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"title": "'Black Odyssey' Evokes Emmett Till, Hurricane Katrina... and Homer",
"headTitle": "‘Black Odyssey’ Evokes Emmett Till, Hurricane Katrina… and Homer | KQED",
"content": "\u003cp>The \u003ca href=\"http://www.calshakes.org/\" target=\"_blank\" rel=\"noopener noreferrer\">California Shakespeare Theater\u003c/a>’s West Coast premiere of Marcus Gardley’s \u003cem>Black Odyssey\u003c/em> is a cause for double celebration: one, for the company’s commitment to a Shakespearian tradition that I wish were a vital part of contemporary American theater and isn’t; and, two, for bringing to full life Gardley’s rather astonishing play, which has the scope, breadth, and vision of Shakespeare’s late romances — \u003cem>The Winter’s Tale\u003c/em>, \u003cem>Cymbeline\u003c/em>, and \u003cem>Pericles\u003c/em>.\u003c/p>\n\u003cp>The play’s power derives principally from the fact that Gardley creates a world of high stakes. And as recent events keep on proving, there is no higher stake than being black in America. Without a hint of didacticism, the play lets us see what is both the principal story of our country, and, strangely, the one we keep on missing.\u003c/p>\n\u003cfigure id=\"attachment_13805516\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13805516\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/blackodyssey-e1502778060668-800x450.jpg\" alt=\"(L to R) Great Grand Daddy Deus (Lamont Thompson) and Paw Sidin (Aldo Billingslea) play chess with Ulysses Lincoln's fate.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey-e1502778060668-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey-e1502778060668-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey-e1502778060668-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey-e1502778060668-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey-e1502778060668-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey-e1502778060668-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey-e1502778060668-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey-e1502778060668-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey-e1502778060668-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey-e1502778060668-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Great Grand Daddy Deus (Lamont Thompson) and Paw Sidin (Aldo Billingslea) play chess with Ulysses Lincoln’s fate. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Paying an obvious debt to Homer,\u003cem> Black Odyssey\u003c/em> begins with Ulysses Lincoln (a subtle and assured J. Alphonse Nicholson) drumming on those plastic paint buckets of which BART buskers are so fond. Before we know it, Lincoln is swept off the deck of a ship transporting American soldiers from Afghanistan, the victim of the god Paw Sidin’s wrath for killing one of his many sons. Gardley’s ability to write with a swiftness of purpose and focus is striking. Scenes go by with lightning speed, and yet even his most minor characters are vivid and alive, including the gods.\u003c/p>\n\u003cp>As Lincoln struggles to stay alive, his wife Nella Pell — two months pregnant when he leaves for a six-month tour of duty — waits. Even when informed of Lincoln’s disappearance and obvious death, she refuses to lose faith in her husband’s eventual return. Nella Pell will wait many years, struggling to raise their son Malachai with help from Lincoln’s Aunt Tina, who’s really the goddess Athena in disguise, risking her life and good looks to live among mortals.\u003c/p>\n\u003cp>Lincoln’s journey, which follows Odysseus’ so thoroughly, differs from its source in one striking aspect: Odysseus is a product of the elite, a general and head of state, struggling to regain his rightful return to power. Lincoln, along with his beloved Nella Pell, is an orphan and outcaste whose life is an afterthought to the dramas of the state. One might say that before Lincoln even begins his journey he is lost, both to himself and the world around him. And that for him to be saved and return, he must right the myth that he’s living.\u003c/p>\n\u003cfigure id=\"attachment_13805517\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13805517\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/blackodyssey2-e1502778473288-800x450.jpg\" alt=\"The family that Ulysses Lincoln must return to -- Great Aunt Tina (Margo Hall), Nella Pell (Omoze Idehenre) and Malachai (Michael Curry) -- is threatened by the unscrupulous Johnny Suitor (Aldo Billingslea).\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey2-e1502778473288-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey2-e1502778473288-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey2-e1502778473288-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey2-e1502778473288-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey2-e1502778473288-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey2-e1502778473288-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey2-e1502778473288-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey2-e1502778473288-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey2-e1502778473288-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey2-e1502778473288-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The family that Ulysses Lincoln must return to — Great Aunt Tina (Margo Hall), Nella Pell (Omozé Idehenre) and Malachai (Michael Curry) — is threatened by the unscrupulous Johnny Suitor (Aldo Billingslea). \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For all the pagan gods running around \u003cem>Black Odyssey\u003c/em>, the play is suffused with a stringent and embracing vision of Christian redemption. We will be brought back to a loving god and a world of sense when we give ourselves to the truth and our sins. Lincoln is an epic hero, and a victim of all sorts of situations beyond his control. But, more powerfully, he is flawed and capable of great cruelty. He is not an abstraction, but rather a man. And in that insight, Gardley’s drama always soars.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When Lincoln finds himself lost in an underworld of African-American history unmoored from time — a place where Emmett Till still whistles, Hurricane Katrina never stops flooding New Orleans, the blood of Martin Luther King and Malcolm X hasn’t dried, the Scottsboro boys sit and wait for justice, and the four little girls slaughtered in the 1963 Birmingham church bombing sleep in peace — it is the practical need to make sense of disorder that propels him forward, along with the simple desire that he must return to his family at all costs.\u003c/p>\n\u003cp>The nature of that order is personal, political, and right down to the way the characters speak. After all, language is essential to making sense and locating an authentic self. For a multitude of political reasons, black English is often treated as a derivation of a white standard, but that misses the diversity of black speech itself. In \u003cem>Black Odyssey\u003c/em> you hear all the tenors and rhythms of what one might describe as the polyglot nature of black life in America. Not a derivation, but instead a stunning array of related languages that even African-Americans must at times struggle to navigate.\u003c/p>\n\u003cfigure id=\"attachment_13805519\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13805519\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/black-odyssey1-e1502779008982-800x450.jpg\" alt=\"(L to R) Nella Pell (Omozé Idehenre) and Ulysses Lincoln (J. Alphonse Nicholson) start together but will they end together?\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/black-odyssey1-e1502779008982-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/black-odyssey1-e1502779008982-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/black-odyssey1-e1502779008982-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/black-odyssey1-e1502779008982-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/black-odyssey1-e1502779008982-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/black-odyssey1-e1502779008982-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/black-odyssey1-e1502779008982-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/black-odyssey1-e1502779008982-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/black-odyssey1-e1502779008982-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/black-odyssey1-e1502779008982.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Nella Pell (Omozé Idehenre) and Ulysses Lincoln (J. Alphonse Nicholson) start together but will they end together? \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And so strewn throughout \u003cem>Black Odyssey\u003c/em>, Gardley gives us several languages: those of the church and street, outrage and moral instruction, and finally a language of dreams that imagines a way out of the long nightmare of racial injustice. They all have different qualities and registers and are sometimes in opposition to each other. But it’s Lincoln’s ability to keep all of these languages going at once that finally frees him to rejoin his family and the world.\u003c/p>\n\u003cp>Gardley’s play is a highly unusual triumph. Buoyed by Eric Ting’s sharp, resourceful direction, an amazing cast, and fluid design work, it’s clear that Cal Shakes has found the Shakespearian spirit in our troubling times.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>California Shakespeare Theater’s ‘Black Odyssey’ runs through Sunday, Sep. 3 at the Bruns Amphitheater in Orinda. For tickets and information, \u003ca href=\"http://calshakes.org\">see here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"excerpt": "Marcus Gardley's powerful play creates a world of high stakes. And as recent events prove, there is no higher stake than being black in America.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"http://www.calshakes.org/\" target=\"_blank\" rel=\"noopener noreferrer\">California Shakespeare Theater\u003c/a>’s West Coast premiere of Marcus Gardley’s \u003cem>Black Odyssey\u003c/em> is a cause for double celebration: one, for the company’s commitment to a Shakespearian tradition that I wish were a vital part of contemporary American theater and isn’t; and, two, for bringing to full life Gardley’s rather astonishing play, which has the scope, breadth, and vision of Shakespeare’s late romances — \u003cem>The Winter’s Tale\u003c/em>, \u003cem>Cymbeline\u003c/em>, and \u003cem>Pericles\u003c/em>.\u003c/p>\n\u003cp>The play’s power derives principally from the fact that Gardley creates a world of high stakes. And as recent events keep on proving, there is no higher stake than being black in America. Without a hint of didacticism, the play lets us see what is both the principal story of our country, and, strangely, the one we keep on missing.\u003c/p>\n\u003cfigure id=\"attachment_13805516\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13805516\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/blackodyssey-e1502778060668-800x450.jpg\" alt=\"(L to R) Great Grand Daddy Deus (Lamont Thompson) and Paw Sidin (Aldo Billingslea) play chess with Ulysses Lincoln's fate.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey-e1502778060668-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey-e1502778060668-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey-e1502778060668-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey-e1502778060668-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey-e1502778060668-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey-e1502778060668-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey-e1502778060668-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey-e1502778060668-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey-e1502778060668-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey-e1502778060668-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Great Grand Daddy Deus (Lamont Thompson) and Paw Sidin (Aldo Billingslea) play chess with Ulysses Lincoln’s fate. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Paying an obvious debt to Homer,\u003cem> Black Odyssey\u003c/em> begins with Ulysses Lincoln (a subtle and assured J. Alphonse Nicholson) drumming on those plastic paint buckets of which BART buskers are so fond. Before we know it, Lincoln is swept off the deck of a ship transporting American soldiers from Afghanistan, the victim of the god Paw Sidin’s wrath for killing one of his many sons. Gardley’s ability to write with a swiftness of purpose and focus is striking. Scenes go by with lightning speed, and yet even his most minor characters are vivid and alive, including the gods.\u003c/p>\n\u003cp>As Lincoln struggles to stay alive, his wife Nella Pell — two months pregnant when he leaves for a six-month tour of duty — waits. Even when informed of Lincoln’s disappearance and obvious death, she refuses to lose faith in her husband’s eventual return. Nella Pell will wait many years, struggling to raise their son Malachai with help from Lincoln’s Aunt Tina, who’s really the goddess Athena in disguise, risking her life and good looks to live among mortals.\u003c/p>\n\u003cp>Lincoln’s journey, which follows Odysseus’ so thoroughly, differs from its source in one striking aspect: Odysseus is a product of the elite, a general and head of state, struggling to regain his rightful return to power. Lincoln, along with his beloved Nella Pell, is an orphan and outcaste whose life is an afterthought to the dramas of the state. One might say that before Lincoln even begins his journey he is lost, both to himself and the world around him. And that for him to be saved and return, he must right the myth that he’s living.\u003c/p>\n\u003cfigure id=\"attachment_13805517\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13805517\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/blackodyssey2-e1502778473288-800x450.jpg\" alt=\"The family that Ulysses Lincoln must return to -- Great Aunt Tina (Margo Hall), Nella Pell (Omoze Idehenre) and Malachai (Michael Curry) -- is threatened by the unscrupulous Johnny Suitor (Aldo Billingslea).\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey2-e1502778473288-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey2-e1502778473288-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey2-e1502778473288-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey2-e1502778473288-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey2-e1502778473288-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey2-e1502778473288-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey2-e1502778473288-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey2-e1502778473288-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey2-e1502778473288-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey2-e1502778473288-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The family that Ulysses Lincoln must return to — Great Aunt Tina (Margo Hall), Nella Pell (Omozé Idehenre) and Malachai (Michael Curry) — is threatened by the unscrupulous Johnny Suitor (Aldo Billingslea). \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For all the pagan gods running around \u003cem>Black Odyssey\u003c/em>, the play is suffused with a stringent and embracing vision of Christian redemption. We will be brought back to a loving god and a world of sense when we give ourselves to the truth and our sins. Lincoln is an epic hero, and a victim of all sorts of situations beyond his control. But, more powerfully, he is flawed and capable of great cruelty. He is not an abstraction, but rather a man. And in that insight, Gardley’s drama always soars.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When Lincoln finds himself lost in an underworld of African-American history unmoored from time — a place where Emmett Till still whistles, Hurricane Katrina never stops flooding New Orleans, the blood of Martin Luther King and Malcolm X hasn’t dried, the Scottsboro boys sit and wait for justice, and the four little girls slaughtered in the 1963 Birmingham church bombing sleep in peace — it is the practical need to make sense of disorder that propels him forward, along with the simple desire that he must return to his family at all costs.\u003c/p>\n\u003cp>The nature of that order is personal, political, and right down to the way the characters speak. After all, language is essential to making sense and locating an authentic self. For a multitude of political reasons, black English is often treated as a derivation of a white standard, but that misses the diversity of black speech itself. In \u003cem>Black Odyssey\u003c/em> you hear all the tenors and rhythms of what one might describe as the polyglot nature of black life in America. Not a derivation, but instead a stunning array of related languages that even African-Americans must at times struggle to navigate.\u003c/p>\n\u003cfigure id=\"attachment_13805519\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13805519\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/black-odyssey1-e1502779008982-800x450.jpg\" alt=\"(L to R) Nella Pell (Omozé Idehenre) and Ulysses Lincoln (J. Alphonse Nicholson) start together but will they end together?\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/black-odyssey1-e1502779008982-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/black-odyssey1-e1502779008982-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/black-odyssey1-e1502779008982-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/black-odyssey1-e1502779008982-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/black-odyssey1-e1502779008982-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/black-odyssey1-e1502779008982-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/black-odyssey1-e1502779008982-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/black-odyssey1-e1502779008982-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/black-odyssey1-e1502779008982-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/black-odyssey1-e1502779008982.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Nella Pell (Omozé Idehenre) and Ulysses Lincoln (J. Alphonse Nicholson) start together but will they end together? \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And so strewn throughout \u003cem>Black Odyssey\u003c/em>, Gardley gives us several languages: those of the church and street, outrage and moral instruction, and finally a language of dreams that imagines a way out of the long nightmare of racial injustice. They all have different qualities and registers and are sometimes in opposition to each other. But it’s Lincoln’s ability to keep all of these languages going at once that finally frees him to rejoin his family and the world.\u003c/p>\n\u003cp>Gardley’s play is a highly unusual triumph. Buoyed by Eric Ting’s sharp, resourceful direction, an amazing cast, and fluid design work, it’s clear that Cal Shakes has found the Shakespearian spirit in our troubling times.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>California Shakespeare Theater’s ‘Black Odyssey’ runs through Sunday, Sep. 3 at the Bruns Amphitheater in Orinda. For tickets and information, \u003ca href=\"http://calshakes.org\">see here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Netflix’s rendezvous with comedian Ali Wong will soon be extended into a full-fledged partnership.\u003c/p>\n\u003cp>\u003ca href=\"http://deadline.com/2017/08/ali-wong-randall-park-set-to-star-in-netflix-feature-1202149133/\" target=\"_blank\" rel=\"noopener\">Deadline reports\u003c/a> that Netflix has picked up a rom-com starring Wong and Randall Park (\u003cem>Fresh off the Boat\u003c/em>). The untitled feature comedy, which the duo wrote with playwright and screenwriter Michael Golamco (\u003cem>Grimm\u003c/em>), has yet to find a director.\u003c/p>\n\u003cp>The film will find Wong — who previously worked as a staff writer and consultant on Boat — and Park playing “two childhood friends who find themselves in vastly different socioeconomic situations when they fall in love as adults,” according to the report.\u003c/p>\n\u003cp>For those keeping score at home, she proposed the possibility of an Asian-American version of \u003cem>When Harry Met Sally\u003c/em> — starring the two longtime friends —in an interview with the \u003cem>New Yorker\u003c/em> last year.\u003c/p>\n\u003cp>This will be Wong’s first (starring role in a) feature film, and her second collaboration with Netflix, following her 2016 standup special \u003cem>Baby Cobra\u003c/em>. Wong will be returning to her hometown on Aug. 19 to perform at the Masonic.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Netflix’s rendezvous with comedian Ali Wong will soon be extended into a full-fledged partnership.\u003c/p>\n\u003cp>\u003ca href=\"http://deadline.com/2017/08/ali-wong-randall-park-set-to-star-in-netflix-feature-1202149133/\" target=\"_blank\" rel=\"noopener\">Deadline reports\u003c/a> that Netflix has picked up a rom-com starring Wong and Randall Park (\u003cem>Fresh off the Boat\u003c/em>). The untitled feature comedy, which the duo wrote with playwright and screenwriter Michael Golamco (\u003cem>Grimm\u003c/em>), has yet to find a director.\u003c/p>\n\u003cp>The film will find Wong — who previously worked as a staff writer and consultant on Boat — and Park playing “two childhood friends who find themselves in vastly different socioeconomic situations when they fall in love as adults,” according to the report.\u003c/p>\n\u003cp>For those keeping score at home, she proposed the possibility of an Asian-American version of \u003cem>When Harry Met Sally\u003c/em> — starring the two longtime friends —in an interview with the \u003cem>New Yorker\u003c/em> last year.\u003c/p>\n\u003cp>This will be Wong’s first (starring role in a) feature film, and her second collaboration with Netflix, following her 2016 standup special \u003cem>Baby Cobra\u003c/em>. Wong will be returning to her hometown on Aug. 19 to perform at the Masonic.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Oakland Singer Songwriter Dave Deporis, 40, lost his life last week while trying to recover his music from a thief.\u003c/p>\n\u003cp>According to friends, Deporis’ music — including his most recent recordings from a New York studio session — was on his laptop. A thief snatched the computer from a cafe table where Deporis was working near 42\u003csup>nd\u003c/sup> and Telegraph Avenue in Oakland.\u003c/p>\n\u003cp>Deporis gave chase, grabbed hold of the car into which the thief took off, and ended up being dragged along behind the vehicle \u003ca href=\"http://www.nbcbayarea.com/news/local/Oakland-Musician-Killed-After-Being-Robbed-Dragged-From-Car-Remembered-as-Powerful-and-Imaginative-439709423.html\" target=\"_blank\" rel=\"noopener noreferrer\">for 200 yards\u003c/a>. Caught under the car, he suffered traumatic injuries and was pronounced dead last Wednesday.\u003c/p>\n\u003cp>Friends of Deporis erected a memorial of stacked rocks, candles, and a metal sculpture of a man playing the guitar.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.eastbayexpress.com/CultureSpyBlog/archives/2017/08/11/family-friends-launch-gofundme-page-to-release-albums-by-slain-oakland-musician-dave-deporis\" target=\"_blank\" rel=\"noopener noreferrer\">East Bay Express report\u003c/a>ed that Councilman Dan Kalb called Deporis’ death heart wrenching.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Musicians who knew Deporis, like singer songwriter Regina Spektor, posted their remembrances on social media.\u003c/p>\n\u003cp>https://twitter.com/respektor/status/895516937748348929\u003c/p>\n\u003cp>KQED reached out to Brooklyn record producer Gabriel Galvin, a childhood friend of Deporis. Despite Deporis’ folk-tinged voice, Galvin said at his core, the musician was a punk rock artist, and that although he performed alone with his guitar, he had always envisioned the songs being performed and recorded with a band.\u003c/p>\n\u003cp>“Every time he actually went into a studio to record a record, he would try and put a band together,” Galvin said.\u003c/p>\n\u003cp>Galvin said that at the time of his death, Deporis was focused more than ever on getting his new material released and had been taking his laptop with him everywhere to work on it. Galvin said the new album was supposed to include electronic elements and synthesizers and “weird ambient atmospheric nuances.”\u003c/p>\n\u003caside class=\"aligncenter noborder\">\nhttps://vimeo.com/166310331\u003cbr>\n\u003c/aside>\n\u003cp>Other friends of Deporis have started a \u003ca href=\"https://www.gofundme.com/memorial-and-music-fund-for-dave\" target=\"_blank\" rel=\"noopener noreferrer\">GoFundMe site\u003c/a> to raise money to release a posthumous collection of Deporis’ songs.\u003c/p>\n\u003cp>Ian Petrich, a friend of Deporis who started the fundraiser, said Deporis’ family possesses three albums worth of the late musician’s recordings that will be woven together into a compilation album, \u003ca href=\"https://www.eastbayexpress.com/CultureSpyBlog/archives/2017/08/11/family-friends-launch-gofundme-page-to-release-albums-by-slain-oakland-musician-dave-deporis\" target=\"_blank\" rel=\"noopener noreferrer\">to be released on CD and vinyl.\u003c/a> The album will be curated by his family and friends.\u003c/p>\n\u003cp>Galvin said the late musician’s work may not be completely lost as he believes Deporis made a backup. He said last time he saw Deporis in New York in April shortly before returned to California, he had an external hard drive with him. For those organizing an archive of his music, that external hard drive would be an important find.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A public memorial for Deporis has been scheduled \u003ca href=\"https://www.facebook.com/events/1438687246185834/?acontext=%7B%22action_history%22%3A%22%5B%7B%5C%22surface%5C%22%3A%5C%22page%5C%22%2C%5C%22mechanism%5C%22%3A%5C%22page_upcoming_events_card%5C%22%2C%5C%22extra_data%5C%22%3A%5B%5D%7D%5D%22%2C%22has_source%22%3Atrue%7D\" target=\"_blank\" rel=\"noopener noreferrer\">for Saturday, Sept. 9\u003c/a> at Sol Gate Studios in West Oakland. Details about this and other events can be found on this\u003ca href=\"https://www.facebook.com/davewholovesthesky\" target=\"_blank\" rel=\"noopener noreferrer\"> Facebook page\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>KQED reached out to Brooklyn record producer Gabriel Galvin, a childhood friend of Deporis. Despite Deporis’ folk-tinged voice, Galvin said at his core, the musician was a punk rock artist, and that although he performed alone with his guitar, he had always envisioned the songs being performed and recorded with a band.\u003c/p>\n\u003cp>“Every time he actually went into a studio to record a record, he would try and put a band together,” Galvin said.\u003c/p>\n\u003cp>Galvin said that at the time of his death, Deporis was focused more than ever on getting his new material released and had been taking his laptop with him everywhere to work on it. Galvin said the new album was supposed to include electronic elements and synthesizers and “weird ambient atmospheric nuances.”\u003c/p>\n\u003caside class=\"aligncenter noborder\">\nhttps://vimeo.com/166310331\u003cbr>\n\u003c/aside>\n\u003cp>Other friends of Deporis have started a \u003ca href=\"https://www.gofundme.com/memorial-and-music-fund-for-dave\" target=\"_blank\" rel=\"noopener noreferrer\">GoFundMe site\u003c/a> to raise money to release a posthumous collection of Deporis’ songs.\u003c/p>\n\u003cp>Ian Petrich, a friend of Deporis who started the fundraiser, said Deporis’ family possesses three albums worth of the late musician’s recordings that will be woven together into a compilation album, \u003ca href=\"https://www.eastbayexpress.com/CultureSpyBlog/archives/2017/08/11/family-friends-launch-gofundme-page-to-release-albums-by-slain-oakland-musician-dave-deporis\" target=\"_blank\" rel=\"noopener noreferrer\">to be released on CD and vinyl.\u003c/a> The album will be curated by his family and friends.\u003c/p>\n\u003cp>Galvin said the late musician’s work may not be completely lost as he believes Deporis made a backup. He said last time he saw Deporis in New York in April shortly before returned to California, he had an external hard drive with him. For those organizing an archive of his music, that external hard drive would be an important find.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A public memorial for Deporis has been scheduled \u003ca href=\"https://www.facebook.com/events/1438687246185834/?acontext=%7B%22action_history%22%3A%22%5B%7B%5C%22surface%5C%22%3A%5C%22page%5C%22%2C%5C%22mechanism%5C%22%3A%5C%22page_upcoming_events_card%5C%22%2C%5C%22extra_data%5C%22%3A%5B%5D%7D%5D%22%2C%22has_source%22%3Atrue%7D\" target=\"_blank\" rel=\"noopener noreferrer\">for Saturday, Sept. 9\u003c/a> at Sol Gate Studios in West Oakland. Details about this and other events can be found on this\u003ca href=\"https://www.facebook.com/davewholovesthesky\" target=\"_blank\" rel=\"noopener noreferrer\"> Facebook page\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Prince was multi-chromatic; a comedian who said as few words as possible, an androgynous sex symbol, a devout mischief-maker, an artist who fused disparate styles — soul and rhythm and blues and rock solos and reedy electronics — into one squarely his own, painted with a palette no one had even noticed.\u003c/p>\n\u003cp>Regardless, we call him The Purple One for good reason. And now, thanks to a deal between his increasingly license-happy estate and the Pantone Color Institute, he has his own, specific, kingly shade.\u003c/p>\n\u003cfigure id=\"attachment_13805451\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/prince-purple-pantone_custom-2516d901de430e78d04c68ee4128068bbb907ea1.jpg\" alt=\"Love Symbol #2, a color developed by Pantone in collaboration with the estate of Prince Rogers Nelson.\" width=\"200\" height=\"291\" class=\"size-full wp-image-13805451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/prince-purple-pantone_custom-2516d901de430e78d04c68ee4128068bbb907ea1.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/prince-purple-pantone_custom-2516d901de430e78d04c68ee4128068bbb907ea1-160x233.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Love Symbol #2, a color developed by Pantone in collaboration with the estate of Prince Rogers Nelson. \u003ccite>(Courtesy of Pantone)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“While the spectrum of the color purple will still be used in respect to the ‘Purple One,’ Love Symbol #2 will be the official color across the brand he left behind,” a statement reads. The color was inspired by the hue of a piano he’d planned to take on tour, before passing away on April 21, 2016.\u003c/p>\n\u003cp>Love Symbol #2 was the name Prince gave to his copyrighted symbol, which made its first appearance on 1992’s \u003cem>Love Symbol Album\u003c/em>. One year later, after reaching peak frustration with Warner Bros., his label home for many, many years, Prince changed his name to the graphic portmanteau.\u003c/p>\n\u003cp>Not wanting to leave the press out in the lurch with regard to covering him, Prince sent around \u003ca href=\"http://anildash.com/2014/06/my-favorite-floppy-of-all-time.html\">floppy disks\u003c/a> containing\u003cstrong> \u003c/strong>a font that had just one character: his own. They eventually settled, for the most part, on the far-less elegant “Artist Formerly Known As Prince.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Prince+Gets+His+Own+Purple&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Prince was multi-chromatic; a comedian who said as few words as possible, an androgynous sex symbol, a devout mischief-maker, an artist who fused disparate styles — soul and rhythm and blues and rock solos and reedy electronics — into one squarely his own, painted with a palette no one had even noticed.\u003c/p>\n\u003cp>Regardless, we call him The Purple One for good reason. And now, thanks to a deal between his increasingly license-happy estate and the Pantone Color Institute, he has his own, specific, kingly shade.\u003c/p>\n\u003cfigure id=\"attachment_13805451\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/prince-purple-pantone_custom-2516d901de430e78d04c68ee4128068bbb907ea1.jpg\" alt=\"Love Symbol #2, a color developed by Pantone in collaboration with the estate of Prince Rogers Nelson.\" width=\"200\" height=\"291\" class=\"size-full wp-image-13805451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/prince-purple-pantone_custom-2516d901de430e78d04c68ee4128068bbb907ea1.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/prince-purple-pantone_custom-2516d901de430e78d04c68ee4128068bbb907ea1-160x233.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Love Symbol #2, a color developed by Pantone in collaboration with the estate of Prince Rogers Nelson. \u003ccite>(Courtesy of Pantone)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“While the spectrum of the color purple will still be used in respect to the ‘Purple One,’ Love Symbol #2 will be the official color across the brand he left behind,” a statement reads. The color was inspired by the hue of a piano he’d planned to take on tour, before passing away on April 21, 2016.\u003c/p>\n\u003cp>Love Symbol #2 was the name Prince gave to his copyrighted symbol, which made its first appearance on 1992’s \u003cem>Love Symbol Album\u003c/em>. One year later, after reaching peak frustration with Warner Bros., his label home for many, many years, Prince changed his name to the graphic portmanteau.\u003c/p>\n\u003cp>Not wanting to leave the press out in the lurch with regard to covering him, Prince sent around \u003ca href=\"http://anildash.com/2014/06/my-favorite-floppy-of-all-time.html\">floppy disks\u003c/a> containing\u003cstrong> \u003c/strong>a font that had just one character: his own. They eventually settled, for the most part, on the far-less elegant “Artist Formerly Known As Prince.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Prince+Gets+His+Own+Purple&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Netflix has lured Shonda Rhimes, the well-regarded creator of TV series \u003cem>Scandal\u003c/em> and \u003cem>Grey’s Anatomy\u003c/em>, from ABC — announcing its scoop just days after ABC owner Disney laid out plans to pull programming from Netflix.\u003c/p>\n\u003cp>Netflix said Rhimes’ Shondaland production company is moving to Netflix for a multi-year deal. New ideas and projects from Rhimes and her producing partner, Betsy Beers, will be available on the streaming service.\u003c/p>\n\u003cp>But her existing, well-known shows — \u003cem>Grey’s Anatomy\u003c/em>, \u003cem>Scandal\u003c/em> and \u003cem>How to Get Away With Murder\u003c/em> — will remain on the network. Upcoming Shondaland projects already in the works, like the drama \u003cem>For the People\u003c/em> and a \u003cem>Grey’s\u003c/em> spinoff, will also still stay with ABC. Rhimes has had exclusive deals with ABC Studios for nearly 15 years.\u003c/p>\n\u003cp>ABC Entertainment president Channing Dungey said “fans can rest assured” that the network’s Thursday night lineup of Rhimes-produced shows “remains intact and will be as buzzed about as ever.” Rhimes’ shows have been among ABC’s top-rated series.\u003c/p>\n\u003cp>“I’m proud to have given a home to what have become some of the most celebrated and talked about shows on television,” Dungey said in an emailed statement.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Financial terms of the Netflix deal weren’t disclosed, nor were details on how long Rhimes and her company will produce series for Netflix.\u003c/p>\n\u003cp>The announcement late Sunday came just days after Disney said it was creating a new streaming service of its own for kids and launching an online-subscription version of ESPN.\u003c/p>\n\u003cp>Disney said it will pull Disney and Pixar movies and shows from Netflix for the new service aimed at kids, expected to launch in 2019. ABC shows won’t be included, but Disney has hinted that it could shift more content to this new model. Disney is also launching an ESPN streaming service, without pro football and basketball, early next year. It has said it might also sell the full ESPN channel directly to viewers online if viewership disintegrates; currently, a cable or satellite subscription is required.\u003c/p>\n\u003cp>Disney is setting itself up for the future as ratings for traditional TV have suffered. Competition for viewers is increasing and attention is shifting online, where video can be watched on a viewer’s schedule — an option Netflix has taught viewers to love.\u003c/p>\n\u003cp>ABC ended the traditional TV season in May at the No. 3 slot among the big broadcasters and down 9 percent in the ratings, according to Nielsen. It’s rebooting \u003cem>Roseanne\u003c/em> and \u003cem>American Idol\u003c/em> in the 2017-18 season and bringing back popular comedies \u003cem>black-ish\u003c/em> and \u003cem>Modern Family\u003c/em>.\u003c/p>\n\u003cp>Netflix continues to invest in more original programming to win those eyeballs. It’s not competing with just cable anymore. Traditional TV companies have launched or are planning a slew of streaming services , and tech companies like Amazon and Google’s YouTube have as well. In the past few weeks, Netflix has signed up David Letterman and bought a comic book publisher to turn its characters into movies and shows.\u003c/p>\n\u003cp>Rhimes wrote in a statement that she was grateful to ABC for giving her career a start, but she was looking forward to expanding her audience and “creative identity” with Netflix. “Starting today, we are thrilled to begin creating new Shondaland stories with Netflix,” she wrote.\u003c/p>\n\u003cp>She said that she and Netflix Chief Content Officer Ted Sarandos had developed a plan for the next phase of Rhimes’ career. She said Netflix offered her and her team “limitless possibilities.”\u003c/p>\n\u003cp>“I’ve gotten the chance to know Shonda and she’s a true Netflixer at heart — she loves TV and films, she cares passionately about her work, and she delivers for her audience,” Sarandos wrote.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Rhimes, 47, has been nominated for three Emmy Awards, all for her work on \u003cem>Grey’s Anatomy\u003c/em>. The long-running series begins its 14th season next month. \u003cem>Scandal\u003c/em> will return for its seventh and final season in October.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Netflix has lured Shonda Rhimes, the well-regarded creator of TV series \u003cem>Scandal\u003c/em> and \u003cem>Grey’s Anatomy\u003c/em>, from ABC — announcing its scoop just days after ABC owner Disney laid out plans to pull programming from Netflix.\u003c/p>\n\u003cp>Netflix said Rhimes’ Shondaland production company is moving to Netflix for a multi-year deal. New ideas and projects from Rhimes and her producing partner, Betsy Beers, will be available on the streaming service.\u003c/p>\n\u003cp>But her existing, well-known shows — \u003cem>Grey’s Anatomy\u003c/em>, \u003cem>Scandal\u003c/em> and \u003cem>How to Get Away With Murder\u003c/em> — will remain on the network. Upcoming Shondaland projects already in the works, like the drama \u003cem>For the People\u003c/em> and a \u003cem>Grey’s\u003c/em> spinoff, will also still stay with ABC. Rhimes has had exclusive deals with ABC Studios for nearly 15 years.\u003c/p>\n\u003cp>ABC Entertainment president Channing Dungey said “fans can rest assured” that the network’s Thursday night lineup of Rhimes-produced shows “remains intact and will be as buzzed about as ever.” Rhimes’ shows have been among ABC’s top-rated series.\u003c/p>\n\u003cp>“I’m proud to have given a home to what have become some of the most celebrated and talked about shows on television,” Dungey said in an emailed statement.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Financial terms of the Netflix deal weren’t disclosed, nor were details on how long Rhimes and her company will produce series for Netflix.\u003c/p>\n\u003cp>The announcement late Sunday came just days after Disney said it was creating a new streaming service of its own for kids and launching an online-subscription version of ESPN.\u003c/p>\n\u003cp>Disney said it will pull Disney and Pixar movies and shows from Netflix for the new service aimed at kids, expected to launch in 2019. ABC shows won’t be included, but Disney has hinted that it could shift more content to this new model. Disney is also launching an ESPN streaming service, without pro football and basketball, early next year. It has said it might also sell the full ESPN channel directly to viewers online if viewership disintegrates; currently, a cable or satellite subscription is required.\u003c/p>\n\u003cp>Disney is setting itself up for the future as ratings for traditional TV have suffered. Competition for viewers is increasing and attention is shifting online, where video can be watched on a viewer’s schedule — an option Netflix has taught viewers to love.\u003c/p>\n\u003cp>ABC ended the traditional TV season in May at the No. 3 slot among the big broadcasters and down 9 percent in the ratings, according to Nielsen. It’s rebooting \u003cem>Roseanne\u003c/em> and \u003cem>American Idol\u003c/em> in the 2017-18 season and bringing back popular comedies \u003cem>black-ish\u003c/em> and \u003cem>Modern Family\u003c/em>.\u003c/p>\n\u003cp>Netflix continues to invest in more original programming to win those eyeballs. It’s not competing with just cable anymore. Traditional TV companies have launched or are planning a slew of streaming services , and tech companies like Amazon and Google’s YouTube have as well. In the past few weeks, Netflix has signed up David Letterman and bought a comic book publisher to turn its characters into movies and shows.\u003c/p>\n\u003cp>Rhimes wrote in a statement that she was grateful to ABC for giving her career a start, but she was looking forward to expanding her audience and “creative identity” with Netflix. “Starting today, we are thrilled to begin creating new Shondaland stories with Netflix,” she wrote.\u003c/p>\n\u003cp>She said that she and Netflix Chief Content Officer Ted Sarandos had developed a plan for the next phase of Rhimes’ career. She said Netflix offered her and her team “limitless possibilities.”\u003c/p>\n\u003cp>“I’ve gotten the chance to know Shonda and she’s a true Netflixer at heart — she loves TV and films, she cares passionately about her work, and she delivers for her audience,” Sarandos wrote.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Rhimes, 47, has been nominated for three Emmy Awards, all for her work on \u003cem>Grey’s Anatomy\u003c/em>. The long-running series begins its 14th season next month. \u003cem>Scandal\u003c/em> will return for its seventh and final season in October.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Outside Lands 2017: Saturday's Music Highlights and Photo Gallery",
"headTitle": "Outside Lands 2017: Saturday’s Music Highlights and Photo Gallery | KQED",
"content": "\u003cp>The second day of Outside Lands was even more eclectic — and hectic — than the first, as the musical lineup brought out interesting cross-sections of Bay Area subcultures. Metalheads partied with ravers in unicorn onesies; college students and first-time festival-goers could both be spotted having sensory overload.\u003c/p>\n\u003cp>Although the \u003ca href=\"https://www.washingtonpost.com/local/fights-in-advance-of-saturday-protest-in-charlottesville/2017/08/12/155fb636-7f13-11e7-83c7-5bd5460f0d7e_story.html?utm_term=.a2b98a9fc2e6\" target=\"_blank\" rel=\"noopener\">tragic news from the Charlottesville protests\u003c/a> was fresh in revelers’ minds, Saturday’s performers were much less bold with their commentary than artists like Noname and Henry Rollins had been on Friday. Instead of specifically calling out white supremacists, or mentioning Donald Trump by name, some bands called for unity through music while many said nothing at all. The lack of overt acknowledgement might have felt disappointing for those checking the news throughout the day, but if anything, the festival offered a momentary escape from turmoil.\u003c/p>\n\u003cp>[gallery type=\"slideshow\" size=\"full\" ids=\"13805324,13805323,13805322,13805321,13805317,13805318,13805319,13805320,13805316,13805315,13805314,13805313,13805309,13805310,13805311,13805312,13805308,13805307,13805306,13805305,13805301,13805302,13805303,13805304,13805300,13805299,13805298,13805297,13805293,13805294,13805295,13805296,13805292,13805291,13805290,13805289,13805284,13805285,13805286,13805287,13805283,13805282,13805281,13805280,13805276,13805277,13805278,13805279\" orderby=\"rand\"]\u003c/p>\n\u003cp>Check out our highlights from Saturday at Outside Lands below, and see coverage from Friday \u003ca href=\"https://ww2.kqed.org/arts/2017/08/12/outside-lands-2017-fridays-music-highlights-and-photo-gallery/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13805308\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Survive-2-800x533.jpg\" alt=\"Survive performs at the Outside Lands music festival in San Francisco, Aug. 12, 2017.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13805308\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Survive-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Survive-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Survive-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Survive-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Survive-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Survive-2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Survive-2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Survive-2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Survive-2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Survive-2-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Survive performs at the Outside Lands music festival in San Francisco, Aug. 12, 2017. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>S U R V I V E\u003c/h2>\n\u003cp>S U R V I V E’s Saturday afternoon set was gear-nerd heaven. The four members of the Austin synthwave quartet stood side-by-side behind forward-facing desks as each musician plugged away at his respective vintage synthesizer. Each looked so lost in what they were doing that they didn’t pay each other — or the audience — much notice. But while they barely communicated, their timing and coordination were impeccable, with pounding electronic instrumentals sounding straight out of an ’80s sci-fi film — calling to mind \u003cem>Blade Runner\u003c/em> and \u003cem>Tron\u003c/em>. (It’s no wonder that S U R V I V E’s Michael Stein and Kyle Dixon composed and performed the \u003ca href=\"https://www.youtube.com/watch?v=5fkN73uEMYw&list=PLHM5aY6TFqReJYC-C_TZ4ftbcs-lYkZEh\" target=\"_blank\" rel=\"noopener\">soundtrack for \u003cem>Stranger Things\u003c/em>\u003c/a>.) As the band’s set progressed, the bass became physically palpable as their synths swelled to epic crescendos. Instead of dancing, the audience stood transfixed, watching the enigmatic musicians in awe.\u003c/p>\n\u003cfigure id=\"attachment_13805280\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/MG_5403-800x533.jpg\" alt=\"The crowd at the Outside Lands music festival in San Francisco, Aug. 12, 2017.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13805280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5403-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5403-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5403-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5403-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5403.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5403-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5403-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5403-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5403-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5403-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the Outside Lands music festival in San Francisco, Aug. 12, 2017. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Kaytranada\u003c/h2>\n\u003cp>While Canadian producer Kaytranada unassumingly bobbed his head behind his laptop, his house-inflected beats sent his audience into an ecstatic frenzy. People crowd-surfed, high-fived strangers, and enthusiastically cheered on each other’s dance moves. A group of 20 or so college bro types joined together in a giant group hug that culminated with one guy trust-falling off his friend’s shoulders into the audience. It’s these kinds of communal exchanges of energy that make trudging through crowds at festivals worth it. Kaytranada played standout tracks from his acclaimed 2016 album, \u003cem>99.9%\u003c/em>, as well as original remixes and instrumentals. His club version of Solange’s “Cranes in the Sky” offered a momentary emotional release (and whetted the audience’s palate for Solange’s Sunday performance). Pulsing, four-on-the-floor beats like “You’re the One” featuring SYD turned the party up yet another notch. Kaytranada’s set was also a rare opportunity to hear the deep-house instrumentals that made his Boiler Room set one of the \u003ca href=\"https://www.youtube.com/watch?v=-5EQIiabJvk\" target=\"_blank\" rel=\"noopener\">most-viewed of all time on YouTube\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13805314\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/The-Avett-Brothers-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-800x533.jpg\" alt=\"The Avett Brothers performs at the Outside Lands music festival in San Francisco, Aug. 12, 2017.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13805314\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/The-Avett-Brothers-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/The-Avett-Brothers-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/The-Avett-Brothers-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/The-Avett-Brothers-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/The-Avett-Brothers-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/The-Avett-Brothers-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/The-Avett-Brothers-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/The-Avett-Brothers-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/The-Avett-Brothers-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/The-Avett-Brothers-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Avett Brothers performs at the Outside Lands music festival in San Francisco, Aug. 12, 2017. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Avett Brothers\u003c/h2>\n\u003cp>The Avett Brothers sure can shred. The North Carolinian seven-piece, led by brothers Scott and Seth Avett, delivered an electrifying performance of country, bluegrass, indie folk, and Southern rock, expanding their twangy melodies into full-out jam sessions. With banjo, guitar, organ, and a full string section, the brothers evolved “Ain’t No Man,” a vigorous stomp with lyrics about independence and self-determination, into a blitz of jovial instrumentation in the vein of Creedence Clearwater Revival and Janis Joplin. During a couple climactic points in the show, Scott Avett sang so fast that his vocals morphed into country-style rapping — an unexpected twist that was met with plenty of cheers. The brothers also nailed \u003ca href=\"https://youtu.be/N5suDkY4kzY\" target=\"_blank\" rel=\"noopener\">a cover of Soundgarden’s “Black Hole Sun”\u003c/a> (“We’re gonna do one by some heroes of ours,” Scott Avett said, in a nod to the \u003ca href=\"http://www.rollingstone.com/music/news/soundgardens-chris-cornell-dead-at-52-w482882\" target=\"_blank\" rel=\"noopener\">recently departed Chris Cornell\u003c/a>) before closing the night with their ballad “No Hard Feelings.”\u003c/p>\n\u003cfigure id=\"attachment_13805303\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Metallica-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-800x533.jpg\" alt=\"Metallica performs at the Outside Lands music festival in San Francisco, Aug. 12, 2017.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13805303\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Metallica-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Metallica-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Metallica-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Metallica-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Metallica-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Metallica-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Metallica-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Metallica-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Metallica-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Metallica-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Metallica performs at the Outside Lands music festival in San Francisco, Aug. 12, 2017. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Metallica\u003c/h2>\n\u003cp>Given the disheartening news from Charlottesville, it was refreshing to hear James Hetfield, the lead singer of Metallica, pointedly declare his gratitude to see “all different styles of music and all kinds of people” at Outside Lands. “We’re here to celebrate life,” he growled into the mic before launching into a two-hour headlining set complete with pyrotechnics, fireworks, and an incredible light show. With 30-plus years in the game, Metallica are masters of entertainment. Hetfield’s onstage demeanor was friendly and effusive — though still tough — and he undoubtedly converted plenty of casual listeners into enthusiastic fans. At one point, he even shouted out two blue- and green-haired elementary schoolers in the front row with their proud metalhead dad. During “Master of Puppets,” red laser beams emanated from the stage, enveloping the audience in a psychedelic grid that changed shape in time with Kirk Hammett’s explosive guitar solo. Sadly, there was no surprise Lady Gaga appearance as rumored for “Moth in the Flame,” which she \u003ca href=\"https://www.youtube.com/watch?v=pdxyVnJMg64\" target=\"_blank\" rel=\"noopener\">performed with the band\u003c/a> at this year’s Grammys. But the ending of Metallica’s set was unforgettable nonetheless, with fireworks and an extended, fiery rendition of “Enter Sandman” that had everyone screaming for an encore.\u003c/p>\n\u003cfigure id=\"attachment_13805282\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/MG_5832-800x533.jpg\" alt=\"The crowd at the Outside Lands music festival in San Francisco, Aug. 12, 2017.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13805282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5832-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5832-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5832-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5832-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5832.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5832-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5832-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5832-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5832-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5832-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the Outside Lands music festival in San Francisco, Aug. 12, 2017. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Bomba Estéreo\u003c/h2>\n\u003cp>Li Saumet, vocalist of Colombian band Bomba Estéreo, shook her neon-orange mane as she danced across the stage in a trailing pink cape. Her colorful look was the personification of Bomba Estéreo’s high-energy set: A fusion of electro-pop, Cumbia, and moombahton that basically sounds like what would happen if The Knife partied in Miami with Pitbull for a weekend. Bomba Estéreo preaches a message of peace and unity through music; the audience pulsated along to “Internacionales,” a track about dance as an international language, as Saumet instructed \u003cem>Baila! Baila!\u003c/em> in Spanish. “It doesn’t matter if you don’t speak Spanish, you can feel it,” she announced to the eager crowd. The audience and band’s enthusiasm created a positive feedback loop that lasted through the duration of the set.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "Saturday's highlights at Outside Lands included Metallica, Kaytranada, the Avett Brothers, Bomba Estéreo and more.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The second day of Outside Lands was even more eclectic — and hectic — than the first, as the musical lineup brought out interesting cross-sections of Bay Area subcultures. Metalheads partied with ravers in unicorn onesies; college students and first-time festival-goers could both be spotted having sensory overload.\u003c/p>\n\u003cp>Although the \u003ca href=\"https://www.washingtonpost.com/local/fights-in-advance-of-saturday-protest-in-charlottesville/2017/08/12/155fb636-7f13-11e7-83c7-5bd5460f0d7e_story.html?utm_term=.a2b98a9fc2e6\" target=\"_blank\" rel=\"noopener\">tragic news from the Charlottesville protests\u003c/a> was fresh in revelers’ minds, Saturday’s performers were much less bold with their commentary than artists like Noname and Henry Rollins had been on Friday. Instead of specifically calling out white supremacists, or mentioning Donald Trump by name, some bands called for unity through music while many said nothing at all. The lack of overt acknowledgement might have felt disappointing for those checking the news throughout the day, but if anything, the festival offered a momentary escape from turmoil.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Check out our highlights from Saturday at Outside Lands below, and see coverage from Friday \u003ca href=\"https://ww2.kqed.org/arts/2017/08/12/outside-lands-2017-fridays-music-highlights-and-photo-gallery/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13805308\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Survive-2-800x533.jpg\" alt=\"Survive performs at the Outside Lands music festival in San Francisco, Aug. 12, 2017.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13805308\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Survive-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Survive-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Survive-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Survive-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Survive-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Survive-2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Survive-2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Survive-2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Survive-2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Survive-2-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Survive performs at the Outside Lands music festival in San Francisco, Aug. 12, 2017. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>S U R V I V E\u003c/h2>\n\u003cp>S U R V I V E’s Saturday afternoon set was gear-nerd heaven. The four members of the Austin synthwave quartet stood side-by-side behind forward-facing desks as each musician plugged away at his respective vintage synthesizer. Each looked so lost in what they were doing that they didn’t pay each other — or the audience — much notice. But while they barely communicated, their timing and coordination were impeccable, with pounding electronic instrumentals sounding straight out of an ’80s sci-fi film — calling to mind \u003cem>Blade Runner\u003c/em> and \u003cem>Tron\u003c/em>. (It’s no wonder that S U R V I V E’s Michael Stein and Kyle Dixon composed and performed the \u003ca href=\"https://www.youtube.com/watch?v=5fkN73uEMYw&list=PLHM5aY6TFqReJYC-C_TZ4ftbcs-lYkZEh\" target=\"_blank\" rel=\"noopener\">soundtrack for \u003cem>Stranger Things\u003c/em>\u003c/a>.) As the band’s set progressed, the bass became physically palpable as their synths swelled to epic crescendos. Instead of dancing, the audience stood transfixed, watching the enigmatic musicians in awe.\u003c/p>\n\u003cfigure id=\"attachment_13805280\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/MG_5403-800x533.jpg\" alt=\"The crowd at the Outside Lands music festival in San Francisco, Aug. 12, 2017.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13805280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5403-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5403-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5403-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5403-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5403.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5403-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5403-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5403-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5403-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5403-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the Outside Lands music festival in San Francisco, Aug. 12, 2017. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Kaytranada\u003c/h2>\n\u003cp>While Canadian producer Kaytranada unassumingly bobbed his head behind his laptop, his house-inflected beats sent his audience into an ecstatic frenzy. People crowd-surfed, high-fived strangers, and enthusiastically cheered on each other’s dance moves. A group of 20 or so college bro types joined together in a giant group hug that culminated with one guy trust-falling off his friend’s shoulders into the audience. It’s these kinds of communal exchanges of energy that make trudging through crowds at festivals worth it. Kaytranada played standout tracks from his acclaimed 2016 album, \u003cem>99.9%\u003c/em>, as well as original remixes and instrumentals. His club version of Solange’s “Cranes in the Sky” offered a momentary emotional release (and whetted the audience’s palate for Solange’s Sunday performance). Pulsing, four-on-the-floor beats like “You’re the One” featuring SYD turned the party up yet another notch. Kaytranada’s set was also a rare opportunity to hear the deep-house instrumentals that made his Boiler Room set one of the \u003ca href=\"https://www.youtube.com/watch?v=-5EQIiabJvk\" target=\"_blank\" rel=\"noopener\">most-viewed of all time on YouTube\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13805314\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/The-Avett-Brothers-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-800x533.jpg\" alt=\"The Avett Brothers performs at the Outside Lands music festival in San Francisco, Aug. 12, 2017.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13805314\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/The-Avett-Brothers-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/The-Avett-Brothers-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/The-Avett-Brothers-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/The-Avett-Brothers-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/The-Avett-Brothers-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/The-Avett-Brothers-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/The-Avett-Brothers-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/The-Avett-Brothers-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/The-Avett-Brothers-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/The-Avett-Brothers-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Avett Brothers performs at the Outside Lands music festival in San Francisco, Aug. 12, 2017. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Avett Brothers\u003c/h2>\n\u003cp>The Avett Brothers sure can shred. The North Carolinian seven-piece, led by brothers Scott and Seth Avett, delivered an electrifying performance of country, bluegrass, indie folk, and Southern rock, expanding their twangy melodies into full-out jam sessions. With banjo, guitar, organ, and a full string section, the brothers evolved “Ain’t No Man,” a vigorous stomp with lyrics about independence and self-determination, into a blitz of jovial instrumentation in the vein of Creedence Clearwater Revival and Janis Joplin. During a couple climactic points in the show, Scott Avett sang so fast that his vocals morphed into country-style rapping — an unexpected twist that was met with plenty of cheers. The brothers also nailed \u003ca href=\"https://youtu.be/N5suDkY4kzY\" target=\"_blank\" rel=\"noopener\">a cover of Soundgarden’s “Black Hole Sun”\u003c/a> (“We’re gonna do one by some heroes of ours,” Scott Avett said, in a nod to the \u003ca href=\"http://www.rollingstone.com/music/news/soundgardens-chris-cornell-dead-at-52-w482882\" target=\"_blank\" rel=\"noopener\">recently departed Chris Cornell\u003c/a>) before closing the night with their ballad “No Hard Feelings.”\u003c/p>\n\u003cfigure id=\"attachment_13805303\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Metallica-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-800x533.jpg\" alt=\"Metallica performs at the Outside Lands music festival in San Francisco, Aug. 12, 2017.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13805303\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Metallica-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Metallica-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Metallica-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Metallica-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Metallica-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Metallica-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Metallica-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Metallica-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Metallica-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Metallica-performs-at-the-Outside-Lands-music-festival-in-San-Francisco-Aug.-11-2017-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Metallica performs at the Outside Lands music festival in San Francisco, Aug. 12, 2017. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Metallica\u003c/h2>\n\u003cp>Given the disheartening news from Charlottesville, it was refreshing to hear James Hetfield, the lead singer of Metallica, pointedly declare his gratitude to see “all different styles of music and all kinds of people” at Outside Lands. “We’re here to celebrate life,” he growled into the mic before launching into a two-hour headlining set complete with pyrotechnics, fireworks, and an incredible light show. With 30-plus years in the game, Metallica are masters of entertainment. Hetfield’s onstage demeanor was friendly and effusive — though still tough — and he undoubtedly converted plenty of casual listeners into enthusiastic fans. At one point, he even shouted out two blue- and green-haired elementary schoolers in the front row with their proud metalhead dad. During “Master of Puppets,” red laser beams emanated from the stage, enveloping the audience in a psychedelic grid that changed shape in time with Kirk Hammett’s explosive guitar solo. Sadly, there was no surprise Lady Gaga appearance as rumored for “Moth in the Flame,” which she \u003ca href=\"https://www.youtube.com/watch?v=pdxyVnJMg64\" target=\"_blank\" rel=\"noopener\">performed with the band\u003c/a> at this year’s Grammys. But the ending of Metallica’s set was unforgettable nonetheless, with fireworks and an extended, fiery rendition of “Enter Sandman” that had everyone screaming for an encore.\u003c/p>\n\u003cfigure id=\"attachment_13805282\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/MG_5832-800x533.jpg\" alt=\"The crowd at the Outside Lands music festival in San Francisco, Aug. 12, 2017.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13805282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5832-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5832-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5832-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5832-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5832.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5832-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5832-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5832-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5832-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_5832-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the Outside Lands music festival in San Francisco, Aug. 12, 2017. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Bomba Estéreo\u003c/h2>\n\u003cp>Li Saumet, vocalist of Colombian band Bomba Estéreo, shook her neon-orange mane as she danced across the stage in a trailing pink cape. Her colorful look was the personification of Bomba Estéreo’s high-energy set: A fusion of electro-pop, Cumbia, and moombahton that basically sounds like what would happen if The Knife partied in Miami with Pitbull for a weekend. Bomba Estéreo preaches a message of peace and unity through music; the audience pulsated along to “Internacionales,” a track about dance as an international language, as Saumet instructed \u003cem>Baila! Baila!\u003c/em> in Spanish. “It doesn’t matter if you don’t speak Spanish, you can feel it,” she announced to the eager crowd. The audience and band’s enthusiasm created a positive feedback loop that lasted through the duration of the set.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Outside Lands 2017: Friday’s Music Highlights and Photo Gallery",
"headTitle": "Outside Lands 2017: Friday’s Music Highlights and Photo Gallery | KQED",
"content": "\u003cp>On Friday afternoon, the masses descended upon Golden Gate Park for the annual, three-day marathon of music, comedy, food and mayhem that is Outside Lands. And if the first day was any indication, a little more magic is in the air than usual: After all, this year is \u003ca href=\"https://ww2.kqed.org/arts/2017/08/10/10-years-of-outside-lands-a-look-back-in-pictures/\" target=\"_blank\" rel=\"noopener\">the festival’s 10th anniversary\u003c/a>. The lineup is more star-studded and diverse than ever. And we’re keeping our eyes peeled for surprise guests and \u003ca href=\"https://twitter.com/sirpatstew/status/498589583509311488?lang=en\" target=\"_blank\" rel=\"noopener\">celebrity sightings\u003c/a>.\u003c/p>\n\u003cp>[gallery type=\"slideshow\" size=\"full\" ids=\"13805266,13805265,13805264,13805263,13805259,13805260,13805261,13805262,13805257,13805256,13805255,13805254,13805250,13805251,13805252,13805253,13805249,13805248,13805247,13805246,13805242,13805243,13805244,13805245,13805241,13805240,13805239,13805238,13805234,13805235,13805236,13805237,13805233,13805232,13805231,13805230,13805226,13805227,13805228,13805229,13805225,13805224,13805223,13805222,13805218,13805219,13805220,13805221,13805214,13805215,13805216,13805217,13805213,13805212,13805211,13805210,13805206,13805207,13805208,13805209,13805205\" orderby=\"rand\"]\u003c/p>\n\u003cp>Check out our highlights from the first day of the festival and stay tuned for live updates on Instagram throughout the weekend.\u003c/p>\n\u003cfigure id=\"attachment_13805220\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/MG_4308.jpg\" alt=\"Kali Uchis performs at the Outside Lands music festival in San Francisco, Aug. 11, 2017.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13805220\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4308.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4308-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4308-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4308-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4308-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4308-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4308-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4308-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4308-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4308-520x347.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kali Uchis performs at the Outside Lands music festival in San Francisco, Aug. 11, 2017. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Kali Uchis\u003c/h3>\n\u003cp>Kali Uchis hails from Virginia by way of Colombia, has proven herself to be an artist with vision since her 2013 debut, \u003cem>Drunken Babble\u003c/em>. Her soul-tinged pop, though audibly contemporary, is a direct descendent of lowrider oldies from the ’60s and ’70s. And her pastel-hued wardrobe and music videos complement her vintage sound to a T. Uchis brought all of these elements to life on stage on Friday night at Outside Lands following her sold-out show at the Rickshaw Stop the previous evening. Dressed in all white, she delivered gorgeous vocals in her signature pout, swaying, twirling, and shaking her hips for the audience like the late, great Selena. Tracks from her last project, like “Ridin’ Round,” were audience favorites, but her cover of Elvis Crespo’s “Suavemente” turned into an all-out, Santana-style jam session with a raging dance party to match.\u003c/p>\n\u003cfigure id=\"attachment_13805221\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/MG_4328.jpg\" alt=\"Henry Rollins performs at the Outside Lands music festival in San Francisco, Aug. 11, 2017.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13805221\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4328.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4328-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4328-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4328-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4328-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4328-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4328-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4328-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4328-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4328-520x347.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Henry Rollins performs at the Outside Lands music festival in San Francisco, Aug. 11, 2017. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Henry Rollins\u003c/h3>\n\u003cp>Henry Rollins, the former frontman of legendary ’80s punk band Black Flag, has never had trouble staying in the public eye. After Black Flag disbanded in 1986, he continued a successful solo career with Rollins Band. And in recent years, he’s gained a reputation as an outspoken, progressive media personality with his regular op-eds in the \u003cem>LA Weekly\u003c/em>. Rollins brought his impassioned political viewpoints to the stage at \u003ca href=\"http://lineup.sfoutsidelands.com/?sort=thebarbary\" target=\"_blank\" rel=\"noopener\">The Barbary\u003c/a>, Outside Lands’ comedy tent. In contrast to the hypersensitive stereotype of the liberal “snowflake,” he laid out his progressive politics with plenty of irreverent — and sometimes raunchy — humor. He took jabs at the Trump administration and called out fellow rock legend Ted Nugent for his racism and homophobia. But Rollins remained uproariously self-deprecating throughout, describing in detail how he bombed his comedy show the night of the 2016 election and sharing hilariously humbling experiences from his activist endeavors rather than painting himself as a savior.\u003c/p>\n\u003cfigure id=\"attachment_13805230\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/MG_4474.jpg\" alt=\"Noname performs at the Outside Lands music festival in San Francisco, Aug. 11, 2017.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13805230\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4474.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4474-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4474-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4474-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4474-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4474-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4474-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4474-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4474-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4474-520x347.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Noname performs at the Outside Lands music festival in San Francisco, Aug. 11, 2017. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Noname\u003c/h3>\n\u003cp>Rising Chicago star Noname exuded effortless cool at Outside Lands on Friday night as she strutted across the stage in her denim jacket and halo of curls. The rapper, born Fatimah Warner, got her start competing in poetry slams before acquiring a cult following with her 2016 musical debut, \u003cem>Telefone\u003c/em>. On the mixtape, her rap style is conversational and casual; on stage at Outside Lands, she revved up her motormouth flows and gave her set her all. Tracks like “Yesterday” and “Shadow Man,” both crowd favorites during her performance, were evocative streams of consciousness that prove Noname is a thoughtful — and sometimes pretty funny — observer of the human condition. She has a habit of being plainspoken yet profound: “Casket Pretty,” which she also performed, is a track about losing too many friends to Chicago’s gun violence epidemic. Although Noname admitted that the crowd of mostly white faces made her nervous as she performed the loaded song, the audience gave her reassurance to forge on.\u003c/p>\n\u003cfigure id=\"attachment_10223204\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/Future-Islands-014-e1418851989347.jpg\" alt=\"\" width=\"800\" height=\"480\" class=\"size-full wp-image-10223204\">\u003cfigcaption class=\"wp-caption-text\">Future Islands\u003c/figcaption>\u003c/figure>\n\u003ch3>Future Islands\u003c/h3>\n\u003cp>Baltimore indie rock band Future Islands will probably always be associated with their 2014 performance on \u003cem>The Late Show\u003c/em>, where they managed, in a rare feat, to \u003ca href=\"https://www.youtube.com/watch?v=GK4lD3Uf8_o\" target=\"_blank\" rel=\"noopener\">leave David Letterman astounded.\u003c/a>. Indeed, singer Samuel T. Herring’s emotional delivery is incredibly cathartic; Friday night, he danced, writhed, and clenched his fists as he sang the band’s best-known songs, “Seasons (Waiting On You)” and “Ran,” throwing his entire body into his passionate performance. The band’s driving percussion, punchy bass lines, and melodious synths counterbalanced Herring’s display of raw feeling with the structure of ’80s new wave. Future Islands have one of the most distinct styles out there. And it turns out they’re incredibly fun to dance to, especially if you have a heartbreak you need to shake off.\u003c/p>\n\u003cfigure id=\"attachment_13805257\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/MG_4872.jpg\" alt=\"The crowd watch Gorillaz at the Outside Lands music festival in San Francisco, Aug. 11, 2017.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13805257\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4872.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4872-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4872-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4872-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4872-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4872-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4872-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4872-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4872-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4872-520x347.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The crowd watch Gorillaz at the Outside Lands music festival in San Francisco, Aug. 11, 2017. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Gorillaz\u003c/h3>\n\u003cp>A cartoon band was the perfect way for Damon Albarn, the lead singer of ’90s rock band Blur, to reinvent himself at the start of the new millennium. Gorillaz’ fictional personas gave Albarn the freedom to collaborate with a wide range of musicians, creating a fusion of pop, hip-hop, rock, and even disco and trip-hop that was well ahead of its time. (Calvin Harris, for instance, is currently toping charts with a similarly eclectic, danceable mix of genres.) Gorillaz, whose new album \u003cem>Humanz\u003c/em> came out in April, are now well past the gimmick of a virtual band. During their nearly two-hour headlining set, Albarn rocked out on stage to classics like “Feel Good Inc” and “Clint Eastwood.” But there were also plenty of surprises: Little Dragon, Pusha T, Kali Uchis, Del the Funky Homosapien, and even British rapper Little Simz joined Gorillaz on stage at various points of the evening. Albarn commanded the stage like the spectacle’s ringleader, closing Outside Lands’ first day with panache.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "The 10th annual Outside Lands kicked off with Gorillaz, Future Islands, Noname, Henry Rollins, Kali Uchis and more.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Friday afternoon, the masses descended upon Golden Gate Park for the annual, three-day marathon of music, comedy, food and mayhem that is Outside Lands. And if the first day was any indication, a little more magic is in the air than usual: After all, this year is \u003ca href=\"https://ww2.kqed.org/arts/2017/08/10/10-years-of-outside-lands-a-look-back-in-pictures/\" target=\"_blank\" rel=\"noopener\">the festival’s 10th anniversary\u003c/a>. The lineup is more star-studded and diverse than ever. And we’re keeping our eyes peeled for surprise guests and \u003ca href=\"https://twitter.com/sirpatstew/status/498589583509311488?lang=en\" target=\"_blank\" rel=\"noopener\">celebrity sightings\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Check out our highlights from the first day of the festival and stay tuned for live updates on Instagram throughout the weekend.\u003c/p>\n\u003cfigure id=\"attachment_13805220\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/MG_4308.jpg\" alt=\"Kali Uchis performs at the Outside Lands music festival in San Francisco, Aug. 11, 2017.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13805220\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4308.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4308-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4308-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4308-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4308-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4308-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4308-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4308-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4308-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4308-520x347.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kali Uchis performs at the Outside Lands music festival in San Francisco, Aug. 11, 2017. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Kali Uchis\u003c/h3>\n\u003cp>Kali Uchis hails from Virginia by way of Colombia, has proven herself to be an artist with vision since her 2013 debut, \u003cem>Drunken Babble\u003c/em>. Her soul-tinged pop, though audibly contemporary, is a direct descendent of lowrider oldies from the ’60s and ’70s. And her pastel-hued wardrobe and music videos complement her vintage sound to a T. Uchis brought all of these elements to life on stage on Friday night at Outside Lands following her sold-out show at the Rickshaw Stop the previous evening. Dressed in all white, she delivered gorgeous vocals in her signature pout, swaying, twirling, and shaking her hips for the audience like the late, great Selena. Tracks from her last project, like “Ridin’ Round,” were audience favorites, but her cover of Elvis Crespo’s “Suavemente” turned into an all-out, Santana-style jam session with a raging dance party to match.\u003c/p>\n\u003cfigure id=\"attachment_13805221\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/MG_4328.jpg\" alt=\"Henry Rollins performs at the Outside Lands music festival in San Francisco, Aug. 11, 2017.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13805221\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4328.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4328-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4328-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4328-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4328-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4328-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4328-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4328-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4328-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4328-520x347.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Henry Rollins performs at the Outside Lands music festival in San Francisco, Aug. 11, 2017. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Henry Rollins\u003c/h3>\n\u003cp>Henry Rollins, the former frontman of legendary ’80s punk band Black Flag, has never had trouble staying in the public eye. After Black Flag disbanded in 1986, he continued a successful solo career with Rollins Band. And in recent years, he’s gained a reputation as an outspoken, progressive media personality with his regular op-eds in the \u003cem>LA Weekly\u003c/em>. Rollins brought his impassioned political viewpoints to the stage at \u003ca href=\"http://lineup.sfoutsidelands.com/?sort=thebarbary\" target=\"_blank\" rel=\"noopener\">The Barbary\u003c/a>, Outside Lands’ comedy tent. In contrast to the hypersensitive stereotype of the liberal “snowflake,” he laid out his progressive politics with plenty of irreverent — and sometimes raunchy — humor. He took jabs at the Trump administration and called out fellow rock legend Ted Nugent for his racism and homophobia. But Rollins remained uproariously self-deprecating throughout, describing in detail how he bombed his comedy show the night of the 2016 election and sharing hilariously humbling experiences from his activist endeavors rather than painting himself as a savior.\u003c/p>\n\u003cfigure id=\"attachment_13805230\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/MG_4474.jpg\" alt=\"Noname performs at the Outside Lands music festival in San Francisco, Aug. 11, 2017.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13805230\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4474.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4474-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4474-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4474-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4474-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4474-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4474-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4474-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4474-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4474-520x347.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Noname performs at the Outside Lands music festival in San Francisco, Aug. 11, 2017. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Noname\u003c/h3>\n\u003cp>Rising Chicago star Noname exuded effortless cool at Outside Lands on Friday night as she strutted across the stage in her denim jacket and halo of curls. The rapper, born Fatimah Warner, got her start competing in poetry slams before acquiring a cult following with her 2016 musical debut, \u003cem>Telefone\u003c/em>. On the mixtape, her rap style is conversational and casual; on stage at Outside Lands, she revved up her motormouth flows and gave her set her all. Tracks like “Yesterday” and “Shadow Man,” both crowd favorites during her performance, were evocative streams of consciousness that prove Noname is a thoughtful — and sometimes pretty funny — observer of the human condition. She has a habit of being plainspoken yet profound: “Casket Pretty,” which she also performed, is a track about losing too many friends to Chicago’s gun violence epidemic. Although Noname admitted that the crowd of mostly white faces made her nervous as she performed the loaded song, the audience gave her reassurance to forge on.\u003c/p>\n\u003cfigure id=\"attachment_10223204\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/Future-Islands-014-e1418851989347.jpg\" alt=\"\" width=\"800\" height=\"480\" class=\"size-full wp-image-10223204\">\u003cfigcaption class=\"wp-caption-text\">Future Islands\u003c/figcaption>\u003c/figure>\n\u003ch3>Future Islands\u003c/h3>\n\u003cp>Baltimore indie rock band Future Islands will probably always be associated with their 2014 performance on \u003cem>The Late Show\u003c/em>, where they managed, in a rare feat, to \u003ca href=\"https://www.youtube.com/watch?v=GK4lD3Uf8_o\" target=\"_blank\" rel=\"noopener\">leave David Letterman astounded.\u003c/a>. Indeed, singer Samuel T. Herring’s emotional delivery is incredibly cathartic; Friday night, he danced, writhed, and clenched his fists as he sang the band’s best-known songs, “Seasons (Waiting On You)” and “Ran,” throwing his entire body into his passionate performance. The band’s driving percussion, punchy bass lines, and melodious synths counterbalanced Herring’s display of raw feeling with the structure of ’80s new wave. Future Islands have one of the most distinct styles out there. And it turns out they’re incredibly fun to dance to, especially if you have a heartbreak you need to shake off.\u003c/p>\n\u003cfigure id=\"attachment_13805257\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/MG_4872.jpg\" alt=\"The crowd watch Gorillaz at the Outside Lands music festival in San Francisco, Aug. 11, 2017.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13805257\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4872.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4872-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4872-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4872-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4872-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4872-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4872-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4872-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4872-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/MG_4872-520x347.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The crowd watch Gorillaz at the Outside Lands music festival in San Francisco, Aug. 11, 2017. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Gorillaz\u003c/h3>\n\u003cp>A cartoon band was the perfect way for Damon Albarn, the lead singer of ’90s rock band Blur, to reinvent himself at the start of the new millennium. Gorillaz’ fictional personas gave Albarn the freedom to collaborate with a wide range of musicians, creating a fusion of pop, hip-hop, rock, and even disco and trip-hop that was well ahead of its time. (Calvin Harris, for instance, is currently toping charts with a similarly eclectic, danceable mix of genres.) Gorillaz, whose new album \u003cem>Humanz\u003c/em> came out in April, are now well past the gimmick of a virtual band. During their nearly two-hour headlining set, Albarn rocked out on stage to classics like “Feel Good Inc” and “Clint Eastwood.” But there were also plenty of surprises: Little Dragon, Pusha T, Kali Uchis, Del the Funky Homosapien, and even British rapper Little Simz joined Gorillaz on stage at various points of the evening. Albarn commanded the stage like the spectacle’s ringleader, closing Outside Lands’ first day with panache.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Susan Dackerman Appointed Director of Cantor Arts Center",
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"content": "\u003cp>After a year-long international hunt, Stanford University’s Cantor Arts Center has found its newest director.\u003c/p>\n\u003cp>The university announced on Friday that Susan Dackerman will take the helm at the esteemed university museum. Her appointment will commence Sept. 18.\u003c/p>\n\u003cp>She succeeds Connie Wolf, \u003ca href=\"https://ww2.kqed.org/arts/2016/06/16/connie-wolf-abruptly-leaves-director-position-at-stanfords-cantor-arts-center/\" target=\"_blank\" rel=\"noopener\">who abruptly vacated the post last June after four years of service to the museum\u003c/a>. In her tenure, Wolf notably raised museum annual attendance by 60 percent and fortified its permanent collection with pieces from the likes of Edward Hopper and Andy Warhol.\u003c/p>\n\u003cp>“The Cantor is one of the most important university art museums in the country, and with Stanford’s commitment to the arts and humanities, it has the potential to produce exhibitions and programs that are models for other museums,” Dackerman said in the announcement.\u003c/p>\n\u003cp>Dackerman’s extensive background of working in university museums will be invaluable for her position at the Center. She served as the curator of prints at the Harvard Art Museums for a decade, where she curated notable exhibitions on nun-turned-Pop artist Corita Kent and printmaking’s role in the European scientific revolution.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After her stint at Harvard, she relocated to California in 2016 to do double-duty as a consortium scholar for the Getty Research Institute and an adjunct professor at USC. It was at the Getty where Dackerman completed her upcoming book, \u003cem>Jasper Johns: Catalogue Raisonné of Monotypes.\u003c/em> It will be published this October.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Through her exceptional knowledge of and excellent track record within the world of university arts museums, Susan brings to Stanford a truly distinctive perspective,” said Harry J. Elam Jr., vice president for the arts at Stanford, in a statement.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After a year-long international hunt, Stanford University’s Cantor Arts Center has found its newest director.\u003c/p>\n\u003cp>The university announced on Friday that Susan Dackerman will take the helm at the esteemed university museum. Her appointment will commence Sept. 18.\u003c/p>\n\u003cp>She succeeds Connie Wolf, \u003ca href=\"https://ww2.kqed.org/arts/2016/06/16/connie-wolf-abruptly-leaves-director-position-at-stanfords-cantor-arts-center/\" target=\"_blank\" rel=\"noopener\">who abruptly vacated the post last June after four years of service to the museum\u003c/a>. In her tenure, Wolf notably raised museum annual attendance by 60 percent and fortified its permanent collection with pieces from the likes of Edward Hopper and Andy Warhol.\u003c/p>\n\u003cp>“The Cantor is one of the most important university art museums in the country, and with Stanford’s commitment to the arts and humanities, it has the potential to produce exhibitions and programs that are models for other museums,” Dackerman said in the announcement.\u003c/p>\n\u003cp>Dackerman’s extensive background of working in university museums will be invaluable for her position at the Center. She served as the curator of prints at the Harvard Art Museums for a decade, where she curated notable exhibitions on nun-turned-Pop artist Corita Kent and printmaking’s role in the European scientific revolution.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After her stint at Harvard, she relocated to California in 2016 to do double-duty as a consortium scholar for the Getty Research Institute and an adjunct professor at USC. It was at the Getty where Dackerman completed her upcoming book, \u003cem>Jasper Johns: Catalogue Raisonné of Monotypes.\u003c/em> It will be published this October.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Through her exceptional knowledge of and excellent track record within the world of university arts museums, Susan brings to Stanford a truly distinctive perspective,” said Harry J. Elam Jr., vice president for the arts at Stanford, in a statement.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "10 Years of Outside Lands: A Look Back in Photos and Memorable Moments",
"headTitle": "10 Years of Outside Lands: A Look Back in Photos and Memorable Moments | KQED",
"content": "\u003cp>Outside Lands returns for its 10th year this weekend in Golden Gate Park, and there’s no better time to take a look back at the past decade of music, fashion, and people. There’s been some crazy sights at Outside Lands since 2008 — let’s take a look back, shall we?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003ch2>2008\u003c/h2>\n\u003cp>[gallery type=\"rectangular\" ids=\"13805024,13805025,13805026,13805027,13805028,13805029,13805030,13805031,13805032,13805033,13805034,13805035,13805036,13805037,13805038,13805039,13805040,13805041,13805042,13805043,13805044,13805045,13805046,13805047,13805048\" orderby=\"rand\"]\u003c/p>\n\u003cp>\u003cstrong>In short\u003c/strong>: 2008 was Radiohead’s big year, when the sound famously went out mid-song. Broken Social Scene, Bon Iver and Lupe Fiasco were favorites, and Nellie McKay swore like a sailor when talking about John McCain’s campaign against Barack Obama. Sharon Jones brought a guy from the crowd onstage and taught him how to bump ‘n’ grind. The Somali rapper K’naan played a transcendental set.\u003c/p>\n\u003cp>\u003cstrong>Most Memorable Moment\u003c/strong>: Early in the first day, a 22 oz. can of Budweiser fell on the ground at my feet during Manu Chao’s set. Seconds later, another one came flying over the fence. Then four hands clutched the top of the fence, and the struggling faces of two hopefuls came into view. One guy made it over by sliding head-first into the grass, and the other guy threw himself over in a sideways roll. By that point, a small group of onlookers gathered, and they all applauded while the guys grabbed their cold ones and ran off into the crowd. It would be the first of many attempts — some successful, some not — to \u003cstrong>crash the gates\u003c/strong> at Outside Lands.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003ch2>2009\u003c/h2>\n\u003cp>[gallery type=\"rectangular\" ids=\"13805051,13805052,13805053,13805054,13805055,13805056,13805057,13805058,13805059,13805061,13805062,13805063,13805064,13805065\" orderby=\"rand\"]\u003c/p>\n\u003cp>\u003cstrong>In short\u003c/strong>: 2009 was marked with sadness, as the Beastie Boys had to cancel due to Adam Yauch’s throat cancer. Nobody I knew was happy about their replacement, Tenacious D. The Dead Weather and M.I.A. were both at the height of their powers, and Tom Jones proved an amusing and popular addition — a precursor to the festival’s tradition of booking legacy acts.\u003c/p>\n\u003cp>\u003cstrong>Most Memorable Moment\u003c/strong>: \u003cstrong>Q-Tip’s\u003c/strong> set had already been stellar, and when he started into old Tribe Called Quest favorites — “Scenario,” “Oh My God,” “Check the Rhime” — the crowd lost their collective mind. But that was nothing compared to what happened next, when he brought out surprise guest Phife Dawg — the two weren’t on great terms in those days — for “Award Tour.” Looking back on that moment now, with Phife gone, is pretty emotional:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PTwKWV5Sx94\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003ch2>2010\u003c/h2>\n\u003cp>[gallery type=\"rectangular\" ids=\"13805087,13805086,13805085,13805084,13805080,13805081,13805082,13805083,13805079,13805078,13805077\" orderby=\"rand\"]\u003c/p>\n\u003cp>\u003cstrong>In short\u003c/strong>: Ah, 2010, the year Al Green gave about 10 dozen single roses to ladies in the front row. Phoenix, the Devil Makes Three, and Garage a Trois were highlights. Nas, performing with Damian Marley, accidentally called Africa a “country.” The Budos Band played in the KUSF tent and killed it.\u003c/p>\n\u003cp>\u003cstrong>Most Memorable Moment\u003c/strong>: Fifteen minutes late due to a late flight, \u003cstrong>Janelle Monae\u003c/strong> took to the stage in a black hooded cape, sang the hell out of her songs, danced up a tornado and defied normal human behavior. She even sang Charlie Chaplin’s “Smile,” probably the greatest song about depression ever written. When she ended with “Tightrope,” I walked around the crowd and came upon a dude who was doing backflips and smoking a joint at the same time. Amazing.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003ch2>2011\u003c/h2>\n\u003cp>[gallery type=\"rectangular\" ids=\"13805089,13805090,13805092,13805093,13805094,13805095,13805096,13805097,13805098,13805099,13805100,13805101,13805102,13805103,13805104,13805105,13805106,13805107,13805108,13805109,13805110\" orderby=\"rand\"]\u003c/p>\n\u003cp>\u003cstrong>In short\u003c/strong>: 2011 was the year that Big Boi’s performance was derailed by an unexplained problem with his laptop DJ, and so Dave Chappelle came out for two minutes and placated the crowd. Ellie Goulding was a lesser-known name in the fine print of the lineup, right on the cusp of superstardom. The Meters and tUnE-yArDs were superb, Major Lazer completely destroyed a record-breaking crowd, and Arcade Fire was still capable of generating mass excitement and uplift. For some reason, watermelon-smashing right-wing wacko Gallagher did a comedy set.\u003c/p>\n\u003cp>\u003cstrong>Most Memorable Moment\u003c/strong>: Definitely \u003cstrong>Erykah Badu\u003c/strong>. She opened with “The Healer,” dragging out the chorus at the end: “Hip hop / It’s bigger than the government,” and then led her band into Graham Central Station’s “Happy to See You Again” a capella. Later, they interpolated Freddie Hubbard’s “Red Clay” and Afrika Bambaata’s “Planet Rock.” There were four backup singers, a flute player, a percussionist, the songs were all over the place, it was nuts. Badu herself hovered above, under, in and out of all of it, navigating the shape-shifting arrangements with ease. It was like some miracle from I don’t know where.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003ch2>2012\u003c/h2>\n\u003cp>[gallery type=\"rectangular\" ids=\"13805111,13805112,13805113,13805114,13805115,13805116,13805117,13805118,13805119\" orderby=\"rand\"]\u003c/p>\n\u003cp>\u003cstrong>In short\u003c/strong>: 2012 is when it really start to feel like a banner festival. The first few years of Outside Lands felt music-centered, but Outside Lands was an \u003cem>experience\u003c/em> in 2012, a thing you and all your friends go to, a water-cooler discussion, an Instagram feeding frenzy. “Someday, Another Planet Entertainment may be able to sell it out without even announcing the lineup,” I wrote at the time. Three years later, for early-bird passes, \u003ca href=\"https://ww2.kqed.org/arts/2016/03/30/no-lineup-no-problem-outside-lands-tickets-go-on-sale-anyway/\" target=\"_blank\" rel=\"noopener\">they did\u003c/a>.\u003c/p>\n\u003cp>Neil Young played a long, maddening set with Crazy Horse, Reggie Watts amused a stoned crowd, and Sharon Van Etten was the year’s best surprise. Even Skrillex was outstanding.\u003c/p>\n\u003cp>\u003cstrong>Most Memorable Moment\u003c/strong>: American treasure \u003cstrong>Stevie Wonder\u003c/strong> opened with Marvin Gaye’s “How Sweet It Is,” and then a few songs later did “The Way You Make Me Feel” by Michael Jackson. “It is time to give your love to those who are less fortunate!” he declared, during election season. “It’s time to re-elect Barack Obama!” “Master Blaster,” “Sir Duke,” “My Cherie Amour” and “Living for the City” gave way to “Signed, Sealed, Delivered,” which was perfect in every way. He succeeded in uniting 40,000 people. It was the best way to close out the weekend.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003ch2>2013\u003c/h2>\n\u003cfigure id=\"attachment_13805016\" class=\"wp-caption aligncenter\" style=\"max-width: 612px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/WillieNelson.jpg\" alt=\"Willie Nelson with John Stamos on congas at Outside Lands, 2013. \" width=\"612\" height=\"612\" class=\"size-full wp-image-13805016\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/WillieNelson.jpg 612w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/WillieNelson-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/WillieNelson-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/WillieNelson-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/WillieNelson-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/WillieNelson-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/WillieNelson-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/WillieNelson-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/WillieNelson-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/WillieNelson-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/WillieNelson-150x150.jpg 150w\" sizes=\"(max-width: 612px) 100vw, 612px\">\u003cfigcaption class=\"wp-caption-text\">Willie Nelson with John Stamos on congas at Outside Lands, 2013. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>In short\u003c/strong>: Paul McCartney played in 2013 and, in a \u003ca href=\"http://sanfrancisco.cbslocal.com/2013/08/19/phil-matier-paul-mccartney-to-headline-final-candlestick-concert/\" target=\"_blank\" rel=\"noopener\">backstage meeting\u003c/a> with Mayor Ed Lee, agreed to play the final concert ever at Candlestick Park the next year. The Red Hot Chili Peppers, Nine Inch Nails and Jurassic 5 brought back ’90s vibes. Nile Rodgers showed up with Chic for a dance party.\u003c/p>\n\u003cp>\u003cstrong>Most Memorable Moment\u003c/strong>: Always doing things his way, \u003cstrong>Willie Nelson\u003c/strong> drove to the stage through the crowd in a white van, strapped on his beat-up guitar with a saxophone strap, threw his hat into the audience, and proceeded to play gorgeous song after gorgeous song to the most carefree, fun-loving crowd Outside Lands has seen. John Stamos from \u003cem>Full House\u003c/em> stood to the side of the stage, making eyes and flirting with girls in the crowd before simply joining the band on congas. At the end, the Grateful Dead’s Bob Weir joined in for a finale of “Roll Me Up and Smoke Me When I Die.” Never seen a set at Outside Lands quite like it.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003ch2>2014\u003c/h2>\n\u003cp>[gallery type=\"rectangular\" ids=\"13805121,13805122,13805123,13805124,13805125,13805127,13805128,13805129,13805131,13805132,13805133,13805134,13805135,13805136,13805137,13805138,13805139,13805140,13805141\" orderby=\"rand\"]\u003c/p>\n\u003cp>\u003cstrong>In short\u003c/strong>: Kanye West headlined in 2014 in darkness, with the large TV screens turned off. Haim and Atmosphere attracted giant crowds. Tom Petty returned, while Patrick Stewart showed up for an early appearance with the Improvised Shakespeare Company. And Big Freedia began an annual tradition of “\u003ca href=\"https://www.instagram.com/p/rf6jpLySd6/\" target=\"_blank\" rel=\"noopener\">Booty & Beignets\u003c/a>.”\u003c/p>\n\u003cp>\u003cstrong>Most Memorable Moment\u003c/strong>: Whatever intangible mixture \u003cstrong>Christopher Owens\u003c/strong> used to infuse his set worked beautifully. By far the calmest, most subdued performer all weekend, he also used his band — including an organist and two gospel backup singers — to reach ethereal heights and win over new fans.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003ch2>2015\u003c/h2>\n\u003cp>[gallery type=\"rectangular\" ids=\"10885093,10885096,10885098,10885099,10885100,10885104,10885105,10885108,10886954,10886957,10886958,10886963,10886964,10886970,10886973,10888721,10888719,10886974,10888717,10888727,10888734,10888736,10888737,10888729\" orderby=\"rand\"]\u003c/p>\n\u003cp>\u003cstrong>In short\u003c/strong>: D’Angelo made his mighty return in 2015, while St. Vincent stole hearts. Billy Idol and Elton John held down the Generation X crowd, and a wild tribute to the band from \u003cem>Coming to America\u003c/em> wore powder-blue tuxedos. Fantastic Negrito was detained by the zealous SFPD in a very sketchy situation involving allegations of scalped tickets. Nobody could resist Dan Deacon.\u003c/p>\n\u003cp>https://www.instagram.com/p/6L0CXCSSRC/\u003c/p>\n\u003cp>\u003cstrong>Most Memorable Moment\u003c/strong>: History will not be kind to the scheduling of professional Subaru salesmen the Black Keys on the main stage in the same time slot as \u003cstrong>Kendrick Lamar\u003c/strong>, on the second stage. Though insanely crowded, the whole we’re-all-in-tight-together thing just felt right. Kendrick turned in a festival-friendly set lopsided toward earlier hits instead of dipping deep into the highly politicized, musically experimental material from his just-released masterpiece \u003cem>To Pimp a Butterfly\u003c/em>. But as it stood, he did “i,” “King Kunta,” and for set closer “Alright,” Kendrick dedicated the song to a guy crowd-surfing \u003cem>in a wheelchair\u003c/em>. It was Kendrick’s year. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003ch2>2016\u003c/h2>\n\u003cp>[gallery type=\"rectangular\" ids=\"11901951,11903497,11903671,11903679,11903678,11903682,11903684,11907405,11907960,11907961,11907970,11907966,11907968,11911965,11907977,11911972,11907978,11911976,11911973,11911974,11912298\" orderby=\"rand\"]\u003c/p>\n\u003cp>\u003cstrong>In short\u003c/strong>: The return of LCD Soundsystem in 2016, after just five years of being broken up, was a reminder that nostalgia ain’t what it used to be. 1980s acts like Duran Duran and Lionel Richie were satisfying, as were newer stars like Kehlani, Chance the Rapper, Grimes and Lana Del Rey. Anderson .Paak stole the night from Radiohead, and E-40 played a jam-packed surprise set. \u003c/p>\n\u003cp>\u003cstrong>Most Memorable Moment\u003c/strong>: The hilarious 1970s band from \u003cstrong>The Muppet Show\u003c/strong> (with the help of operators beneath a riser) played a 25-minute set that could have easily been some kind of tech marketing ploy trading on nostalgia. Instead, it felt as pure as the original television shows and movies, with Janice, Dr. Teeth, Animal and the gang joking about operating an “illegal bed and breakfast” in San Franciso’s Haight Street heyday and bringing on the Oakland Interfaith Gospel Choir for a Joe Cocker-inspired version of “With a Little Help from my Friends.” After the smoke settled, the crew of Muppet operators emerged from beneath the riser to a huge burst of screams and applause. \u003c/p>\n\u003cp>Want more recent coverage from 2017 and beyond? \u003ca href=\"https://www.kqed.org/arts/tag/outside-lands\" rel=\"noopener\" target=\"_blank\">See here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Aaaaaaand… that’s a wrap!\u003c/strong> I’ll let local favorites \u003cstrong>Con Brio\u003c/strong>, from the finale of their 2016 set, play us off:\u003c/p>\n\u003cp>https://www.instagram.com/p/BIybAeQg1yd/\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The 10th annual Outside Lands Music Festival runs Friday–Sunday, Aug. 11–13, in Golden Gate Park. \u003ca href=\"https://www.sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. Photos by Gabe Meline, Liz Seward, Estefany Gonzalez, Wendy Goodfriend and David Korman.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Outside Lands returns for its 10th year this weekend, and there's no better time to look back at the past decade of music, fashion, and people at the festival.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Outside Lands returns for its 10th year this weekend in Golden Gate Park, and there’s no better time to take a look back at the past decade of music, fashion, and people. There’s been some crazy sights at Outside Lands since 2008 — let’s take a look back, shall we?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003ch2>2008\u003c/h2>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>In short\u003c/strong>: 2008 was Radiohead’s big year, when the sound famously went out mid-song. Broken Social Scene, Bon Iver and Lupe Fiasco were favorites, and Nellie McKay swore like a sailor when talking about John McCain’s campaign against Barack Obama. Sharon Jones brought a guy from the crowd onstage and taught him how to bump ‘n’ grind. The Somali rapper K’naan played a transcendental set.\u003c/p>\n\u003cp>\u003cstrong>Most Memorable Moment\u003c/strong>: Early in the first day, a 22 oz. can of Budweiser fell on the ground at my feet during Manu Chao’s set. Seconds later, another one came flying over the fence. Then four hands clutched the top of the fence, and the struggling faces of two hopefuls came into view. One guy made it over by sliding head-first into the grass, and the other guy threw himself over in a sideways roll. By that point, a small group of onlookers gathered, and they all applauded while the guys grabbed their cold ones and ran off into the crowd. It would be the first of many attempts — some successful, some not — to \u003cstrong>crash the gates\u003c/strong> at Outside Lands.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003ch2>2009\u003c/h2>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>In short\u003c/strong>: 2009 was marked with sadness, as the Beastie Boys had to cancel due to Adam Yauch’s throat cancer. Nobody I knew was happy about their replacement, Tenacious D. The Dead Weather and M.I.A. were both at the height of their powers, and Tom Jones proved an amusing and popular addition — a precursor to the festival’s tradition of booking legacy acts.\u003c/p>\n\u003cp>\u003cstrong>Most Memorable Moment\u003c/strong>: \u003cstrong>Q-Tip’s\u003c/strong> set had already been stellar, and when he started into old Tribe Called Quest favorites — “Scenario,” “Oh My God,” “Check the Rhime” — the crowd lost their collective mind. But that was nothing compared to what happened next, when he brought out surprise guest Phife Dawg — the two weren’t on great terms in those days — for “Award Tour.” Looking back on that moment now, with Phife gone, is pretty emotional:\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/PTwKWV5Sx94'\n title='//www.youtube.com/embed/PTwKWV5Sx94'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003ch2>2010\u003c/h2>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>In short\u003c/strong>: Ah, 2010, the year Al Green gave about 10 dozen single roses to ladies in the front row. Phoenix, the Devil Makes Three, and Garage a Trois were highlights. Nas, performing with Damian Marley, accidentally called Africa a “country.” The Budos Band played in the KUSF tent and killed it.\u003c/p>\n\u003cp>\u003cstrong>Most Memorable Moment\u003c/strong>: Fifteen minutes late due to a late flight, \u003cstrong>Janelle Monae\u003c/strong> took to the stage in a black hooded cape, sang the hell out of her songs, danced up a tornado and defied normal human behavior. She even sang Charlie Chaplin’s “Smile,” probably the greatest song about depression ever written. When she ended with “Tightrope,” I walked around the crowd and came upon a dude who was doing backflips and smoking a joint at the same time. Amazing.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003ch2>2011\u003c/h2>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>In short\u003c/strong>: 2011 was the year that Big Boi’s performance was derailed by an unexplained problem with his laptop DJ, and so Dave Chappelle came out for two minutes and placated the crowd. Ellie Goulding was a lesser-known name in the fine print of the lineup, right on the cusp of superstardom. The Meters and tUnE-yArDs were superb, Major Lazer completely destroyed a record-breaking crowd, and Arcade Fire was still capable of generating mass excitement and uplift. For some reason, watermelon-smashing right-wing wacko Gallagher did a comedy set.\u003c/p>\n\u003cp>\u003cstrong>Most Memorable Moment\u003c/strong>: Definitely \u003cstrong>Erykah Badu\u003c/strong>. She opened with “The Healer,” dragging out the chorus at the end: “Hip hop / It’s bigger than the government,” and then led her band into Graham Central Station’s “Happy to See You Again” a capella. Later, they interpolated Freddie Hubbard’s “Red Clay” and Afrika Bambaata’s “Planet Rock.” There were four backup singers, a flute player, a percussionist, the songs were all over the place, it was nuts. Badu herself hovered above, under, in and out of all of it, navigating the shape-shifting arrangements with ease. It was like some miracle from I don’t know where.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003ch2>2012\u003c/h2>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>In short\u003c/strong>: 2012 is when it really start to feel like a banner festival. The first few years of Outside Lands felt music-centered, but Outside Lands was an \u003cem>experience\u003c/em> in 2012, a thing you and all your friends go to, a water-cooler discussion, an Instagram feeding frenzy. “Someday, Another Planet Entertainment may be able to sell it out without even announcing the lineup,” I wrote at the time. Three years later, for early-bird passes, \u003ca href=\"https://ww2.kqed.org/arts/2016/03/30/no-lineup-no-problem-outside-lands-tickets-go-on-sale-anyway/\" target=\"_blank\" rel=\"noopener\">they did\u003c/a>.\u003c/p>\n\u003cp>Neil Young played a long, maddening set with Crazy Horse, Reggie Watts amused a stoned crowd, and Sharon Van Etten was the year’s best surprise. Even Skrillex was outstanding.\u003c/p>\n\u003cp>\u003cstrong>Most Memorable Moment\u003c/strong>: American treasure \u003cstrong>Stevie Wonder\u003c/strong> opened with Marvin Gaye’s “How Sweet It Is,” and then a few songs later did “The Way You Make Me Feel” by Michael Jackson. “It is time to give your love to those who are less fortunate!” he declared, during election season. “It’s time to re-elect Barack Obama!” “Master Blaster,” “Sir Duke,” “My Cherie Amour” and “Living for the City” gave way to “Signed, Sealed, Delivered,” which was perfect in every way. He succeeded in uniting 40,000 people. It was the best way to close out the weekend.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003ch2>2013\u003c/h2>\n\u003cfigure id=\"attachment_13805016\" class=\"wp-caption aligncenter\" style=\"max-width: 612px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/WillieNelson.jpg\" alt=\"Willie Nelson with John Stamos on congas at Outside Lands, 2013. \" width=\"612\" height=\"612\" class=\"size-full wp-image-13805016\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/WillieNelson.jpg 612w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/WillieNelson-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/WillieNelson-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/WillieNelson-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/WillieNelson-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/WillieNelson-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/WillieNelson-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/WillieNelson-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/WillieNelson-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/WillieNelson-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/WillieNelson-150x150.jpg 150w\" sizes=\"(max-width: 612px) 100vw, 612px\">\u003cfigcaption class=\"wp-caption-text\">Willie Nelson with John Stamos on congas at Outside Lands, 2013. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>In short\u003c/strong>: Paul McCartney played in 2013 and, in a \u003ca href=\"http://sanfrancisco.cbslocal.com/2013/08/19/phil-matier-paul-mccartney-to-headline-final-candlestick-concert/\" target=\"_blank\" rel=\"noopener\">backstage meeting\u003c/a> with Mayor Ed Lee, agreed to play the final concert ever at Candlestick Park the next year. The Red Hot Chili Peppers, Nine Inch Nails and Jurassic 5 brought back ’90s vibes. Nile Rodgers showed up with Chic for a dance party.\u003c/p>\n\u003cp>\u003cstrong>Most Memorable Moment\u003c/strong>: Always doing things his way, \u003cstrong>Willie Nelson\u003c/strong> drove to the stage through the crowd in a white van, strapped on his beat-up guitar with a saxophone strap, threw his hat into the audience, and proceeded to play gorgeous song after gorgeous song to the most carefree, fun-loving crowd Outside Lands has seen. John Stamos from \u003cem>Full House\u003c/em> stood to the side of the stage, making eyes and flirting with girls in the crowd before simply joining the band on congas. At the end, the Grateful Dead’s Bob Weir joined in for a finale of “Roll Me Up and Smoke Me When I Die.” Never seen a set at Outside Lands quite like it.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003ch2>2014\u003c/h2>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>In short\u003c/strong>: Kanye West headlined in 2014 in darkness, with the large TV screens turned off. Haim and Atmosphere attracted giant crowds. Tom Petty returned, while Patrick Stewart showed up for an early appearance with the Improvised Shakespeare Company. And Big Freedia began an annual tradition of “\u003ca href=\"https://www.instagram.com/p/rf6jpLySd6/\" target=\"_blank\" rel=\"noopener\">Booty & Beignets\u003c/a>.”\u003c/p>\n\u003cp>\u003cstrong>Most Memorable Moment\u003c/strong>: Whatever intangible mixture \u003cstrong>Christopher Owens\u003c/strong> used to infuse his set worked beautifully. By far the calmest, most subdued performer all weekend, he also used his band — including an organist and two gospel backup singers — to reach ethereal heights and win over new fans.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003ch2>2015\u003c/h2>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>In short\u003c/strong>: D’Angelo made his mighty return in 2015, while St. Vincent stole hearts. Billy Idol and Elton John held down the Generation X crowd, and a wild tribute to the band from \u003cem>Coming to America\u003c/em> wore powder-blue tuxedos. Fantastic Negrito was detained by the zealous SFPD in a very sketchy situation involving allegations of scalped tickets. Nobody could resist Dan Deacon.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Most Memorable Moment\u003c/strong>: History will not be kind to the scheduling of professional Subaru salesmen the Black Keys on the main stage in the same time slot as \u003cstrong>Kendrick Lamar\u003c/strong>, on the second stage. Though insanely crowded, the whole we’re-all-in-tight-together thing just felt right. Kendrick turned in a festival-friendly set lopsided toward earlier hits instead of dipping deep into the highly politicized, musically experimental material from his just-released masterpiece \u003cem>To Pimp a Butterfly\u003c/em>. But as it stood, he did “i,” “King Kunta,” and for set closer “Alright,” Kendrick dedicated the song to a guy crowd-surfing \u003cem>in a wheelchair\u003c/em>. It was Kendrick’s year. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003ch2>2016\u003c/h2>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>In short\u003c/strong>: The return of LCD Soundsystem in 2016, after just five years of being broken up, was a reminder that nostalgia ain’t what it used to be. 1980s acts like Duran Duran and Lionel Richie were satisfying, as were newer stars like Kehlani, Chance the Rapper, Grimes and Lana Del Rey. Anderson .Paak stole the night from Radiohead, and E-40 played a jam-packed surprise set. \u003c/p>\n\u003cp>\u003cstrong>Most Memorable Moment\u003c/strong>: The hilarious 1970s band from \u003cstrong>The Muppet Show\u003c/strong> (with the help of operators beneath a riser) played a 25-minute set that could have easily been some kind of tech marketing ploy trading on nostalgia. Instead, it felt as pure as the original television shows and movies, with Janice, Dr. Teeth, Animal and the gang joking about operating an “illegal bed and breakfast” in San Franciso’s Haight Street heyday and bringing on the Oakland Interfaith Gospel Choir for a Joe Cocker-inspired version of “With a Little Help from my Friends.” After the smoke settled, the crew of Muppet operators emerged from beneath the riser to a huge burst of screams and applause. \u003c/p>\n\u003cp>Want more recent coverage from 2017 and beyond? \u003ca href=\"https://www.kqed.org/arts/tag/outside-lands\" rel=\"noopener\" target=\"_blank\">See here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Aaaaaaand… that’s a wrap!\u003c/strong> I’ll let local favorites \u003cstrong>Con Brio\u003c/strong>, from the finale of their 2016 set, play us off:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The 10th annual Outside Lands Music Festival runs Friday–Sunday, Aug. 11–13, in Golden Gate Park. \u003ca href=\"https://www.sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. Photos by Gabe Meline, Liz Seward, Estefany Gonzalez, Wendy Goodfriend and David Korman.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Facebook began rolling out a new video service Thursday called \u003ca href=\"https://newsroom.fb.com/news/2017/08/introducing-watch-a-new-platform-for-shows-on-facebook/\" target=\"_blank\" rel=\"noopener noreferrer\">Facebook Watch\u003c/a>. It’s a calculated attempt to expand the amount of eyeball time we give the world’s dominant social media platform.\u003c/p>\n\u003cp>The idea is to get you watching and subscribing to high-quality feeds of everything from live videos of your favorite celebrities, to episodic television like National Geographic’s “\u003ca href=\"http://www.nationalgeographic.com/video/safari-live/\" target=\"_blank\" rel=\"noopener noreferrer\">Safari Live\u003c/a>,” to \u003ca href=\"https://www.mlb.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Major League Baseball\u003c/a>. Of course, your engagement becomes yet another thing your friends see in their Facebook feeds.\u003c/p>\n\u003cp>Ian Scherr, executive editor at the online tech news outlet \u003ca href=\"https://www.cnet.com/news/\" target=\"_blank\" rel=\"noopener noreferrer\">CNET News\u003c/a>, says Facebook wants ever more advertising revenue. “There’s definitely a correlation between the amount of time I’m watching and the amount of time I’m spending on Facebook. The real question is whether it’s going to be good enough to draw my attention away from all the big ones,” Scherr says.\u003c/p>\n\u003cp>By that, Scherr means \u003ca href=\"https://www.youtube.com/\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube\u003c/a>, \u003ca href=\"http://www.hbo.com/\" target=\"_blank\" rel=\"noopener noreferrer\">HBO \u003c/a>and \u003ca href=\"http://www.espn.com/\" target=\"_blank\" rel=\"noopener noreferrer\">ESPN\u003c/a>: you know, the only things that would cause you to peel away from your Facebook feed now. With the launch of Facebook Watch, the tech giant is moving into broadcasting in a big way.\u003c/p>\n\u003cp>Facebook Watch has already lined up established producers to develop original video content. These partners will earn 55 percent of ad break revenue; Facebook will keep the rest. The “Watch” tab and several dozen original shows will pop up for a small subset of U.S. users, rolling out more widely as time goes on.\u003c/p>\n\u003cfigure id=\"attachment_13805071\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13805071\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Join-800x450.jpg\" alt=\"Even though this looks more like television, Facebook watchers say this medium still favors short lengths.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Join-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Join-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Join-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Join-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Join-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Join-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Join-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Join-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Join-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Join.jpg 1670w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Even though this looks more like television, Facebook watchers say this medium still favors short lengths. \u003ccite>(Photo: Courtesy of Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This is all about making the Facebook experience stickier than it is already for its two billion-plus users now. That said, Scherr warns, “It’s not a guaranteed success. Especially at this time, when the quality of TV is so high. You have to prove yourself. Tech companies are not experts at media, and so the question is can you find the right people to run this program for you.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Facebook says it plans to roll out access to Watch to more users and more content creators soon, starting with the rest of the U.S. before expanding internationally. Users with access will see a TV-shaped Watch button in the bottom navigation bar of Facebook’s main app that opens the new video hub.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Facebook began rolling out a new video service Thursday called \u003ca href=\"https://newsroom.fb.com/news/2017/08/introducing-watch-a-new-platform-for-shows-on-facebook/\" target=\"_blank\" rel=\"noopener noreferrer\">Facebook Watch\u003c/a>. It’s a calculated attempt to expand the amount of eyeball time we give the world’s dominant social media platform.\u003c/p>\n\u003cp>The idea is to get you watching and subscribing to high-quality feeds of everything from live videos of your favorite celebrities, to episodic television like National Geographic’s “\u003ca href=\"http://www.nationalgeographic.com/video/safari-live/\" target=\"_blank\" rel=\"noopener noreferrer\">Safari Live\u003c/a>,” to \u003ca href=\"https://www.mlb.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Major League Baseball\u003c/a>. Of course, your engagement becomes yet another thing your friends see in their Facebook feeds.\u003c/p>\n\u003cp>Ian Scherr, executive editor at the online tech news outlet \u003ca href=\"https://www.cnet.com/news/\" target=\"_blank\" rel=\"noopener noreferrer\">CNET News\u003c/a>, says Facebook wants ever more advertising revenue. “There’s definitely a correlation between the amount of time I’m watching and the amount of time I’m spending on Facebook. The real question is whether it’s going to be good enough to draw my attention away from all the big ones,” Scherr says.\u003c/p>\n\u003cp>By that, Scherr means \u003ca href=\"https://www.youtube.com/\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube\u003c/a>, \u003ca href=\"http://www.hbo.com/\" target=\"_blank\" rel=\"noopener noreferrer\">HBO \u003c/a>and \u003ca href=\"http://www.espn.com/\" target=\"_blank\" rel=\"noopener noreferrer\">ESPN\u003c/a>: you know, the only things that would cause you to peel away from your Facebook feed now. With the launch of Facebook Watch, the tech giant is moving into broadcasting in a big way.\u003c/p>\n\u003cp>Facebook Watch has already lined up established producers to develop original video content. These partners will earn 55 percent of ad break revenue; Facebook will keep the rest. The “Watch” tab and several dozen original shows will pop up for a small subset of U.S. users, rolling out more widely as time goes on.\u003c/p>\n\u003cfigure id=\"attachment_13805071\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13805071\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Join-800x450.jpg\" alt=\"Even though this looks more like television, Facebook watchers say this medium still favors short lengths.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Join-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Join-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Join-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Join-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Join-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Join-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Join-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Join-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Join-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Join.jpg 1670w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Even though this looks more like television, Facebook watchers say this medium still favors short lengths. \u003ccite>(Photo: Courtesy of Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This is all about making the Facebook experience stickier than it is already for its two billion-plus users now. That said, Scherr warns, “It’s not a guaranteed success. Especially at this time, when the quality of TV is so high. You have to prove yourself. Tech companies are not experts at media, and so the question is can you find the right people to run this program for you.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Green Day Drops Manager After 21 Years",
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"content": "\u003cp>Green Day may have just celebrated its storied past \u003ca href=\"https://ww2.kqed.org/arts/2017/05/16/the-definitive-documentary-on-east-bay-punk-is-coming-pit-warning/\" target=\"_blank\" rel=\"noopener noreferrer\">by producing a documentary on East Bay punk,\u003c/a> but as of Thursday, they’re abandoning another part of their history.\u003c/p>\n\u003cp>\u003ca href=\"http://variety.com/2017/music/news/green-day-manager-pat-magnarella-split-after-21-years-1202522141/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Variety\u003c/em>\u003c/a> reports that, after 21 years, Green Day is no longer being represented by longtime manager Pat Magnarella. The band will now be represented by Crush Music, who manages the likes of Lorde, Courtney Love and Weezer. As for the move, neither the band or Magnarella have commented publicly on why it happened.\u003c/p>\n\u003caside class=\"alignright\">\u003ca id=\"3NeOjrErR8tIrBA57CUsEg\" class=\"gie-single\" href=\"http://www.gettyimages.com/detail/107817213\" target=\"_blank\" style=\"color:#a7a7a7;text-decoration:none;font-weight:normal !important;border:none;display:inline-block;\" rel=\"noopener\">Embed from Getty Images\u003c/a>\u003cscript>window.gie=window.gie||function(c){(gie.q=gie.q||[]).push(c)};gie(function(){gie.widgets.load({id:'3NeOjrErR8tIrBA57CUsEg',sig:'7QNqZZhQBG_mX2UG9IOql0pUlzfIT_TP9l29v9Qn-F8=',w:'392px',h:'594px',items:'107817213',caption: true ,tld:'com',is360: false })});\u003c/script>\u003cscript src=\"//embed-cdn.gettyimages.com/widgets.js\" charset=\"utf-8\" async>\u003c/script>\u003c/aside>\n\u003cp>Magnarella and Green Day’s partnership began a year after the release of its second major-label album, 1995’s \u003cem>Insomniac\u003c/em>. Since then, Magnarella guided the band’s rise from pop-punk prodigies to arena-rock fixtures.\u003c/p>\n\u003cp>In addition to his managerial duties, Magnarella left his mark on Green Day’s multimedia work. He has producer credits on their tour documentary, 2005’s \u003cem>Bullet in a Bible\u003c/em>, and their Broadway rock opera \u003cem>American Idiot\u003c/em>. He’s also managed other alt-rock staples, such as Goo Goo Dolls and the All-American Rejects.\u003c/p>\n\u003cp>Green Day’s twelfth album, \u003cem>Revolution Radio\u003c/em>, was released in 2016. The band are currently on tour in support of the record, playing a homecoming show at the Oakland Coliseum last Saturday.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Green Day may have just celebrated its storied past \u003ca href=\"https://ww2.kqed.org/arts/2017/05/16/the-definitive-documentary-on-east-bay-punk-is-coming-pit-warning/\" target=\"_blank\" rel=\"noopener noreferrer\">by producing a documentary on East Bay punk,\u003c/a> but as of Thursday, they’re abandoning another part of their history.\u003c/p>\n\u003cp>\u003ca href=\"http://variety.com/2017/music/news/green-day-manager-pat-magnarella-split-after-21-years-1202522141/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Variety\u003c/em>\u003c/a> reports that, after 21 years, Green Day is no longer being represented by longtime manager Pat Magnarella. The band will now be represented by Crush Music, who manages the likes of Lorde, Courtney Love and Weezer. As for the move, neither the band or Magnarella have commented publicly on why it happened.\u003c/p>\n\u003caside class=\"alignright\">\u003ca id=\"3NeOjrErR8tIrBA57CUsEg\" class=\"gie-single\" href=\"http://www.gettyimages.com/detail/107817213\" target=\"_blank\" style=\"color:#a7a7a7;text-decoration:none;font-weight:normal !important;border:none;display:inline-block;\" rel=\"noopener\">Embed from Getty Images\u003c/a>\u003cscript>window.gie=window.gie||function(c){(gie.q=gie.q||[]).push(c)};gie(function(){gie.widgets.load({id:'3NeOjrErR8tIrBA57CUsEg',sig:'7QNqZZhQBG_mX2UG9IOql0pUlzfIT_TP9l29v9Qn-F8=',w:'392px',h:'594px',items:'107817213',caption: true ,tld:'com',is360: false })});\u003c/script>\u003cscript src=\"//embed-cdn.gettyimages.com/widgets.js\" charset=\"utf-8\" async>\u003c/script>\u003c/aside>\n\u003cp>Magnarella and Green Day’s partnership began a year after the release of its second major-label album, 1995’s \u003cem>Insomniac\u003c/em>. Since then, Magnarella guided the band’s rise from pop-punk prodigies to arena-rock fixtures.\u003c/p>\n\u003cp>In addition to his managerial duties, Magnarella left his mark on Green Day’s multimedia work. He has producer credits on their tour documentary, 2005’s \u003cem>Bullet in a Bible\u003c/em>, and their Broadway rock opera \u003cem>American Idiot\u003c/em>. He’s also managed other alt-rock staples, such as Goo Goo Dolls and the All-American Rejects.\u003c/p>\n\u003cp>Green Day’s twelfth album, \u003cem>Revolution Radio\u003c/em>, was released in 2016. The band are currently on tour in support of the record, playing a homecoming show at the Oakland Coliseum last Saturday.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Life With #NoFilter in SF's Instagram-Ready Color Factory",
"headTitle": "Life With #NoFilter in SF’s Instagram-Ready Color Factory | KQED",
"content": "\u003cp>When was the last time you saw such a frenzy for bright colors? The ubiquitously buzzed-about \u003ca href=\"http://www.colorfactory.co/\" target=\"_blank\" rel=\"noopener noreferrer\">Color Factory\u003c/a>, a pop-up interactive art experience near San Francisco’s Union Square, recently released an additional 26 days of admission tickets for September — an extension of the original (and completely sold out) August run. Lest you scramble to open that extra tab in your browser: you’re too late. And scalpers on Craigslist are selling tickets — originally priced at $32 — at around $80 a pop.\u003c/p>\n\u003cp>Even before Color Factory opened its doors to the public, headlines appeared across the internet making sweeping predictions. \u003cem>Condé Nast Traveler\u003c/em> declared \u003ca href=\"http://www.cntraveler.com/story/color-factory\" target=\"_blank\" rel=\"noopener noreferrer\">“San Francisco’s Color Factory Is About to Be All Over Your Instagram.”\u003c/a> \u003cem>Architectural Digest\u003c/em> called it \u003ca href=\"http://www.architecturaldigest.com/story/color-factory-pop-up-san-francisco\" target=\"_blank\" rel=\"noopener noreferrer\">“an Instagrammer’s dream come true.”\u003c/a> Curbed declared Color Factory \u003ca href=\"https://sf.curbed.com/2017/7/31/16069956/color-factory-sf\" target=\"_blank\" rel=\"noopener noreferrer\">“San Francisco’s newest Instagram hotspot.”\u003c/a>\u003c/p>\n\u003cp>Do you sense a pattern?\u003c/p>\n\u003cfigure id=\"attachment_13804978\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13804978\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/20065584_1658373870850345_7414443004187901952_n.jpg\" alt=\"The exterior of Color Factory on San Francisco's Sutter Street.\" width=\"1080\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20065584_1658373870850345_7414443004187901952_n.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20065584_1658373870850345_7414443004187901952_n-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20065584_1658373870850345_7414443004187901952_n-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20065584_1658373870850345_7414443004187901952_n-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20065584_1658373870850345_7414443004187901952_n-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20065584_1658373870850345_7414443004187901952_n-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20065584_1658373870850345_7414443004187901952_n-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20065584_1658373870850345_7414443004187901952_n-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20065584_1658373870850345_7414443004187901952_n-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20065584_1658373870850345_7414443004187901952_n-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20065584_1658373870850345_7414443004187901952_n-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20065584_1658373870850345_7414443004187901952_n-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20065584_1658373870850345_7414443004187901952_n-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20065584_1658373870850345_7414443004187901952_n-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20065584_1658373870850345_7414443004187901952_n-150x150.jpg 150w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">The exterior of Color Factory on San Francisco’s Sutter Street. \u003ccite>(@colorfactoryco on Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But before jumping to the conclusion that Color Factory is a sickly sweet honey trap for the shutter-happy selfie-posting folk who use \u003ca href=\"https://www.instagram.com/explore/tags/blessed/\" target=\"_blank\" rel=\"noopener noreferrer\">#blessed\u003c/a> completely unironically, consider the fact that it could be all of the above — it is, it totally is — and also something else.\u003c/p>\n\u003cp>Color Factory has \u003cem>levels, yo\u003c/em>. Both literally (it spans two floors at 575 Sutter Street) and figuratively.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Conceived by Jordan Ferney of \u003ca href=\"http://ohhappyday.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Oh Happy Day\u003c/a> (a “craft and celebration” blog with an accompanying party supply shop), Color Factory came to life quickly. Ferney had the idea in January. In April, she brought on local artist and chromophile \u003ca href=\"http://www.leahrosenberg.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Leah Rosenberg\u003c/a> as creative director; New York-based designer \u003ca href=\"http://work.theindigobunting.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Erin Jang\u003c/a> served as art director of the project. The team didn’t get access to the building until May.\u003c/p>\n\u003cfigure id=\"attachment_13804966\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13804966\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/20583193_248271045682320_2625346725874761728_ohd.jpg\" alt=\"A spot to sit and contemplate color, between the confetti room and Tom Stayte's installation.\" width=\"1080\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20583193_248271045682320_2625346725874761728_ohd.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20583193_248271045682320_2625346725874761728_ohd-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20583193_248271045682320_2625346725874761728_ohd-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20583193_248271045682320_2625346725874761728_ohd-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20583193_248271045682320_2625346725874761728_ohd-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20583193_248271045682320_2625346725874761728_ohd-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20583193_248271045682320_2625346725874761728_ohd-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20583193_248271045682320_2625346725874761728_ohd-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20583193_248271045682320_2625346725874761728_ohd-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20583193_248271045682320_2625346725874761728_ohd-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20583193_248271045682320_2625346725874761728_ohd-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20583193_248271045682320_2625346725874761728_ohd-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20583193_248271045682320_2625346725874761728_ohd-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20583193_248271045682320_2625346725874761728_ohd-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20583193_248271045682320_2625346725874761728_ohd-150x150.jpg 150w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">A spot to sit and contemplate color, between the confetti room and Tom Stayte’s installation. \u003ccite>(@ohhappyday on Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite what sounds like an insane production schedule (between this and her recently opened \u003ca href=\"http://sitesunseen.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Natoma Street public art installation\u003c/a>, one wonders if Rosenberg ever actually sleeps), Color Factory is up and running smoothly.\u003c/p>\n\u003cp>I say “smoothly” because at the time of my visit, five days into the project’s run, everyone visiting Color Factory was smiling. That’s a pretty good metric for a certain kind of success. Another kind of success is determined by the “net” line on an Excel spreadsheet. Another is evaluated by ticket pages that read “SOLD OUT” ad infinitum. And yet another is determined by what my social media specialist coworker identifies as “engagement.”\u003c/p>\n\u003cfigure id=\"attachment_13804979\" class=\"wp-caption aligncenter\" style=\"max-width: 1169px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13804979\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/BallPit.jpg\" alt=\"Public images tagged #colorfactoryco basking in the 'Yellow Ball Pit.'\" width=\"1169\" height=\"584\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/BallPit.jpg 1169w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/BallPit-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/BallPit-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/BallPit-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/BallPit-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/BallPit-960x480.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/BallPit-240x120.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/BallPit-375x187.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/BallPit-520x260.jpg 520w\" sizes=\"(max-width: 1169px) 100vw, 1169px\">\u003cfigcaption class=\"wp-caption-text\">Public images tagged #colorfactoryco basking in the ‘Yellow Ball Pit.’ \u003ccite>(Via Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In this respect, Color Factory is #winning. At press time, \u003ca href=\"https://www.instagram.com/explore/tags/colorfactory/\" target=\"_blank\" rel=\"noopener noreferrer\">#colorfactory\u003c/a> yields 3,573 public posts on Instagram, \u003ca href=\"https://www.instagram.com/explore/tags/colorfactoryco/\" target=\"_blank\" rel=\"noopener noreferrer\">#colorfactoryco\u003c/a> (the “official” hashtag) another 1,735. In an innovation I can easily see museums adopting in the next two years, Color Factory has selfie stations to expedite the documentation process: a unique card given to each visitor can be scanned at various photogenic points in the installations, triggering a countdown and sending the resulting images directly to your email. A clear favorite, for obvious reasons, is the ceiling-mounted camera snapping pics in the yellow ball pit.\u003c/p>\n\u003cp>\u003cem>I know\u003c/em>, you say, \u003cem>I’ve seen the pictures. So isn’t Color Factory just an Instagram factory? \u003c/em>\u003c/p>\n\u003cp>Well, yes and no. I’ll start with what Color Factory is not. It’s not \u003ca href=\"https://www.exploratorium.edu/visit/central-gallery/colored-shadows\" target=\"_blank\" rel=\"noopener noreferrer\">an Exploratorium exhibit\u003c/a>; you won’t learn how the human eye perceives and processes color. It’s not an \u003ca href=\"https://hyperallergic.com/174725/olafur-eliasson-on-turning-light-into-color/\" target=\"_blank\" rel=\"noopener noreferrer\">Olafur Eliasson-esque\u003c/a> meditation on art history and the visible spectrum. It’s not a social history lesson on the various connotations of color.\u003c/p>\n\u003cp>It’s also, importantly, \u003cem>not\u003c/em> an art exhibit — though artists did work on it, and parts of it are art.\u003c/p>\n\u003cfigure id=\"attachment_13804957\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13804957\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/20225849_1869403140048994_175690361706905600_ohd.jpg\" alt=\"Stepping out of Jacob Dahlgren's 'The Wonderful World of Abstraction.'\" width=\"1080\" height=\"1348\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20225849_1869403140048994_175690361706905600_ohd.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20225849_1869403140048994_175690361706905600_ohd-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20225849_1869403140048994_175690361706905600_ohd-800x999.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20225849_1869403140048994_175690361706905600_ohd-768x959.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20225849_1869403140048994_175690361706905600_ohd-1020x1273.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20225849_1869403140048994_175690361706905600_ohd-960x1198.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20225849_1869403140048994_175690361706905600_ohd-240x300.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20225849_1869403140048994_175690361706905600_ohd-375x468.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20225849_1869403140048994_175690361706905600_ohd-520x649.jpg 520w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">Stepping out of Jacob Dahlgren’s ‘The Wonderful World of Abstraction.’ \u003ccite>(@ohhappyday on Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to a slew of “stations” dreamed up by the creative team, Rosenberg commissioned artists and designers she wanted to “work with, support and protect” to paint illustrations, organize spaces and create installations. Because so few outlets list the whole cast of collaborators, I’m putting them all here: Jacob Dahlgren, Tom Stayte, Geronimo Balloons, Tosha Stimage, Stanton Jones, Andrew Neyer and Andy J. Miller, Carissa Potter, Jessica Hische, Rebecca Wright and Randi Brookman Harris.\u003c/p>\n\u003cp>This means that in addition to areas set up to provide pure, unabashed pleasure (look no further than the confetti room), slyly critical installations enter the mix. Stimage’s \u003ci>Oranges: Various Matter with Perceptual Properties Between 590-620nm\u003c/i> functions as an inventory of orange items — pool noodles, goldfish crackers, basketball lanterns — but also continues the artist’s investigation of orange (the fruit and color) as \u003ca href=\"https://ww2.kqed.org/arts/2017/06/22/tosha-stimages-world-of-oranges-language-and-black-identity/\" target=\"_blank\" rel=\"noopener noreferrer\">an analogy for black identity\u003c/a>. Sure, her carefully arranged \u003ca href=\"http://www.citylimitsgallery.com/death-valley-covered-in-flowers\" target=\"_blank\" rel=\"noopener noreferrer\">solo show at City Limits\u003c/a> had more depth and breadth, but Stimage’s Color Factory installation is a rare occurrence in the world of emerging artists: a paid opportunity to explore one’s practice and to have that work be seen by thousands of people.\u003c/p>\n\u003cfigure id=\"attachment_13804962\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13804962\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/20478989_287954728346637_3900919448344723456_n.jpg\" alt=\"View of Tom Stayte's lavender '#selfie' installation.\" width=\"1080\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20478989_287954728346637_3900919448344723456_n.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20478989_287954728346637_3900919448344723456_n-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20478989_287954728346637_3900919448344723456_n-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20478989_287954728346637_3900919448344723456_n-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20478989_287954728346637_3900919448344723456_n-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20478989_287954728346637_3900919448344723456_n-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20478989_287954728346637_3900919448344723456_n-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20478989_287954728346637_3900919448344723456_n-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20478989_287954728346637_3900919448344723456_n-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20478989_287954728346637_3900919448344723456_n-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20478989_287954728346637_3900919448344723456_n-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20478989_287954728346637_3900919448344723456_n-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20478989_287954728346637_3900919448344723456_n-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20478989_287954728346637_3900919448344723456_n-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20478989_287954728346637_3900919448344723456_n-150x150.jpg 150w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">View of Tom Stayte’s lavender ‘#selfie’ installation. \u003ccite>(@colorfactoryco on Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The most self-aware installation of the bunch comes from London-based artist Tom Stayte. In a lavender room, a computer program culls through Instagram for images hashtagged #selfie, thermal printing one image every 12 seconds on a roll of lavender paper. The self-portraits litter the floor, leaving you no other option but to step on strangers’ faces. Visitors to Color Factory can jump to the front of the printing queue by tagging their photo #TomStayte — feeding the artist’s social media presence with their own desire to get a printed souvenir.\u003c/p>\n\u003cp>Another thing Color Factory isn’t: purely visual stimulation. Instagram doesn’t quite capture the full range of sensory experiences here. There are things to taste: color-coordinated macaroons that arrive on a spinning tabletop, charcoal lemonade and banana-flavored soft-serve. Things to smell: hundreds of rubbery balloons and a wall of scratch-and-sniff stickers, their scents ranging from lovely to repulsive. Things to hear: silver-themed songs in the “disco room,” giggles emerging from Dahlgren’s dense cube of hanging ribbons. And things to feel: the weight of oversize green markers, submersion in a pit of plastic balls.\u003c/p>\n\u003cfigure id=\"attachment_13804964\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13804964\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/20582902_101538547226827_7471596125405839360_n.jpg\" alt=\"The Black and White Laboratory at Color Factory, featuring a spinning wheel of macaroons.\" width=\"1080\" height=\"1220\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20582902_101538547226827_7471596125405839360_n.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20582902_101538547226827_7471596125405839360_n-160x181.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20582902_101538547226827_7471596125405839360_n-800x904.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20582902_101538547226827_7471596125405839360_n-768x868.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20582902_101538547226827_7471596125405839360_n-1020x1152.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20582902_101538547226827_7471596125405839360_n-960x1084.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20582902_101538547226827_7471596125405839360_n-240x271.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20582902_101538547226827_7471596125405839360_n-375x424.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20582902_101538547226827_7471596125405839360_n-520x587.jpg 520w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">The Black and White Laboratory at Color Factory, featuring a spinning wheel of macaroons. \u003ccite>(@colorfactoryco on Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As much as I entered Color Factory filled with preconceived notions — mostly cynical feelings towards self-documentation against variously colored backgrounds — spending time in each of the rooms, surrounded by gleeful adults and children who already know how to have fun even without the help of colored stripes, won me over.\u003c/p>\n\u003cp>I can’t help but return to the smiles. How often do you see full-grown adults belly flopping without abandon in a sea of yellow orbs? Cheerfully tossing handfuls of confetti in the air? Drawing on the walls? Laughing wholeheartedly at punny bathroom humor? How can you argue with that?\u003c/p>\n\u003cfigure id=\"attachment_13804968\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13804968\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/20634711_1517914324897170_5512438315069997056_n.jpg\" alt=\"Inside the Color Factory's 'disco room.'\" width=\"1080\" height=\"1202\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20634711_1517914324897170_5512438315069997056_n.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20634711_1517914324897170_5512438315069997056_n-160x178.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20634711_1517914324897170_5512438315069997056_n-800x890.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20634711_1517914324897170_5512438315069997056_n-768x855.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20634711_1517914324897170_5512438315069997056_n-1020x1135.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20634711_1517914324897170_5512438315069997056_n-960x1068.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20634711_1517914324897170_5512438315069997056_n-240x267.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20634711_1517914324897170_5512438315069997056_n-375x417.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20634711_1517914324897170_5512438315069997056_n-520x579.jpg 520w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">Inside the Color Factory’s ‘disco room.’ \u003ccite>(@colorfactoryco on Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yes, you can do all of the above while taking a picture of yourself — but by the end of my tour through Color Factory, I saw people just \u003ci>doing\u003c/i> things for the sake of doing them. Unselfconsciously. They were, forgive the cliché, living in the moment.\u003c/p>\n\u003cp>There’s a conversation to be had about art and Instagram, Instagram and the museum, museum selfies and what it means to look at art through the screen of your phone instead of with your own eyeballs. But Color Factory isn’t the right scapegoat for any of this. And if this pop-up on Sutter Street is helping people loosen up a bit, take pleasure in bright colors, learn about artists they wouldn’t otherwise know, and remember how to simply \u003cem>play\u003c/em>… who cares how many photos they post in the process?\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/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\n",
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"excerpt": "It's tougher to get into than 'Hamilton.' What is the Color Factory and why is it all over your Instagram feed?",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When was the last time you saw such a frenzy for bright colors? The ubiquitously buzzed-about \u003ca href=\"http://www.colorfactory.co/\" target=\"_blank\" rel=\"noopener noreferrer\">Color Factory\u003c/a>, a pop-up interactive art experience near San Francisco’s Union Square, recently released an additional 26 days of admission tickets for September — an extension of the original (and completely sold out) August run. Lest you scramble to open that extra tab in your browser: you’re too late. And scalpers on Craigslist are selling tickets — originally priced at $32 — at around $80 a pop.\u003c/p>\n\u003cp>Even before Color Factory opened its doors to the public, headlines appeared across the internet making sweeping predictions. \u003cem>Condé Nast Traveler\u003c/em> declared \u003ca href=\"http://www.cntraveler.com/story/color-factory\" target=\"_blank\" rel=\"noopener noreferrer\">“San Francisco’s Color Factory Is About to Be All Over Your Instagram.”\u003c/a> \u003cem>Architectural Digest\u003c/em> called it \u003ca href=\"http://www.architecturaldigest.com/story/color-factory-pop-up-san-francisco\" target=\"_blank\" rel=\"noopener noreferrer\">“an Instagrammer’s dream come true.”\u003c/a> Curbed declared Color Factory \u003ca href=\"https://sf.curbed.com/2017/7/31/16069956/color-factory-sf\" target=\"_blank\" rel=\"noopener noreferrer\">“San Francisco’s newest Instagram hotspot.”\u003c/a>\u003c/p>\n\u003cp>Do you sense a pattern?\u003c/p>\n\u003cfigure id=\"attachment_13804978\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13804978\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/20065584_1658373870850345_7414443004187901952_n.jpg\" alt=\"The exterior of Color Factory on San Francisco's Sutter Street.\" width=\"1080\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20065584_1658373870850345_7414443004187901952_n.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20065584_1658373870850345_7414443004187901952_n-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20065584_1658373870850345_7414443004187901952_n-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20065584_1658373870850345_7414443004187901952_n-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20065584_1658373870850345_7414443004187901952_n-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20065584_1658373870850345_7414443004187901952_n-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20065584_1658373870850345_7414443004187901952_n-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20065584_1658373870850345_7414443004187901952_n-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20065584_1658373870850345_7414443004187901952_n-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20065584_1658373870850345_7414443004187901952_n-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20065584_1658373870850345_7414443004187901952_n-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20065584_1658373870850345_7414443004187901952_n-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20065584_1658373870850345_7414443004187901952_n-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20065584_1658373870850345_7414443004187901952_n-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20065584_1658373870850345_7414443004187901952_n-150x150.jpg 150w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">The exterior of Color Factory on San Francisco’s Sutter Street. \u003ccite>(@colorfactoryco on Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But before jumping to the conclusion that Color Factory is a sickly sweet honey trap for the shutter-happy selfie-posting folk who use \u003ca href=\"https://www.instagram.com/explore/tags/blessed/\" target=\"_blank\" rel=\"noopener noreferrer\">#blessed\u003c/a> completely unironically, consider the fact that it could be all of the above — it is, it totally is — and also something else.\u003c/p>\n\u003cp>Color Factory has \u003cem>levels, yo\u003c/em>. Both literally (it spans two floors at 575 Sutter Street) and figuratively.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Conceived by Jordan Ferney of \u003ca href=\"http://ohhappyday.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Oh Happy Day\u003c/a> (a “craft and celebration” blog with an accompanying party supply shop), Color Factory came to life quickly. Ferney had the idea in January. In April, she brought on local artist and chromophile \u003ca href=\"http://www.leahrosenberg.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Leah Rosenberg\u003c/a> as creative director; New York-based designer \u003ca href=\"http://work.theindigobunting.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Erin Jang\u003c/a> served as art director of the project. The team didn’t get access to the building until May.\u003c/p>\n\u003cfigure id=\"attachment_13804966\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13804966\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/20583193_248271045682320_2625346725874761728_ohd.jpg\" alt=\"A spot to sit and contemplate color, between the confetti room and Tom Stayte's installation.\" width=\"1080\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20583193_248271045682320_2625346725874761728_ohd.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20583193_248271045682320_2625346725874761728_ohd-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20583193_248271045682320_2625346725874761728_ohd-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20583193_248271045682320_2625346725874761728_ohd-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20583193_248271045682320_2625346725874761728_ohd-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20583193_248271045682320_2625346725874761728_ohd-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20583193_248271045682320_2625346725874761728_ohd-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20583193_248271045682320_2625346725874761728_ohd-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20583193_248271045682320_2625346725874761728_ohd-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20583193_248271045682320_2625346725874761728_ohd-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20583193_248271045682320_2625346725874761728_ohd-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20583193_248271045682320_2625346725874761728_ohd-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20583193_248271045682320_2625346725874761728_ohd-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20583193_248271045682320_2625346725874761728_ohd-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20583193_248271045682320_2625346725874761728_ohd-150x150.jpg 150w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">A spot to sit and contemplate color, between the confetti room and Tom Stayte’s installation. \u003ccite>(@ohhappyday on Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite what sounds like an insane production schedule (between this and her recently opened \u003ca href=\"http://sitesunseen.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Natoma Street public art installation\u003c/a>, one wonders if Rosenberg ever actually sleeps), Color Factory is up and running smoothly.\u003c/p>\n\u003cp>I say “smoothly” because at the time of my visit, five days into the project’s run, everyone visiting Color Factory was smiling. That’s a pretty good metric for a certain kind of success. Another kind of success is determined by the “net” line on an Excel spreadsheet. Another is evaluated by ticket pages that read “SOLD OUT” ad infinitum. And yet another is determined by what my social media specialist coworker identifies as “engagement.”\u003c/p>\n\u003cfigure id=\"attachment_13804979\" class=\"wp-caption aligncenter\" style=\"max-width: 1169px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13804979\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/BallPit.jpg\" alt=\"Public images tagged #colorfactoryco basking in the 'Yellow Ball Pit.'\" width=\"1169\" height=\"584\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/BallPit.jpg 1169w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/BallPit-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/BallPit-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/BallPit-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/BallPit-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/BallPit-960x480.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/BallPit-240x120.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/BallPit-375x187.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/BallPit-520x260.jpg 520w\" sizes=\"(max-width: 1169px) 100vw, 1169px\">\u003cfigcaption class=\"wp-caption-text\">Public images tagged #colorfactoryco basking in the ‘Yellow Ball Pit.’ \u003ccite>(Via Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In this respect, Color Factory is #winning. At press time, \u003ca href=\"https://www.instagram.com/explore/tags/colorfactory/\" target=\"_blank\" rel=\"noopener noreferrer\">#colorfactory\u003c/a> yields 3,573 public posts on Instagram, \u003ca href=\"https://www.instagram.com/explore/tags/colorfactoryco/\" target=\"_blank\" rel=\"noopener noreferrer\">#colorfactoryco\u003c/a> (the “official” hashtag) another 1,735. In an innovation I can easily see museums adopting in the next two years, Color Factory has selfie stations to expedite the documentation process: a unique card given to each visitor can be scanned at various photogenic points in the installations, triggering a countdown and sending the resulting images directly to your email. A clear favorite, for obvious reasons, is the ceiling-mounted camera snapping pics in the yellow ball pit.\u003c/p>\n\u003cp>\u003cem>I know\u003c/em>, you say, \u003cem>I’ve seen the pictures. So isn’t Color Factory just an Instagram factory? \u003c/em>\u003c/p>\n\u003cp>Well, yes and no. I’ll start with what Color Factory is not. It’s not \u003ca href=\"https://www.exploratorium.edu/visit/central-gallery/colored-shadows\" target=\"_blank\" rel=\"noopener noreferrer\">an Exploratorium exhibit\u003c/a>; you won’t learn how the human eye perceives and processes color. It’s not an \u003ca href=\"https://hyperallergic.com/174725/olafur-eliasson-on-turning-light-into-color/\" target=\"_blank\" rel=\"noopener noreferrer\">Olafur Eliasson-esque\u003c/a> meditation on art history and the visible spectrum. It’s not a social history lesson on the various connotations of color.\u003c/p>\n\u003cp>It’s also, importantly, \u003cem>not\u003c/em> an art exhibit — though artists did work on it, and parts of it are art.\u003c/p>\n\u003cfigure id=\"attachment_13804957\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13804957\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/20225849_1869403140048994_175690361706905600_ohd.jpg\" alt=\"Stepping out of Jacob Dahlgren's 'The Wonderful World of Abstraction.'\" width=\"1080\" height=\"1348\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20225849_1869403140048994_175690361706905600_ohd.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20225849_1869403140048994_175690361706905600_ohd-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20225849_1869403140048994_175690361706905600_ohd-800x999.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20225849_1869403140048994_175690361706905600_ohd-768x959.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20225849_1869403140048994_175690361706905600_ohd-1020x1273.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20225849_1869403140048994_175690361706905600_ohd-960x1198.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20225849_1869403140048994_175690361706905600_ohd-240x300.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20225849_1869403140048994_175690361706905600_ohd-375x468.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20225849_1869403140048994_175690361706905600_ohd-520x649.jpg 520w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">Stepping out of Jacob Dahlgren’s ‘The Wonderful World of Abstraction.’ \u003ccite>(@ohhappyday on Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to a slew of “stations” dreamed up by the creative team, Rosenberg commissioned artists and designers she wanted to “work with, support and protect” to paint illustrations, organize spaces and create installations. Because so few outlets list the whole cast of collaborators, I’m putting them all here: Jacob Dahlgren, Tom Stayte, Geronimo Balloons, Tosha Stimage, Stanton Jones, Andrew Neyer and Andy J. Miller, Carissa Potter, Jessica Hische, Rebecca Wright and Randi Brookman Harris.\u003c/p>\n\u003cp>This means that in addition to areas set up to provide pure, unabashed pleasure (look no further than the confetti room), slyly critical installations enter the mix. Stimage’s \u003ci>Oranges: Various Matter with Perceptual Properties Between 590-620nm\u003c/i> functions as an inventory of orange items — pool noodles, goldfish crackers, basketball lanterns — but also continues the artist’s investigation of orange (the fruit and color) as \u003ca href=\"https://ww2.kqed.org/arts/2017/06/22/tosha-stimages-world-of-oranges-language-and-black-identity/\" target=\"_blank\" rel=\"noopener noreferrer\">an analogy for black identity\u003c/a>. Sure, her carefully arranged \u003ca href=\"http://www.citylimitsgallery.com/death-valley-covered-in-flowers\" target=\"_blank\" rel=\"noopener noreferrer\">solo show at City Limits\u003c/a> had more depth and breadth, but Stimage’s Color Factory installation is a rare occurrence in the world of emerging artists: a paid opportunity to explore one’s practice and to have that work be seen by thousands of people.\u003c/p>\n\u003cfigure id=\"attachment_13804962\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13804962\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/20478989_287954728346637_3900919448344723456_n.jpg\" alt=\"View of Tom Stayte's lavender '#selfie' installation.\" width=\"1080\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20478989_287954728346637_3900919448344723456_n.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20478989_287954728346637_3900919448344723456_n-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20478989_287954728346637_3900919448344723456_n-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20478989_287954728346637_3900919448344723456_n-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20478989_287954728346637_3900919448344723456_n-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20478989_287954728346637_3900919448344723456_n-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20478989_287954728346637_3900919448344723456_n-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20478989_287954728346637_3900919448344723456_n-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20478989_287954728346637_3900919448344723456_n-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20478989_287954728346637_3900919448344723456_n-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20478989_287954728346637_3900919448344723456_n-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20478989_287954728346637_3900919448344723456_n-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20478989_287954728346637_3900919448344723456_n-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20478989_287954728346637_3900919448344723456_n-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20478989_287954728346637_3900919448344723456_n-150x150.jpg 150w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">View of Tom Stayte’s lavender ‘#selfie’ installation. \u003ccite>(@colorfactoryco on Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The most self-aware installation of the bunch comes from London-based artist Tom Stayte. In a lavender room, a computer program culls through Instagram for images hashtagged #selfie, thermal printing one image every 12 seconds on a roll of lavender paper. The self-portraits litter the floor, leaving you no other option but to step on strangers’ faces. Visitors to Color Factory can jump to the front of the printing queue by tagging their photo #TomStayte — feeding the artist’s social media presence with their own desire to get a printed souvenir.\u003c/p>\n\u003cp>Another thing Color Factory isn’t: purely visual stimulation. Instagram doesn’t quite capture the full range of sensory experiences here. There are things to taste: color-coordinated macaroons that arrive on a spinning tabletop, charcoal lemonade and banana-flavored soft-serve. Things to smell: hundreds of rubbery balloons and a wall of scratch-and-sniff stickers, their scents ranging from lovely to repulsive. Things to hear: silver-themed songs in the “disco room,” giggles emerging from Dahlgren’s dense cube of hanging ribbons. And things to feel: the weight of oversize green markers, submersion in a pit of plastic balls.\u003c/p>\n\u003cfigure id=\"attachment_13804964\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13804964\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/20582902_101538547226827_7471596125405839360_n.jpg\" alt=\"The Black and White Laboratory at Color Factory, featuring a spinning wheel of macaroons.\" width=\"1080\" height=\"1220\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20582902_101538547226827_7471596125405839360_n.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20582902_101538547226827_7471596125405839360_n-160x181.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20582902_101538547226827_7471596125405839360_n-800x904.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20582902_101538547226827_7471596125405839360_n-768x868.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20582902_101538547226827_7471596125405839360_n-1020x1152.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20582902_101538547226827_7471596125405839360_n-960x1084.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20582902_101538547226827_7471596125405839360_n-240x271.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20582902_101538547226827_7471596125405839360_n-375x424.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20582902_101538547226827_7471596125405839360_n-520x587.jpg 520w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">The Black and White Laboratory at Color Factory, featuring a spinning wheel of macaroons. \u003ccite>(@colorfactoryco on Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As much as I entered Color Factory filled with preconceived notions — mostly cynical feelings towards self-documentation against variously colored backgrounds — spending time in each of the rooms, surrounded by gleeful adults and children who already know how to have fun even without the help of colored stripes, won me over.\u003c/p>\n\u003cp>I can’t help but return to the smiles. How often do you see full-grown adults belly flopping without abandon in a sea of yellow orbs? Cheerfully tossing handfuls of confetti in the air? Drawing on the walls? Laughing wholeheartedly at punny bathroom humor? How can you argue with that?\u003c/p>\n\u003cfigure id=\"attachment_13804968\" class=\"wp-caption aligncenter\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13804968\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/20634711_1517914324897170_5512438315069997056_n.jpg\" alt=\"Inside the Color Factory's 'disco room.'\" width=\"1080\" height=\"1202\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20634711_1517914324897170_5512438315069997056_n.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20634711_1517914324897170_5512438315069997056_n-160x178.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20634711_1517914324897170_5512438315069997056_n-800x890.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20634711_1517914324897170_5512438315069997056_n-768x855.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20634711_1517914324897170_5512438315069997056_n-1020x1135.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20634711_1517914324897170_5512438315069997056_n-960x1068.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20634711_1517914324897170_5512438315069997056_n-240x267.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20634711_1517914324897170_5512438315069997056_n-375x417.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20634711_1517914324897170_5512438315069997056_n-520x579.jpg 520w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">Inside the Color Factory’s ‘disco room.’ \u003ccite>(@colorfactoryco on Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yes, you can do all of the above while taking a picture of yourself — but by the end of my tour through Color Factory, I saw people just \u003ci>doing\u003c/i> things for the sake of doing them. Unselfconsciously. They were, forgive the cliché, living in the moment.\u003c/p>\n\u003cp>There’s a conversation to be had about art and Instagram, Instagram and the museum, museum selfies and what it means to look at art through the screen of your phone instead of with your own eyeballs. But Color Factory isn’t the right scapegoat for any of this. And if this pop-up on Sutter Street is helping people loosen up a bit, take pleasure in bright colors, learn about artists they wouldn’t otherwise know, and remember how to simply \u003cem>play\u003c/em>… who cares how many photos they post in the process?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
},
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"order": 9
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"order": 15
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"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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