against.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9-SQGOYOjxs\u003c/p>\n\u003cp>He found reading and participating in Ozzi’s book illuminating because bands going through this weren’t talking with each other about this stuff. “Maybe it was a combination of people were either embarrassed to talk about it, or still processing how they felt about it.”\u003c/p>\n\u003cp>And every band had a slightly different experience. Some, like the all-female band The Donnas, had label reps trying to micromanage and change their image.\u003c/p>\n\u003cp>“They had an A&R guy tell them, ‘Yeah, you guys are great. What we’re going to have you do is drop the instruments so you can sing and dance,'” says Ozzi. Which was a problem because they couldn’t dance. But also, why change now? Being who they were got them their success.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nCvRT2sy5FE\u003c/p>\n\u003cp>But the picture Ozzi paints in the book isn’t as binary as the virtuous independent label vs. the evil and greedy major labels. He interviews various people from the corporate entities who came from punk scenes and really, truly wanted what was best for the bands. And there are, of course, shady actors coming from the indie labels, too. “There’s people not looking out for your best interests on either side of it,” he says.\u003c/p>\n\u003cp>Every art form deals with some variation of this question—what concessions are you willing to make for more eyeballs, more opportunity and more money. But money has always been a particularly sensitive topic for punk bands at any level.\u003c/p>\n\u003cp>[aside postid='arts_13894169']“Growing up in punk and hardcore, we have this thing called punk rock guilt,” says McIlrath. It’s a feeling of insecurity, of second-guessing if the choices you’re making are reflective of your values. Sometimes this pushes people to make somewhat ridiculous choices. (There’s a line in the book about McIlrath getting dropped off around the corner from a gig because he didn’t want people to see him getting out of his manager’s Mercedes).\u003c/p>\n\u003cp>But sometimes “selling out” afforded the band artistic opportunities it wouldn’t have had otherwise. For instance, during the height of the war in Iraq, Rise Against could call George Bush a liar in front of a small crowd of punks and, well, sure. Big surprise, there. But in front of a wider audience, where the cars in the parking lots are decked with American flags and “Support the Troops” stickers?\u003c/p>\n\u003cp>Ozzi writes:\u003c/p>\n\u003cblockquote>\u003cp>Sometimes, McIlrath saw his words lead to shoving matches and fistfights in the crowd. In more extreme cases, the band dodged cans that were thrown at them or were called f****ts or p*****s. McIlrath felt empowered by the combative atmosphere and enjoyed going into battle each night… It was as though the band had grown into their name.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>Of course, now in the streaming era, the economics of being in a band have changed. So that punk rock guilt barely exists anymore as most bands happily take beer ad money or agree to corporate brand sponsorships. Because just as you can’t pay your rent in punk cred, you also cannot escape marketing. “Maybe we’ve all just dealt with it,” says Ozzi. Or, maybe we’ve all just sold out.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=OK%2C+so+you%27re+a+%27Sellout.%27+Now+what%3F+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“It’s actually scientifically proven you’ll make more money on an independent label if you’re a not-so-great punk band like us,” Jawbreaker singer and guitarist Blake Schwarzenbach once told an \u003ca href=\"https://archive.org/details/jawbreaker07031993/12+indictment.m4a\" target=\"_blank\" rel=\"noopener noreferrer\">audience in 1993\u003c/a>. This, he said on stage, isn’t an empty play to the crowd, but rather good business advice. “The smart money stays on an independent, and actually gets richer. And you can do it scrupulously. So think about that.”\u003c/p>\n\u003cp>Not long after, Jawbreaker would sign a nearly \u003ca href=\"https://www.sfgate.com/entertainment/article/Jawbreaker-Swallows-Deal-With-Geffen-S-F-punk-3023361.php\" target=\"_blank\" rel=\"noopener noreferrer\">million-dollar record\u003c/a> deal with the label Geffen.\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/Cwyh9cCUzRI'\n title='//www.youtube.com/embed/Cwyh9cCUzRI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And they weren’t the only ones. Immediately following the massive boom that was Nirvana, major labels began scouring local indie punk scenes looking for the next big thing. But if you were the kind of band that earned its cred giving the finger to corporate suits, how were you supposed to navigate shaking their hand for your shot at rock stardom?\u003c/p>\n\u003cp>That’s the question at the center of the new book \u003cem>Sellout: The Major Label Feeding Frenzy That Swept Punk, Emo, and Hardcore 1994 — 2007\u003c/em> from music writer Dan Ozzi. The book uses the major label debuts of 11 bands to examine a music industry in flux, fans feeling betrayed, and bands just trying to navigate the machine. “I wanted to know, what happens to the real people,” says Ozzi. “Is it worth it?”\u003c/p>\n\u003cfigure id=\"attachment_13905412\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13905412\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/sellout-9780358244301_custom-fe5de2ccd0318a39fbe53780d596014611f61e33-800x1192.jpg\" alt=\"\" width=\"800\" height=\"1192\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/sellout-9780358244301_custom-fe5de2ccd0318a39fbe53780d596014611f61e33-800x1192.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/sellout-9780358244301_custom-fe5de2ccd0318a39fbe53780d596014611f61e33-1020x1520.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/sellout-9780358244301_custom-fe5de2ccd0318a39fbe53780d596014611f61e33-160x238.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/sellout-9780358244301_custom-fe5de2ccd0318a39fbe53780d596014611f61e33-768x1144.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/sellout-9780358244301_custom-fe5de2ccd0318a39fbe53780d596014611f61e33-1031x1536.jpg 1031w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/sellout-9780358244301_custom-fe5de2ccd0318a39fbe53780d596014611f61e33-1375x2048.jpg 1375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/sellout-9780358244301_custom-fe5de2ccd0318a39fbe53780d596014611f61e33-scaled.jpg 1718w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Sellout’ by Dan Ozzi. \u003ccite>(Houghton Mifflin Harcourt)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Some chapters are straight-ahead success stories (Green Day, Blink-182, My Chemical Romance). Others, less so. Which brings us back to Jawbreaker.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“There are stories about kids sitting on the floor while they would play their major label songs, kids turning their back. They got spit on a lot,” says Ozzi.\u003c/p>\n\u003cp>It didn’t matter that their only major-label release, 1995’s \u003cem>Dear You,\u003c/em> was the hardest the band had pushed itself. Or that it was seminal in shaping what we know as emo today. Kids simply weren’t buying, and the band eventually broke up.\u003c/p>\n\u003cp>It’s easy to get cred for never selling out if nobody’s buying. But when you’re \u003cem>really\u003c/em> faced with that decision? “It made you do a lot of self-reflection about yourself as an artist,” says Tim McIlrath in an interview with NPR. McIlrath is the singer and guitarist for the band Rise Against.\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/9-SQGOYOjxs'\n title='//www.youtube.com/embed/9-SQGOYOjxs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>He found reading and participating in Ozzi’s book illuminating because bands going through this weren’t talking with each other about this stuff. “Maybe it was a combination of people were either embarrassed to talk about it, or still processing how they felt about it.”\u003c/p>\n\u003cp>And every band had a slightly different experience. Some, like the all-female band The Donnas, had label reps trying to micromanage and change their image.\u003c/p>\n\u003cp>“They had an A&R guy tell them, ‘Yeah, you guys are great. What we’re going to have you do is drop the instruments so you can sing and dance,'” says Ozzi. Which was a problem because they couldn’t dance. But also, why change now? Being who they were got them their success.\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/nCvRT2sy5FE'\n title='//www.youtube.com/embed/nCvRT2sy5FE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But the picture Ozzi paints in the book isn’t as binary as the virtuous independent label vs. the evil and greedy major labels. He interviews various people from the corporate entities who came from punk scenes and really, truly wanted what was best for the bands. And there are, of course, shady actors coming from the indie labels, too. “There’s people not looking out for your best interests on either side of it,” he says.\u003c/p>\n\u003cp>Every art form deals with some variation of this question—what concessions are you willing to make for more eyeballs, more opportunity and more money. But money has always been a particularly sensitive topic for punk bands at any level.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Growing up in punk and hardcore, we have this thing called punk rock guilt,” says McIlrath. It’s a feeling of insecurity, of second-guessing if the choices you’re making are reflective of your values. Sometimes this pushes people to make somewhat ridiculous choices. (There’s a line in the book about McIlrath getting dropped off around the corner from a gig because he didn’t want people to see him getting out of his manager’s Mercedes).\u003c/p>\n\u003cp>But sometimes “selling out” afforded the band artistic opportunities it wouldn’t have had otherwise. For instance, during the height of the war in Iraq, Rise Against could call George Bush a liar in front of a small crowd of punks and, well, sure. Big surprise, there. But in front of a wider audience, where the cars in the parking lots are decked with American flags and “Support the Troops” stickers?\u003c/p>\n\u003cp>Ozzi writes:\u003c/p>\n\u003cblockquote>\u003cp>Sometimes, McIlrath saw his words lead to shoving matches and fistfights in the crowd. In more extreme cases, the band dodged cans that were thrown at them or were called f****ts or p*****s. McIlrath felt empowered by the combative atmosphere and enjoyed going into battle each night… It was as though the band had grown into their name.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>Of course, now in the streaming era, the economics of being in a band have changed. So that punk rock guilt barely exists anymore as most bands happily take beer ad money or agree to corporate brand sponsorships. Because just as you can’t pay your rent in punk cred, you also cannot escape marketing. “Maybe we’ve all just dealt with it,” says Ozzi. Or, maybe we’ve all just sold out.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=OK%2C+so+you%27re+a+%27Sellout.%27+Now+what%3F+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Now Playing! Inaugural Decibels Music Film Fest Kicks Out the Jams",
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"content": "\u003cp>SF Indiefest, the granddaddy of a cottage industry of niche Bay Area film festivals with younger-skewing audiences, introduces a new punk sibling this week: \u003ca href=\"https://decibels2021.eventive.org/welcome\" target=\"_blank\" rel=\"noopener noreferrer\">Decibels Music Film Fest\u003c/a>. The program streams online through Nov. 7 with 10 in-person shows spread among the Roxie, The Great Star Theater and DNA Lounge.\u003c/p>\n\u003cp>But first, let’s go for a magic-carpet ride in the Rock ‘n’ Roll Time Machine. In the Mesozoic Era between the Beatles’ 1964 appearances on \u003cem>The Ed Sullivan Show\u003c/em> and the debut of MTV in 1981, it was darned difficult to see your favorite band without a concert ticket. Yes, a handful of weekly TV shows (\u003cem>Shindig\u003c/em>, \u003cem>Hullabaloo\u003c/em>, \u003cem>American Bandstand\u003c/em>, \u003cem>The Midnight Special\u003c/em>, \u003cem>Soul Train\u003c/em>, \u003cem>Don Kirshner’s Rock Concert\u003c/em>) presented live (and often lip-synced) performances by American and English rockers. But in the pre-VHS days, if you were out of the house, you were out of luck.\u003c/p>\n\u003cp>[aside tag=\"pass-the-aux\" label=\"Pass the Aux\"]Hence the popularity, in the wake of \u003cem>Monterey Pop\u003c/em> and \u003cem>Woodstock\u003c/em>, of concert documentaries. In the ’70s, you followed the waft of smoke to \u003cem>The Concert for Bangladesh\u003c/em>, \u003cem>The Song Remains the Same\u003c/em>, \u003cem>The Grateful Dead Movie\u003c/em>, \u003cem>Ziggy Stardust and the Spiders from Mars\u003c/em>, \u003cem>Rust Never Sleeps\u003c/em> and \u003cem>No Nukes\u003c/em>.\u003c/p>\n\u003cp>Backstage docs and feature-length profiles were much rarer. They were deemed less commercial than filmed performances, and were more complicated to make thanks to the musicians’ “cooperation” and their label’s involvement. The standouts, then and now, were \u003cem>Dont Look Back\u003c/em>, \u003cem>Let it Be\u003c/em> (aka \u003cem>Get Back\u003c/em>) and \u003cem>Gimme Shelter\u003c/em>.\u003c/p>\n\u003cp>By the time MTV arrived, youth culture had become pop culture had become \u003cem>the\u003c/em> culture. Rock docs proliferated (at last!), developing into a genre and then a collection of clichés. VH1’s \u003cem>Behind the Music\u003c/em> gets the blame but let’s cut it a break. Codified conventions (which is one definition of genre) inevitably invite parody.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Digital video has transformed the music film yet again. The costs (and break-even point) are so low that it’s both possible and practical to make a film about almost any band, any artist, any niche, any scene. And the video and audio quality is so high, that almost every film can play somewhere.\u003c/p>\n\u003cp>Is this the Golden Age of music docs? It’s a good bet that a film about your fave (or third-fave) musician exists. It’s also likely that said film is available to stream or purchase this minute for a reasonable price. The times they have a-changed—and the crew at Decibels Music Film Fest recognizes the range and variety of tuned-up movies to choose from every year.\u003c/p>\n\u003cfigure id=\"attachment_13905376\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905376\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Photo-3-Vinyl_Nation_4K_image_005_credit_-_Sherri_Kauk_1200.jpg\" alt=\"A huge crowd in a warehouse browses records.\" width=\"1200\" height=\"675\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Photo-3-Vinyl_Nation_4K_image_005_credit_-_Sherri_Kauk_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Photo-3-Vinyl_Nation_4K_image_005_credit_-_Sherri_Kauk_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Photo-3-Vinyl_Nation_4K_image_005_credit_-_Sherri_Kauk_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Photo-3-Vinyl_Nation_4K_image_005_credit_-_Sherri_Kauk_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Photo-3-Vinyl_Nation_4K_image_005_credit_-_Sherri_Kauk_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Vinyl Nation.’ \u003ccite>(Sherri Kauk)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>S.F. culture writer Kevin Smokler and co-director Christopher Boone finished \u003cem>\u003ca href=\"https://decibels2021.eventive.org/films/61423170e796660030717f81\" target=\"_blank\" rel=\"noopener noreferrer\">Vinyl Nation\u003c/a>\u003c/em> (Oct. 29 at the Roxie), an affectionate but unsentimental cross-country trip through the present-day landscape of records, before the pandemic, but its rollout was postponed. No doubt as frustrating to the filmmakers as a scratch or a skip in their cherished Ramones wax, but less permanent: This wide-ranging litany of interviewees plays less like a snapshot of a trend than an investigation of a formerly universal and still irreplaceable form of cultural experience.\u003c/p>\n\u003cp>\u003cem>Vinyl Nation\u003c/em> encompasses the grass-roots joy of nationwide Record Store Day, the acute dedication of next-generation collectors and the quiet pride of revived record manufacturers. Of special note: John Vanderslice, producer and owner of the Oakland recording studio Tiny Telephone (his San Francisco location closed in 2020), jolts the film with a no-jive remark every time he’s onscreen.\u003c/p>\n\u003cp>Notwithstanding its S.F. Indiefest connection, the Decibels lineup isn’t limited to small-market-share movements or personalities. Penny Lane’s perfectly titled \u003cem>\u003ca href=\"https://decibels2021.eventive.org/films/6144f251c511bd0087ad07f3\" target=\"_blank\" rel=\"noopener noreferrer\">Listening to Kenny G\u003c/a>\u003c/em> (Oct. 27 at the Roxie, ahead of its HBO premiere on Dec. 3) slow-dances into the longstanding debate over the musical merits of the best-selling instrumentalist.\u003c/p>\n\u003cfigure id=\"attachment_13905375\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905375\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/listening_to_kenny_g_02.jpeg\" alt=\"\" width=\"1200\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/listening_to_kenny_g_02.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/listening_to_kenny_g_02-800x400.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/listening_to_kenny_g_02-1020x510.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/listening_to_kenny_g_02-160x80.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/listening_to_kenny_g_02-768x384.jpeg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Listening to Kenny G.’ \u003ccite>(Penny Lane)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lane assembles a chorus of surprisingly open-minded critics to take the shine off of Kenny G’s sound. On the flip side, she pays sincere tribute to his massive success. The spine of the film, though, is a lengthy sit-down interview with the king of smooth jazz. (What a ridiculous concept given jazz’s history of improvisation and risk-taking, yet it became a popular, office-friendly radio format).\u003c/p>\n\u003cp>Ultimately Lane lets viewers keep their positions vis-à-vis Kenny G without succumbing to toothless even-handedness or betraying (i.e., ridiculing) the access he granted her. The interview provides the key, though: Kenny G is unshakably, preternaturally self-assured. In fact, that seems to have been his defining characteristic since he starred in his high school band.\u003c/p>\n\u003cp>What artist has no doubts? If not about his or her talent, then about material, direction, success, collaborators, fame, independence. An artist without doubts is one who never leaves his comfort zone. Perhaps we should stick to “musician,” and leave “artist” aside. Either way, there’s now a Kenny G film to add to the (virtually) sagging shelf of music films.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The Decibels Music Film Festival screens live and online Oct. 27–Nov. 7, 2021. \u003ca href=\"https://decibels2021.eventive.org/welcome\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>SF Indiefest, the granddaddy of a cottage industry of niche Bay Area film festivals with younger-skewing audiences, introduces a new punk sibling this week: \u003ca href=\"https://decibels2021.eventive.org/welcome\" target=\"_blank\" rel=\"noopener noreferrer\">Decibels Music Film Fest\u003c/a>. The program streams online through Nov. 7 with 10 in-person shows spread among the Roxie, The Great Star Theater and DNA Lounge.\u003c/p>\n\u003cp>But first, let’s go for a magic-carpet ride in the Rock ‘n’ Roll Time Machine. In the Mesozoic Era between the Beatles’ 1964 appearances on \u003cem>The Ed Sullivan Show\u003c/em> and the debut of MTV in 1981, it was darned difficult to see your favorite band without a concert ticket. Yes, a handful of weekly TV shows (\u003cem>Shindig\u003c/em>, \u003cem>Hullabaloo\u003c/em>, \u003cem>American Bandstand\u003c/em>, \u003cem>The Midnight Special\u003c/em>, \u003cem>Soul Train\u003c/em>, \u003cem>Don Kirshner’s Rock Concert\u003c/em>) presented live (and often lip-synced) performances by American and English rockers. But in the pre-VHS days, if you were out of the house, you were out of luck.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Hence the popularity, in the wake of \u003cem>Monterey Pop\u003c/em> and \u003cem>Woodstock\u003c/em>, of concert documentaries. In the ’70s, you followed the waft of smoke to \u003cem>The Concert for Bangladesh\u003c/em>, \u003cem>The Song Remains the Same\u003c/em>, \u003cem>The Grateful Dead Movie\u003c/em>, \u003cem>Ziggy Stardust and the Spiders from Mars\u003c/em>, \u003cem>Rust Never Sleeps\u003c/em> and \u003cem>No Nukes\u003c/em>.\u003c/p>\n\u003cp>Backstage docs and feature-length profiles were much rarer. They were deemed less commercial than filmed performances, and were more complicated to make thanks to the musicians’ “cooperation” and their label’s involvement. The standouts, then and now, were \u003cem>Dont Look Back\u003c/em>, \u003cem>Let it Be\u003c/em> (aka \u003cem>Get Back\u003c/em>) and \u003cem>Gimme Shelter\u003c/em>.\u003c/p>\n\u003cp>By the time MTV arrived, youth culture had become pop culture had become \u003cem>the\u003c/em> culture. Rock docs proliferated (at last!), developing into a genre and then a collection of clichés. VH1’s \u003cem>Behind the Music\u003c/em> gets the blame but let’s cut it a break. Codified conventions (which is one definition of genre) inevitably invite parody.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Digital video has transformed the music film yet again. The costs (and break-even point) are so low that it’s both possible and practical to make a film about almost any band, any artist, any niche, any scene. And the video and audio quality is so high, that almost every film can play somewhere.\u003c/p>\n\u003cp>Is this the Golden Age of music docs? It’s a good bet that a film about your fave (or third-fave) musician exists. It’s also likely that said film is available to stream or purchase this minute for a reasonable price. The times they have a-changed—and the crew at Decibels Music Film Fest recognizes the range and variety of tuned-up movies to choose from every year.\u003c/p>\n\u003cfigure id=\"attachment_13905376\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905376\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Photo-3-Vinyl_Nation_4K_image_005_credit_-_Sherri_Kauk_1200.jpg\" alt=\"A huge crowd in a warehouse browses records.\" width=\"1200\" height=\"675\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Photo-3-Vinyl_Nation_4K_image_005_credit_-_Sherri_Kauk_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Photo-3-Vinyl_Nation_4K_image_005_credit_-_Sherri_Kauk_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Photo-3-Vinyl_Nation_4K_image_005_credit_-_Sherri_Kauk_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Photo-3-Vinyl_Nation_4K_image_005_credit_-_Sherri_Kauk_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Photo-3-Vinyl_Nation_4K_image_005_credit_-_Sherri_Kauk_1200-768x432.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Vinyl Nation.’ \u003ccite>(Sherri Kauk)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>S.F. culture writer Kevin Smokler and co-director Christopher Boone finished \u003cem>\u003ca href=\"https://decibels2021.eventive.org/films/61423170e796660030717f81\" target=\"_blank\" rel=\"noopener noreferrer\">Vinyl Nation\u003c/a>\u003c/em> (Oct. 29 at the Roxie), an affectionate but unsentimental cross-country trip through the present-day landscape of records, before the pandemic, but its rollout was postponed. No doubt as frustrating to the filmmakers as a scratch or a skip in their cherished Ramones wax, but less permanent: This wide-ranging litany of interviewees plays less like a snapshot of a trend than an investigation of a formerly universal and still irreplaceable form of cultural experience.\u003c/p>\n\u003cp>\u003cem>Vinyl Nation\u003c/em> encompasses the grass-roots joy of nationwide Record Store Day, the acute dedication of next-generation collectors and the quiet pride of revived record manufacturers. Of special note: John Vanderslice, producer and owner of the Oakland recording studio Tiny Telephone (his San Francisco location closed in 2020), jolts the film with a no-jive remark every time he’s onscreen.\u003c/p>\n\u003cp>Notwithstanding its S.F. Indiefest connection, the Decibels lineup isn’t limited to small-market-share movements or personalities. Penny Lane’s perfectly titled \u003cem>\u003ca href=\"https://decibels2021.eventive.org/films/6144f251c511bd0087ad07f3\" target=\"_blank\" rel=\"noopener noreferrer\">Listening to Kenny G\u003c/a>\u003c/em> (Oct. 27 at the Roxie, ahead of its HBO premiere on Dec. 3) slow-dances into the longstanding debate over the musical merits of the best-selling instrumentalist.\u003c/p>\n\u003cfigure id=\"attachment_13905375\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905375\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/listening_to_kenny_g_02.jpeg\" alt=\"\" width=\"1200\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/listening_to_kenny_g_02.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/listening_to_kenny_g_02-800x400.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/listening_to_kenny_g_02-1020x510.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/listening_to_kenny_g_02-160x80.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/listening_to_kenny_g_02-768x384.jpeg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Listening to Kenny G.’ \u003ccite>(Penny Lane)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lane assembles a chorus of surprisingly open-minded critics to take the shine off of Kenny G’s sound. On the flip side, she pays sincere tribute to his massive success. The spine of the film, though, is a lengthy sit-down interview with the king of smooth jazz. (What a ridiculous concept given jazz’s history of improvisation and risk-taking, yet it became a popular, office-friendly radio format).\u003c/p>\n\u003cp>Ultimately Lane lets viewers keep their positions vis-à-vis Kenny G without succumbing to toothless even-handedness or betraying (i.e., ridiculing) the access he granted her. The interview provides the key, though: Kenny G is unshakably, preternaturally self-assured. In fact, that seems to have been his defining characteristic since he starred in his high school band.\u003c/p>\n\u003cp>What artist has no doubts? If not about his or her talent, then about material, direction, success, collaborators, fame, independence. An artist without doubts is one who never leaves his comfort zone. Perhaps we should stick to “musician,” and leave “artist” aside. Either way, there’s now a Kenny G film to add to the (virtually) sagging shelf of music films.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The Decibels Music Film Festival screens live and online Oct. 27–Nov. 7, 2021. \u003ca href=\"https://decibels2021.eventive.org/welcome\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "a-new-generation-of-filipino-hip-hop-builds-on-a-deep-bay-area-legacy",
"title": "A New Generation of Filipino Hip-Hop Builds On a Deep Bay Area Legacy",
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"headTitle": "A New Generation of Filipino Hip-Hop Builds On a Deep Bay Area Legacy | KQED",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">Guapdad 4000 isn’t your prototypical rapper. For starters, the West Oakland artist is part of the Marvel Universe’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Shang-Chi and the Legend of the Ten Rings\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> soundtrack, something he’s proud about as a comic head.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I’m a huge Marvel fan and it was the first Asian American movie. I knew they was finna go crazy,” he says. “I was juiced. Especially to champion my Filipino side as a part of that. And it takes place in the Bay? Not even Thanos could snap me out of that.” [aside postid='arts_13902470']\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">If you don’t know Guap, he’s an essential player in the Bay Area’s latest wave of Filipino American artists who’ve taken over the scene with their eclectically unparalleled vibrancy. You can’t talk about Bay Area music in 2021 without mentioning him or the “\u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=0SeZHOqSsZA\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">same squad, same squad\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">” of Fil Ams from here, including H.E.R, Ruby Ibarra, \u003ca href=\"https://www.kqed.org/arts/13924828/rocky-rivera-ruckus-magazine-hyphy-movement-hip-hop\">Rocky Rivera\u003c/a>, P-Lo, Kuya Beats and Saweetie, to name a a few. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Saweetie has \u003c/span>\u003ca href=\"https://www.billboard.com/articles/columns/hip-hop/9446648/saweetie-tap-in-top-10-rb-hip-hop-songs-chart\">\u003cspan style=\"font-weight: 400\">two chart-topping singles\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and a McDonald’s meal with her name on it. P-Lo \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13899945/how-the-bay-area-reshaped-a-classic-soundtrack\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">produced “About That Time,”\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> the most-streamed song from this summer’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Space Jam: A New Legacy\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> soundtrack, featuring verses from NBA All Star Damian Lillard, G-Eazy and White Dave. H.E.R won four Grammys and launched the \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13903394/photos-h-e-r-erykah-badu-and-other-rb-stars-shine-at-lights-on-festival\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Lights On Festival\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, with nearly 6 million followers on Instagram. Rivera added “author” to her resume with the \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13894648/rapper-and-activist-rocky-rivera-embraces-growth-in-her-first-book-snakeskin\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">publication of her debut book\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. Ibarra is literally \u003ca href=\"https://www.kqed.org/arts/13887169/whats-on-your-ballot-ruby-ibarra-rapper-and-scientist\" target=\"_blank\" rel=\"noopener noreferrer\">a scientist\u003c/a> and \u003c/span>\u003ca href=\"https://www.nbcbayarea.com/community/asian-pacific-america/scientist-and-rapper-ruby-ibarra-on-asian-pacific-america/2580781/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">co-founded the Pinays Rising Scholarship Program\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. And that’s just in the past few months.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This list doesn’t even include the unquantifiable amount of genuine community work, activism and representation each artist has provided throughout Northern California and beyond over their careers and lifetimes. It also doesn’t even touch on the OG Pinoys and Pinays who certainly paved the path for this ascendance to happen.\u003c/span>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13903463\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903463\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5910.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5910.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5910-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5910-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">H.E.R. performs at Lights On Festival at Concord Pavilion on Sunday, Sept. 19, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A-Side: Chicken Adobo\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">“My mother’s side is Filipino. My grandma is a short, 5’3” lady from Zambales in the Philippines. My grandfather is Black and was a merchant marine out there on a military base. They met and decided to move to Oakland and that’s how my roots started in the Bay,” Guap says.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s a relatable truth for many Bay Area locals, who’ve grown up here with mixed backgrounds and a fluid sense of self across the generations. Alongside his Fil Am peers, Guap is voicing his multi-ethnic experience in an idiosyncratic, hyphy-melodic way, narrating where he’s from and his journey navigating the world as a Black Pinoy.\u003c/span>\u003c/p>\n\u003cp>https://youtu.be/1DaovaJgytE\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With his popular single “Chicken Adobo” (a love song inspired by his lola’s cooking) and his feature on Thundercat’s “\u003ca href=\"https://youtu.be/T2bcUZj6LAc\" target=\"_blank\" rel=\"noopener noreferrer\">Dragonball Durag\u003c/a>” (a tribute to the classic anime), Guap is constantly dropping hints about his Asian American upbringing and identity—though, most people admittedly don’t perceive him as Filipino upon initially seeing him.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“My direct portion is one-fourth Filipino,” he says. “I don’t use that mindstate though. I’m equal Black and Filipino. My lola raised me in a biracial household, cooking and speaking both languages. I went to an all-Filipino church for 15 years. I was immersed in the culture. Hella [stuff] in my upbringing comes straight from my Filipino side.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Guap’s style and albums are reflective of his modern Filipino upbringing in the Bay Area—which is to say, it’s not singularly limited. It’s multidimensional and authentic, an unapologetic fusion. And it’s helping to put Filipino Americans back on the map. \u003c/span>\u003cspan style=\"font-weight: 400\">But he’s not alone. He just happens to be one \u003c/span>\u003cspan style=\"font-weight: 400\">“\u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=zQuajCfNBA8\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Alpha\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">”\u003c/span>\u003cspan style=\"font-weight: 400\"> in this group of trendsetters. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13867199\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867199\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/09/Saweetie-800x450.jpg\" alt=\"Saweetie performs at Rolling Loud 2018 in Oakland.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Saweetie.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Saweetie-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Saweetie-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Saweetie performs at Rolling Loud 2018 in Oakland. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">“If you look at every pillar in hip-hop that exists, all of ’em, it’s gonna be at least one Filipino in there that’s a legend,” Guapdad says. “Chad Hugo [from The Neptunes]. H.E.R. Qbert. Jabbawockeez. Over the years Filipinos have found ways to integrate themselves seamlessly. It’s global but it’s also bringing that back to a local scale.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In other words, they got roots.\u003c/span>\u003c/p>\n\u003ch2>B-Side: Origins and Migrations\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">With over 310,000 Filipino residents, \u003c/span>\u003ca href=\"https://www.asianjournal.com/usa/dateline-usa/pew-research-over-4-2m-filipino-americans-in-the-us/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">the San Francisco Bay Area boasts the second-largest population of the diaspora in the United States\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. Per capita, it’s among the most densely populated Filipino areas outside of the Philippines. It’s no surprise then that \u003c/span>\u003ca href=\"https://www.vox.com/2020/3/10/21172993/filipino-neighborhood-san-francisco-destroyed-i-hotel\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">there was once a Manilatown in San Francisco\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, which blossomed from the 1920s through the 1970s until it was systematically dismantled and cannibalized as part of the “Manhattanization” of downtown’s Financial District. Starting in the 1950s, low-income Filipinos were evicted to make room for “a Wall Street of the West.” The story is just one chapter of the ongoing battle to maintain affordable housing in one of the world’s most expensive cities. \u003c/span>\u003c/p>\n\u003cp>https://youtu.be/tcsdglJFT0M\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Still, Filipinos have thrived along the Bay Area’s shorelines, allowing for many artists, activists and changemakers to emerge and collaboratively grow here—especially through the rebellion of hip-hop.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We were raised by brown immigrants in America, but immigrants who were educated in American colonial systems,” says \u003ca href=\"https://barbarajanereyes.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Barbara Jane Reyes\u003c/a>, a Manila-born poet and professor at the University of San Francisco. “Our parents’ aesthetic preferences were rooted in colonial whiteness. So seeing brown kids having a good time while listening to what we were told was the music of Black people seemed scary to them.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">By adopting hip-hop as a form of self expression, many Filipinos during the 1980s were able to create a sense of selfhood that might’ve otherwise felt trampled on or neglected by previous generations and institutional ideologies. [aside postid='arts_13812554']\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But how exactly did so many Filipinos like Reyes, who grew up in the East Bay, and her family end up migrating to the San Francisco Bay Area—where they’ve been able to directly participate in hip-hop’s growth—to begin with? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The story spans centuries, but Reyes tells me there was a turning point in 1965, when President Lyndon B. Johnson signed the \u003c/span>\u003ca href=\"https://www.history.com/topics/immigration/us-immigration-since-1965\">\u003cspan style=\"font-weight: 400\">The Immigration and Nationality Act\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. In an effort to attract skilled labor, the law abolished discriminatory quotas that once prevented Asians and Pacific Islanders from entering the country after World War II. The decision might’ve been the most influential factor in allowing Filipino families to spread across California, forever changing the demographics of coastal North America.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We had migrant laborers who came to the territory of Hawai’i in 1905. Then laborers who came to the continental West Coast in the ’20s and ’30s,” says Professor Reyes. “Then World War II happened and there’s another wave of migration with [Filipino] Americans who enlist in the military, go to the Philippines to fight, and come back with war brides to the States and raise their families here. It wasn’t until ’65 til that all opened up more. And we’ve been here ever since.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Importantly, the 1965 Act was largely a result of monumental liberation efforts made during the Civil Rights, Chicano and United Farmworkers Movements. That unity among multi-ethnic, working-class communities foreshadowed an allyship that would eventually coalesce organically into hip-hop.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It wasn’t about popular entertainment but had something to do with making cultural and political statements,” says Reyes. “Listening to hip-hop, I realized something else was happening that made me have to look at my parents’ colonial education and love for whiteness. Going to rap was part of that exploration of asking, ‘Why do you love whiteness so much and why is Blackness so scary to you?’ How do we find kinship in those communities?” [aside postid=\"arts_13895462']\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">By the late 1980s, Filipinos had fully integrated themselves into Bay Area shipyards and city centers as military personnel and blue-collar workers. They also moved into suburbs and middle-class areas with access to college and professional careers in health, education and other fields. Their proliferation led to more intersectional involvement in Americanized cultures, such as\u003c/span>\u003ca href=\"https://www.undiscoveredsf.com/blog/2019/7/13/a-look-back-at-filipino-american-rampb-music-of-the-1990s\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\"> freestyle and R&B of the ’90s\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With a visible community already established, and clearly growing, conditions led to the formation of tightly-connected enclaves in places like Fremont, Vallejo and, most famously, Daly City.\u003c/span>\u003c/p>\n\u003ch2>C-Side: Spinning Records, Breaking Barriers\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">Filipinos have always been present in Bay Area hip-hop. Ever since the artform emerged as a vehicle for social justice and cultural empowerment, they’ve been among the most active participants in DJing, breakdancing, graffiti and MCing—from Daly City to Vallejo and back down to San Jose. Like many diverse immigrant diasporas who serendipitously arrive in the Golden State, Fil Ams have been a true staple in our neighborhoods, and their role in hip-hop is a reflection of that shared, liberating transcendence.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“My aunt, \u003c/span>\u003ca href=\"https://www.hopclear.com/filipino-amerian-mom-goes-viral-for-being-an-awesome-dj/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">DJ Lady Ames\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, was one of the first Pinay DJs to come out of San Francisco. She went to Balboa High \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=XbnDXp4lYuk\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">during the ’80s while the mobile DJing scene was happening\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, and she started a crew with her friends,” says Delrokz.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13905237\" class=\"wp-caption alignright\" style=\"max-width: 512px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905237\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/delrokz.jpg\" alt=\"\" width=\"512\" height=\"341\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/delrokz.jpg 512w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/delrokz-160x107.jpg 160w\" sizes=\"(max-width: 512px) 100vw, 512px\">\u003cfigcaption class=\"wp-caption-text\">Delrokz in his Hayward record shop, The Stacks. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Del is a DJ and b-boy who has lived all over the “Yay Area,” but is currently posted up in downtown Hayward, where he owns his new record shop, \u003ca href=\"https://www.thestacksrecordshop.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Stacks\u003c/a>.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“To be Filipina and have a whole crew of DJs, that was revolutionary at its time in the early ’80s,” he says. “They were an all Pinay group, The GoGos. There really weren’t that many women DJs getting attention back then. But I grew up around her and my uncles and that whole culture. It’s part of who I am.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Del is the founder and organizer of \u003c/span>\u003ca href=\"https://www.instagram.com/breakthebay/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Break the Bay\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, an annual five-on-five breakdance competition that spins on principles of community, fun and “healthy competition.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s yet another manifestation of how the Filipino homies have not only been a part of the culture, but have pioneered spaces for others to be a part of the culture, too—regardless of gender or age.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Del emphasizes that he is a second-generation Fil Am, whose mom immigrated from the islands at a very early age, and whose dad was born here. It’s an important detail to distinguish.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“My parents listened to hip-hop,” he explains. “I had a different experience than someone who’s parents immigrated here directly. Hip-hop culture is so deep within the Filipino Bay Area because it’s been passed for so long. We also just have a lot of parties, so having good DJs makes a lot of sense for us.”\u003c/span>\u003c/p>\n\u003cp>https://vimeo.com/239151243\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">To say Bay Area Filipinos have become good DJs is an understatement. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Widely credited as the most innovative turntablists in modern hip-hop history, the Invisibl Skratch Piklz symbolize everything that Bay Area Filipinos have meant to the world of DJing. Their members—DJ QBert, Mixmaster Mike, DJ Apollo, Shortkut and D-Styles, to name some—have been dominant in global competitions such as the International Turntablist Federation battles since the ’80s. At one point, they received so many awards that other crews didn’t even show up to compete. By the late 90s, their members were frequently asked to be \u003ca href=\"https://www.mtv.com/news/tmaa3x/infamous-scratches-out-victory-in-us-dj-competition\">judges for the nation’s best DJ competitions\u003c/a>.\u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"https://www.factmag.com/2016/09/08/invisibl-skratch-piklz-the-13th-floor/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Underground hip-hip historian Laurent Fintoni\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">—the author of \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Bedroom Beats & B-Sides: Instrumental Hip-Hop and Electronic Music at the Turn of the Century\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">—lauded the Piklz as the original group who “invented the concept of a DJ band, elevated the turntablist art form to new technical and creative heights and helped drive technological innovation.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Connecting five turntables to scratch, mix and fade all at once, live on stage? Yup. These Filipino DJs are known for popularizing that. Their craft went on to birth future groups in the genre of turntablism, such as The X-Ecutioners from New York City.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Between the Piklz, DJ Lady Ames, Delrokz and so many other Filipino Americans from this time and place, DJing went from inside the garages of Daly City’s battling crews to a globally revolutionized way of life.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_10345320\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10345320\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2015/01/QBertMain-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/QBertMain.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/QBertMain-400x225.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">DJ QBert. \u003ccite>(Thud Rumble)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>D-Side: Underground Legends\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">If you’ve ever noticed “TDK” tagged on any Bay Area surface, then you’ve likely seen the work of Vogue and \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13863999/dream-day-2019-celebrating-mike-dream-franciscos-50th-birthday\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">the late Mike Dream Francisco\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. They are—in the opinion of every Bay Area graffiti artist I know—two of the most iconic dudes to ever wield cans of aerosol. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">You shouldn’t be surprised to learn that they’re Filipinos. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Here are a few more Pinoy names you may or may not have heard about who have helped to shape, or are currently shaping, Bay Area culture: \u003c/span>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://www.instagram.com/reyresurreccion/?hl=en\">Rey Resurrection\u003c/a>, \u003c/span>\u003ca href=\"https://www.kqed.org/arts/10445851/from-gangs-to-glory-bambus-political-hip-hop-for-the-people\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Bambu\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, Celskiii, Deeandroid, \u003c/span>\u003ca href=\"https://www.instagram.com/dj_bitesize/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">DJ Bitesize\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, and the \u003c/span>\u003ca href=\"https://dothebay.com/artists/knuckle-neck-tribe\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Knuckle Neck Tribe\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And who can forget one of the most influential sound architects of the entire hyphy movement?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Dustin “Nump” Perfetto is a 707 product who has been inside studios with everyone’s favorite musicians, from E-40 to Green Day. \u003ca href=\"https://www.kqed.org/arts/13924042/nump-hyphy-i-gott-grapes-interview\">He operated as the recording engineer\u003c/a> on countless albums from that glorious era in Bay Area music history, including \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Rick Rock Presents Federation: The Album\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, which features the timeless anthem, “\u003ca href=\"https://youtu.be/oe7ohnlZhBc\" target=\"_blank\" rel=\"noopener noreferrer\">Hyphy\u003c/a>.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Filipinos play a major part behind the scenes but it hasn’t always been as popular for us to be mainstream,” Perfetto says. “I won’t stop ’til we get that respect.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13887463\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13887463\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/RubyIbarra.MAIN_.jpg\" alt=\"Ruby Ibarra in an East Bay park.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/RubyIbarra.MAIN_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/RubyIbarra.MAIN_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/RubyIbarra.MAIN_-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ruby Ibarra. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">By promoting his pride in launching his own clothing line, Gorillapino, and collaborating with former and current Fil Am artists (including Ruby Ibarra on her incisive 2017 album, \u003c/span>\u003ca href=\"https://pinoyhiphopsuperstar.com/ruby-ibarra-circa-91-album-review/\">\u003ci>\u003cspan style=\"font-weight: 400\">CIRCA91\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">, which includes extensive verses in Tagalog) Perfetto personifies the undying grit and collective strength of the Fil Am hip hop community that has always been \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=Ccm73eJo2_U\">\u003cspan style=\"font-weight: 400\">“Going Off”\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> for the Bay.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“\u003ca href=\"https://theculturetrip.com/asia/philippines/articles/the-story-of-lapu-lapu-the-legendary-filipino-hero/\" target=\"_blank\" rel=\"noopener noreferrer\">Lapulapu\u003c/a> is the original Filipino warrior who cut off Magellan’s head when they tried to conquer us,” Perfetto says. “That’s the energy I move with. That’s who we are.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Translation: Filipinos stand united for anything they believe in. And local history underscores how they’ve always utilized the powers of music and community for good.\u003c/span>\u003c/p>\n\u003cp>https://youtu.be/xOrYbSM1ArI\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Perfetto and the rest of these artists making waves out here can definitely wreck microphones, but they can just as easily build across communities to reach audiences of any background. More than anything, they represent how the Bay is a soil of innovation and solidarity—how we’re all building towards communal celebration.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We have a lot of similarities with other cultures,” Guapdad reminds me. “It’s just something we need to celebrate more.”\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Guapdad, Saweetie and some of today's best-known Bay Area artists rep their Filipino heritage, continuing a tradition going back to the '80s.",
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"title": "A New Generation of Filipino Hip-Hop Builds On a Deep Bay Area Legacy | KQED",
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"headline": "A New Generation of Filipino Hip-Hop Builds On a Deep Bay Area Legacy",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Guapdad 4000 isn’t your prototypical rapper. For starters, the West Oakland artist is part of the Marvel Universe’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Shang-Chi and the Legend of the Ten Rings\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> soundtrack, something he’s proud about as a comic head.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I’m a huge Marvel fan and it was the first Asian American movie. I knew they was finna go crazy,” he says. “I was juiced. Especially to champion my Filipino side as a part of that. And it takes place in the Bay? Not even Thanos could snap me out of that.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">If you don’t know Guap, he’s an essential player in the Bay Area’s latest wave of Filipino American artists who’ve taken over the scene with their eclectically unparalleled vibrancy. You can’t talk about Bay Area music in 2021 without mentioning him or the “\u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=0SeZHOqSsZA\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">same squad, same squad\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">” of Fil Ams from here, including H.E.R, Ruby Ibarra, \u003ca href=\"https://www.kqed.org/arts/13924828/rocky-rivera-ruckus-magazine-hyphy-movement-hip-hop\">Rocky Rivera\u003c/a>, P-Lo, Kuya Beats and Saweetie, to name a a few. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Saweetie has \u003c/span>\u003ca href=\"https://www.billboard.com/articles/columns/hip-hop/9446648/saweetie-tap-in-top-10-rb-hip-hop-songs-chart\">\u003cspan style=\"font-weight: 400\">two chart-topping singles\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and a McDonald’s meal with her name on it. P-Lo \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13899945/how-the-bay-area-reshaped-a-classic-soundtrack\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">produced “About That Time,”\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> the most-streamed song from this summer’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Space Jam: A New Legacy\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> soundtrack, featuring verses from NBA All Star Damian Lillard, G-Eazy and White Dave. H.E.R won four Grammys and launched the \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13903394/photos-h-e-r-erykah-badu-and-other-rb-stars-shine-at-lights-on-festival\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Lights On Festival\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, with nearly 6 million followers on Instagram. Rivera added “author” to her resume with the \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13894648/rapper-and-activist-rocky-rivera-embraces-growth-in-her-first-book-snakeskin\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">publication of her debut book\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. Ibarra is literally \u003ca href=\"https://www.kqed.org/arts/13887169/whats-on-your-ballot-ruby-ibarra-rapper-and-scientist\" target=\"_blank\" rel=\"noopener noreferrer\">a scientist\u003c/a> and \u003c/span>\u003ca href=\"https://www.nbcbayarea.com/community/asian-pacific-america/scientist-and-rapper-ruby-ibarra-on-asian-pacific-america/2580781/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">co-founded the Pinays Rising Scholarship Program\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. And that’s just in the past few months.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This list doesn’t even include the unquantifiable amount of genuine community work, activism and representation each artist has provided throughout Northern California and beyond over their careers and lifetimes. It also doesn’t even touch on the OG Pinoys and Pinays who certainly paved the path for this ascendance to happen.\u003c/span>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13903463\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903463\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5910.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5910.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5910-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5910-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">H.E.R. performs at Lights On Festival at Concord Pavilion on Sunday, Sept. 19, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A-Side: Chicken Adobo\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">“My mother’s side is Filipino. My grandma is a short, 5’3” lady from Zambales in the Philippines. My grandfather is Black and was a merchant marine out there on a military base. They met and decided to move to Oakland and that’s how my roots started in the Bay,” Guap says.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s a relatable truth for many Bay Area locals, who’ve grown up here with mixed backgrounds and a fluid sense of self across the generations. Alongside his Fil Am peers, Guap is voicing his multi-ethnic experience in an idiosyncratic, hyphy-melodic way, narrating where he’s from and his journey navigating the world as a Black Pinoy.\u003c/span>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/1DaovaJgytE'\n title='//www.youtube.com/embed/1DaovaJgytE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">With his popular single “Chicken Adobo” (a love song inspired by his lola’s cooking) and his feature on Thundercat’s “\u003ca href=\"https://youtu.be/T2bcUZj6LAc\" target=\"_blank\" rel=\"noopener noreferrer\">Dragonball Durag\u003c/a>” (a tribute to the classic anime), Guap is constantly dropping hints about his Asian American upbringing and identity—though, most people admittedly don’t perceive him as Filipino upon initially seeing him.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“My direct portion is one-fourth Filipino,” he says. “I don’t use that mindstate though. I’m equal Black and Filipino. My lola raised me in a biracial household, cooking and speaking both languages. I went to an all-Filipino church for 15 years. I was immersed in the culture. Hella [stuff] in my upbringing comes straight from my Filipino side.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Guap’s style and albums are reflective of his modern Filipino upbringing in the Bay Area—which is to say, it’s not singularly limited. It’s multidimensional and authentic, an unapologetic fusion. And it’s helping to put Filipino Americans back on the map. \u003c/span>\u003cspan style=\"font-weight: 400\">But he’s not alone. He just happens to be one \u003c/span>\u003cspan style=\"font-weight: 400\">“\u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=zQuajCfNBA8\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Alpha\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">”\u003c/span>\u003cspan style=\"font-weight: 400\"> in this group of trendsetters. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13867199\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867199\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/09/Saweetie-800x450.jpg\" alt=\"Saweetie performs at Rolling Loud 2018 in Oakland.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Saweetie.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Saweetie-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Saweetie-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Saweetie performs at Rolling Loud 2018 in Oakland. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">“If you look at every pillar in hip-hop that exists, all of ’em, it’s gonna be at least one Filipino in there that’s a legend,” Guapdad says. “Chad Hugo [from The Neptunes]. H.E.R. Qbert. Jabbawockeez. Over the years Filipinos have found ways to integrate themselves seamlessly. It’s global but it’s also bringing that back to a local scale.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In other words, they got roots.\u003c/span>\u003c/p>\n\u003ch2>B-Side: Origins and Migrations\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">With over 310,000 Filipino residents, \u003c/span>\u003ca href=\"https://www.asianjournal.com/usa/dateline-usa/pew-research-over-4-2m-filipino-americans-in-the-us/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">the San Francisco Bay Area boasts the second-largest population of the diaspora in the United States\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. Per capita, it’s among the most densely populated Filipino areas outside of the Philippines. It’s no surprise then that \u003c/span>\u003ca href=\"https://www.vox.com/2020/3/10/21172993/filipino-neighborhood-san-francisco-destroyed-i-hotel\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">there was once a Manilatown in San Francisco\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, which blossomed from the 1920s through the 1970s until it was systematically dismantled and cannibalized as part of the “Manhattanization” of downtown’s Financial District. Starting in the 1950s, low-income Filipinos were evicted to make room for “a Wall Street of the West.” The story is just one chapter of the ongoing battle to maintain affordable housing in one of the world’s most expensive cities. \u003c/span>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/tcsdglJFT0M'\n title='//www.youtube.com/embed/tcsdglJFT0M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Still, Filipinos have thrived along the Bay Area’s shorelines, allowing for many artists, activists and changemakers to emerge and collaboratively grow here—especially through the rebellion of hip-hop.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We were raised by brown immigrants in America, but immigrants who were educated in American colonial systems,” says \u003ca href=\"https://barbarajanereyes.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Barbara Jane Reyes\u003c/a>, a Manila-born poet and professor at the University of San Francisco. “Our parents’ aesthetic preferences were rooted in colonial whiteness. So seeing brown kids having a good time while listening to what we were told was the music of Black people seemed scary to them.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">By adopting hip-hop as a form of self expression, many Filipinos during the 1980s were able to create a sense of selfhood that might’ve otherwise felt trampled on or neglected by previous generations and institutional ideologies. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But how exactly did so many Filipinos like Reyes, who grew up in the East Bay, and her family end up migrating to the San Francisco Bay Area—where they’ve been able to directly participate in hip-hop’s growth—to begin with? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The story spans centuries, but Reyes tells me there was a turning point in 1965, when President Lyndon B. Johnson signed the \u003c/span>\u003ca href=\"https://www.history.com/topics/immigration/us-immigration-since-1965\">\u003cspan style=\"font-weight: 400\">The Immigration and Nationality Act\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. In an effort to attract skilled labor, the law abolished discriminatory quotas that once prevented Asians and Pacific Islanders from entering the country after World War II. The decision might’ve been the most influential factor in allowing Filipino families to spread across California, forever changing the demographics of coastal North America.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We had migrant laborers who came to the territory of Hawai’i in 1905. Then laborers who came to the continental West Coast in the ’20s and ’30s,” says Professor Reyes. “Then World War II happened and there’s another wave of migration with [Filipino] Americans who enlist in the military, go to the Philippines to fight, and come back with war brides to the States and raise their families here. It wasn’t until ’65 til that all opened up more. And we’ve been here ever since.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Importantly, the 1965 Act was largely a result of monumental liberation efforts made during the Civil Rights, Chicano and United Farmworkers Movements. That unity among multi-ethnic, working-class communities foreshadowed an allyship that would eventually coalesce organically into hip-hop.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It wasn’t about popular entertainment but had something to do with making cultural and political statements,” says Reyes. “Listening to hip-hop, I realized something else was happening that made me have to look at my parents’ colonial education and love for whiteness. Going to rap was part of that exploration of asking, ‘Why do you love whiteness so much and why is Blackness so scary to you?’ How do we find kinship in those communities?” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">By the late 1980s, Filipinos had fully integrated themselves into Bay Area shipyards and city centers as military personnel and blue-collar workers. They also moved into suburbs and middle-class areas with access to college and professional careers in health, education and other fields. Their proliferation led to more intersectional involvement in Americanized cultures, such as\u003c/span>\u003ca href=\"https://www.undiscoveredsf.com/blog/2019/7/13/a-look-back-at-filipino-american-rampb-music-of-the-1990s\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\"> freestyle and R&B of the ’90s\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With a visible community already established, and clearly growing, conditions led to the formation of tightly-connected enclaves in places like Fremont, Vallejo and, most famously, Daly City.\u003c/span>\u003c/p>\n\u003ch2>C-Side: Spinning Records, Breaking Barriers\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">Filipinos have always been present in Bay Area hip-hop. Ever since the artform emerged as a vehicle for social justice and cultural empowerment, they’ve been among the most active participants in DJing, breakdancing, graffiti and MCing—from Daly City to Vallejo and back down to San Jose. Like many diverse immigrant diasporas who serendipitously arrive in the Golden State, Fil Ams have been a true staple in our neighborhoods, and their role in hip-hop is a reflection of that shared, liberating transcendence.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“My aunt, \u003c/span>\u003ca href=\"https://www.hopclear.com/filipino-amerian-mom-goes-viral-for-being-an-awesome-dj/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">DJ Lady Ames\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, was one of the first Pinay DJs to come out of San Francisco. She went to Balboa High \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=XbnDXp4lYuk\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">during the ’80s while the mobile DJing scene was happening\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, and she started a crew with her friends,” says Delrokz.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13905237\" class=\"wp-caption alignright\" style=\"max-width: 512px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905237\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/delrokz.jpg\" alt=\"\" width=\"512\" height=\"341\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/delrokz.jpg 512w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/delrokz-160x107.jpg 160w\" sizes=\"(max-width: 512px) 100vw, 512px\">\u003cfigcaption class=\"wp-caption-text\">Delrokz in his Hayward record shop, The Stacks. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Del is a DJ and b-boy who has lived all over the “Yay Area,” but is currently posted up in downtown Hayward, where he owns his new record shop, \u003ca href=\"https://www.thestacksrecordshop.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Stacks\u003c/a>.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“To be Filipina and have a whole crew of DJs, that was revolutionary at its time in the early ’80s,” he says. “They were an all Pinay group, The GoGos. There really weren’t that many women DJs getting attention back then. But I grew up around her and my uncles and that whole culture. It’s part of who I am.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Del is the founder and organizer of \u003c/span>\u003ca href=\"https://www.instagram.com/breakthebay/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Break the Bay\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, an annual five-on-five breakdance competition that spins on principles of community, fun and “healthy competition.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s yet another manifestation of how the Filipino homies have not only been a part of the culture, but have pioneered spaces for others to be a part of the culture, too—regardless of gender or age.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Del emphasizes that he is a second-generation Fil Am, whose mom immigrated from the islands at a very early age, and whose dad was born here. It’s an important detail to distinguish.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“My parents listened to hip-hop,” he explains. “I had a different experience than someone who’s parents immigrated here directly. Hip-hop culture is so deep within the Filipino Bay Area because it’s been passed for so long. We also just have a lot of parties, so having good DJs makes a lot of sense for us.”\u003c/span>\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">To say Bay Area Filipinos have become good DJs is an understatement. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Widely credited as the most innovative turntablists in modern hip-hop history, the Invisibl Skratch Piklz symbolize everything that Bay Area Filipinos have meant to the world of DJing. Their members—DJ QBert, Mixmaster Mike, DJ Apollo, Shortkut and D-Styles, to name some—have been dominant in global competitions such as the International Turntablist Federation battles since the ’80s. At one point, they received so many awards that other crews didn’t even show up to compete. By the late 90s, their members were frequently asked to be \u003ca href=\"https://www.mtv.com/news/tmaa3x/infamous-scratches-out-victory-in-us-dj-competition\">judges for the nation’s best DJ competitions\u003c/a>.\u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"https://www.factmag.com/2016/09/08/invisibl-skratch-piklz-the-13th-floor/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Underground hip-hip historian Laurent Fintoni\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">—the author of \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Bedroom Beats & B-Sides: Instrumental Hip-Hop and Electronic Music at the Turn of the Century\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">—lauded the Piklz as the original group who “invented the concept of a DJ band, elevated the turntablist art form to new technical and creative heights and helped drive technological innovation.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Connecting five turntables to scratch, mix and fade all at once, live on stage? Yup. These Filipino DJs are known for popularizing that. Their craft went on to birth future groups in the genre of turntablism, such as The X-Ecutioners from New York City.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Between the Piklz, DJ Lady Ames, Delrokz and so many other Filipino Americans from this time and place, DJing went from inside the garages of Daly City’s battling crews to a globally revolutionized way of life.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_10345320\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10345320\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2015/01/QBertMain-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/QBertMain.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/QBertMain-400x225.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">DJ QBert. \u003ccite>(Thud Rumble)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>D-Side: Underground Legends\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">If you’ve ever noticed “TDK” tagged on any Bay Area surface, then you’ve likely seen the work of Vogue and \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13863999/dream-day-2019-celebrating-mike-dream-franciscos-50th-birthday\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">the late Mike Dream Francisco\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. They are—in the opinion of every Bay Area graffiti artist I know—two of the most iconic dudes to ever wield cans of aerosol. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">You shouldn’t be surprised to learn that they’re Filipinos. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Here are a few more Pinoy names you may or may not have heard about who have helped to shape, or are currently shaping, Bay Area culture: \u003c/span>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://www.instagram.com/reyresurreccion/?hl=en\">Rey Resurrection\u003c/a>, \u003c/span>\u003ca href=\"https://www.kqed.org/arts/10445851/from-gangs-to-glory-bambus-political-hip-hop-for-the-people\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Bambu\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, Celskiii, Deeandroid, \u003c/span>\u003ca href=\"https://www.instagram.com/dj_bitesize/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">DJ Bitesize\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, and the \u003c/span>\u003ca href=\"https://dothebay.com/artists/knuckle-neck-tribe\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Knuckle Neck Tribe\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And who can forget one of the most influential sound architects of the entire hyphy movement?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Dustin “Nump” Perfetto is a 707 product who has been inside studios with everyone’s favorite musicians, from E-40 to Green Day. \u003ca href=\"https://www.kqed.org/arts/13924042/nump-hyphy-i-gott-grapes-interview\">He operated as the recording engineer\u003c/a> on countless albums from that glorious era in Bay Area music history, including \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Rick Rock Presents Federation: The Album\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, which features the timeless anthem, “\u003ca href=\"https://youtu.be/oe7ohnlZhBc\" target=\"_blank\" rel=\"noopener noreferrer\">Hyphy\u003c/a>.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Filipinos play a major part behind the scenes but it hasn’t always been as popular for us to be mainstream,” Perfetto says. “I won’t stop ’til we get that respect.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13887463\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13887463\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/RubyIbarra.MAIN_.jpg\" alt=\"Ruby Ibarra in an East Bay park.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/RubyIbarra.MAIN_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/RubyIbarra.MAIN_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/RubyIbarra.MAIN_-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ruby Ibarra. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">By promoting his pride in launching his own clothing line, Gorillapino, and collaborating with former and current Fil Am artists (including Ruby Ibarra on her incisive 2017 album, \u003c/span>\u003ca href=\"https://pinoyhiphopsuperstar.com/ruby-ibarra-circa-91-album-review/\">\u003ci>\u003cspan style=\"font-weight: 400\">CIRCA91\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">, which includes extensive verses in Tagalog) Perfetto personifies the undying grit and collective strength of the Fil Am hip hop community that has always been \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=Ccm73eJo2_U\">\u003cspan style=\"font-weight: 400\">“Going Off”\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> for the Bay.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“\u003ca href=\"https://theculturetrip.com/asia/philippines/articles/the-story-of-lapu-lapu-the-legendary-filipino-hero/\" target=\"_blank\" rel=\"noopener noreferrer\">Lapulapu\u003c/a> is the original Filipino warrior who cut off Magellan’s head when they tried to conquer us,” Perfetto says. “That’s the energy I move with. That’s who we are.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Translation: Filipinos stand united for anything they believe in. And local history underscores how they’ve always utilized the powers of music and community for good.\u003c/span>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/xOrYbSM1ArI'\n title='//www.youtube.com/embed/xOrYbSM1ArI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Perfetto and the rest of these artists making waves out here can definitely wreck microphones, but they can just as easily build across communities to reach audiences of any background. More than anything, they represent how the Bay is a soil of innovation and solidarity—how we’re all building towards communal celebration.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We have a lot of similarities with other cultures,” Guapdad reminds me. “It’s just something we need to celebrate more.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"info": "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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"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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"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"soldout": {
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"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
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"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
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"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
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