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"content": "\u003cp>Two TV commercials that would fly totally under the radar in the U.S. have just been banned in the U.K. for perpetuating gender stereotypes.\u003c/p>\n\u003cp>In one for Philadelphia cream cheese, two new dads are shown at a sushi-style restaurant, getting distracted by the snacks on offer and almost losing their babies on the food carousel. As they make last minute grabs to retrieve their children, one of them says “Let’s not tell mum.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=avtzdOTbzbo\u003c/p>\n\u003cp>In the other, for Volkswagen electric e-Golf cars, a man is shown zipping up a tent on the side of a cliff while his female companion sleeps, male astronauts are seen functioning in zero gravity, a male athlete with a prosthetic leg performs a high jump, and a woman with a stroller is seen reading on a park bench. The images are accompanied by the tagline: “When we learn to adapt, we can achieve anything.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=1&v=U4tAVYvYz7U\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Thanks to brand new rules, both of these were considered problematic enough for watchdog organization, the Advertising Standards Authority (ASA), to pull the commercials. The \u003ca href=\"https://www.asa.org.uk/news/harmful-gender-stereotypes-in-ads-to-be-banned.html\" target=\"_blank\" rel=\"noopener\">regulations\u003c/a>, adopted in June, also encompass standards for online ads, print media and billboards.\u003c/p>\n\u003cp>Late last year, the ASA’s Chief Executive, Guy Parker, told the BBC:\u003c/p>\n\u003cblockquote>\u003cp>“It’s going to be okay for an ad to show a woman shopping or cleaning. It’s going to be okay to show a man doing a DIY task in the home. What we’re going to be looking at is ads that go beyond that. Ads that paint the picture that it’s a woman’s role to tidy up after her family who’ve trashed the house—that it’s her job in life. We’re worried about that sort of depiction. Similarly ads that mock men for being hopeless at performing straightforward parental or household tasks just because they’re a man.”\u003c/p>\u003c/blockquote>\n\u003cp>Both Volkswagen and Mondelez (the makers of British Philadelphia) have \u003ca href=\"https://www.independent.co.uk/life-style/women/adverts-banned-volkswagen-car-philadelphia-cheese-advertising-standard-authority-gender-stereotypes-a9055561.html\" target=\"_blank\" rel=\"noopener\">objected\u003c/a> to the ASA’s decision to ban their ads. Mondelez claims it specifically chose to depict male parents in the Philadelphia commercial because most ads with babies feature women. VW argued that the sleeping woman in the car commercial “could be said to demonstrate not that she was passive, but that she was relaxed and comfortable in a hostile environment,” and that everyone else in the ad was “shown performing actions that were not stereotypical to one gender.”\u003c/p>\n\u003cp>The genesis for the new rules came in 2015, with an ad for a company called Protein World that featured a conventionally beautiful model in a yellow bikini, alongside the question \u003ca href=\"https://twitter.com/Independent/status/593532316258963456\" target=\"_blank\" rel=\"noopener\">“ARE YOU BEACH BODY READY?”\u003c/a> It caused uproar across the U.K., with critics vocalizing their disdain on social media, and, via graffiti, on the posters themselves. Over 70,000 people signed a \u003ca href=\"https://www.change.org/p/proteinworld-arjun-seth-remove-are-you-beach-body-ready-advertisements\" target=\"_blank\" rel=\"noopener\">petition to have the ads removed\u003c/a>, and \u003ca href=\"https://www.babble.com/body-mind/theres-no-such-thing-as-a-beach-ready-body/\" target=\"_blank\" rel=\"noopener\">women staged protests\u003c/a> in \u003ca href=\"https://www.theguardian.com/media/2015/apr/27/mass-demonstration-planned-over-beach-body-ready-tube-advert\" target=\"_blank\" rel=\"noopener\">London parks\u003c/a> and underground stations, in their own bikinis.\u003c/p>\n\u003cp>https://twitter.com/EscapologistFi/status/591222454208565248\u003c/p>\n\u003cp>In response to the furor, the ASA pulled the ad and launched an investigation.\u003c/p>\n\u003cp>Interestingly, both of the recently-banned TV commercials were also flagged by members of the British public, albeit in much smaller numbers. The Philadelphia one garnered 128 objections; the VW ad, only three. Five complaints were also \u003ca href=\"https://www.thedrum.com/news/2019/08/14/philadelphia-and-volkswagen-first-fall-foul-asas-gender-stereotyping-rules\" target=\"_blank\" rel=\"noopener\">reportedly filed\u003c/a> for a commercial for Buxton spring water (below), but the ASA concluded that it didn’t fall under their guidelines, as it merely showed people excelling at non-gender-specific passions.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HpwpALIajak\u003c/p>\n\u003cp>Clarifying the goal of the new rules, \u003ca href=\"https://www.bbc.com/news/business-48628678\" target=\"_blank\" rel=\"noopener\">Parker told the BBC\u003c/a>. “Our evidence shows how harmful gender stereotypes in ads can contribute to inequality in society, with costs for all of us,” he said. “Put simply, we found that some portrayals in ads can, over time, play a part in limiting people’s potential.”\u003c/p>\n\u003cp>The nuances involved with deciding what gets pulled and what doesn’t are bound to prompt endless debate in the months to come, but the new advertising standards can’t help but utterly transform how products are sold to the British public. According to \u003ci>Adweek\u003c/i>‘s managing editor, that might have an impact on how the U.S. sells things too. “This could have a ripple effect throughout the ad industry,” \u003ca href=\"https://www.youtube.com/watch?v=8FyG5y4nXUU\" target=\"_blank\" rel=\"noopener\">Stephanie Paterik told \u003ci>Good Morning America\u003c/i>\u003c/a> two years ago, when the new rules were first announced. “While the regulation only applies to the U.K., it is very much a global industry—and advertising creatives are really attuned to what their peers are doing in other countries.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Rumors that Carl’s Jr. will never, ever open a British restaurant now are unconfirmed, but probable.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>In response to the furor, the ASA pulled the ad and launched an investigation.\u003c/p>\n\u003cp>Interestingly, both of the recently-banned TV commercials were also flagged by members of the British public, albeit in much smaller numbers. The Philadelphia one garnered 128 objections; the VW ad, only three. Five complaints were also \u003ca href=\"https://www.thedrum.com/news/2019/08/14/philadelphia-and-volkswagen-first-fall-foul-asas-gender-stereotyping-rules\" target=\"_blank\" rel=\"noopener\">reportedly filed\u003c/a> for a commercial for Buxton spring water (below), but the ASA concluded that it didn’t fall under their guidelines, as it merely showed people excelling at non-gender-specific passions.\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/HpwpALIajak'\n title='//www.youtube.com/embed/HpwpALIajak'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Clarifying the goal of the new rules, \u003ca href=\"https://www.bbc.com/news/business-48628678\" target=\"_blank\" rel=\"noopener\">Parker told the BBC\u003c/a>. “Our evidence shows how harmful gender stereotypes in ads can contribute to inequality in society, with costs for all of us,” he said. “Put simply, we found that some portrayals in ads can, over time, play a part in limiting people’s potential.”\u003c/p>\n\u003cp>The nuances involved with deciding what gets pulled and what doesn’t are bound to prompt endless debate in the months to come, but the new advertising standards can’t help but utterly transform how products are sold to the British public. According to \u003ci>Adweek\u003c/i>‘s managing editor, that might have an impact on how the U.S. sells things too. “This could have a ripple effect throughout the ad industry,” \u003ca href=\"https://www.youtube.com/watch?v=8FyG5y4nXUU\" target=\"_blank\" rel=\"noopener\">Stephanie Paterik told \u003ci>Good Morning America\u003c/i>\u003c/a> two years ago, when the new rules were first announced. “While the regulation only applies to the U.K., it is very much a global industry—and advertising creatives are really attuned to what their peers are doing in other countries.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Rumors that Carl’s Jr. will never, ever open a British restaurant now are unconfirmed, but probable.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Last Friday, while jurors deliberated on two defendants’ criminal responsibility for the 2016 Ghost Ship warehouse fire, another artist complex in the nearby Jingletown neighborhood of East Oakland went up in flames. \u003c/p>\n\u003cp>Unlike Ghost Ship, however, no humans were injured in the fire at 976 23rd Ave., which houses dozens of small businesses and art studios. Still, space and materials serving 7–10 of more than 30 tenants, including woodworkers and sculptors, were destroyed. The whole building is currently inaccessible, according to M0xy tenants. [aside postID=news_11766607]\u003c/p>\n\u003cp>Atticus Wolf, who founded \u003ca href=\"https://www.m0xy.com/\">M0xy\u003c/a> with a partner in 2015, said he was in his office at the facility early Friday morning when the fire started, and attempted to extinguish it to no avail. “What went through my head is ‘everybody out.’ I don’t know what else I was thinking, but it hurt,” Wolf said. “We have two warehouse cats and one of them didn’t make it—his name was Sebastian.” \u003c/p>\n\u003cp>The fire comes at a time when city scrutiny and competition for commercial space, not least from \u003ca href=\"https://www.kqed.org/arts/13826417/new-oakland-law-could-prevent-cannabis-companies-from-evicting-tenants\" rel=\"noopener\" target=\"_blank\">deep-pocketed cannabis cultivation companies\u003c/a>, threaten the art and fabrication studios that have long occupied warehouse and light-industrial buildings in East Oakland. Now, M0xy tenants are working and fundraising to ensure the studio space doesn’t permanently disappear. \u003c/p>\n\u003cp>“The city has been in constant contact with M0xy, working closely with them to get the property up and running again, and get these small businesses and sole proprietors back to work as soon as possible,” Kelley Kahn, Oakland’s policy director for art spaces, said in a statement. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>David Keenan of Safer DIY Spaces, which emerged after the Ghost Ship fire as a resource for preserving and upgrading artist housing and workspace, is also working with Wolf and M0xy tenants on repairs. “The city, building department—everyone’s been helpful,” he said. \u003c/p>\n\u003cp>Wolf said the block-long facility is composed of two buildings, and that the one most damaged by the fire will be demolished. He’s working with the property owner, Jason Dreisbach, whose family business provides warehousing services to the ports of Oakland and Richmond, to explore the construction of a new building and restore access to the rest of the complex, noting many tenants are general contractors and skilled laborers.\u003c/p>\n\u003cp>Meanwhile, at least five tenants affected by the fire have launched crowdfunding campaigns: \u003ca href=\"https://www.gofundme.com/f/HELP-SAVE-SKIFF\">Skiff\u003c/a>, a fabrication business with five employees; \u003ca href=\"https://www.gofundme.com/f/o2-treehouse\">02 Treehouse\u003c/a>, an architectural firm focused on treehouses; Rachel Sadd, an artist known as the \u003ca href=\"https://www.gofundme.com/f/crafty-avenger-jingletown-fire-recovery-fund\">Crafty Avenger\u003c/a>; woodworker \u003ca href=\"https://www.gofundme.com/f/aaron-pirata-cronshey039s-get-back-to-work-fund\">Aaron Pirate Cronshey\u003c/a>; and \u003ca href=\"https://www.gofundme.com/f/ryan-montgomery039s-post-m0xy-fire-support-fund\">Ryan Montgomery\u003c/a>, the installation artist behind Geary & Hyde Design. \u003c/p>\n\u003cp>Dustin Feider of 02 Treehouse said contributions will go to seeking temporary workspace and completing an outstanding project for a client in Seattle. “It’s been a rude awakening to look at rental rates elsewhere,” he said, mentioning that 02 Treehouse often subcontracts with other M0xy tenants. “I’m glad to hear Atticus is on a mission to rebuild.” \u003c/p>\n\u003cp>M0xy is also accepting donations through its fiscal sponsor \u003ca href=\"https://www.artsandmedia.net/\">Independent Arts and Media\u003c/a>. \u003c/p>\n\u003cp>No one lives at M0xy, Wolf said. Inspired by \u003ca href=\"https://localwiki.org/oakland/American_Steel_Studios\" rel=\"noopener\" target=\"_blank\">American Steel\u003c/a>, the idea of the below market-rate studio space is to foster tool- and knowledge-sharing among tenants loosely aligned with what he called the industrial arts. At the time of the fire, though, he was working with Community Arts Stabilization Trust, the San Francisco nonprofit, to build artist housing in the neighborhood. \u003c/p>\n\u003cp>The plan had reached the point of architectural renderings for a potential site across the street. “Now those resources have to go back into the M0xy building,” Wolf said. “We’re at a standstill.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Artists are particularly susceptible to being displaced from studio space, according to a 2016 report from Oakland Mayor Libby Schaaf’s Artist Housing and Workspace Task Force, due to the city’s lack of commercial rent control or other protections. Most of the 900 local artists who responded to a task force survey indicated their workspace leases are month-to-month.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last Friday, while jurors deliberated on two defendants’ criminal responsibility for the 2016 Ghost Ship warehouse fire, another artist complex in the nearby Jingletown neighborhood of East Oakland went up in flames. \u003c/p>\n\u003cp>Unlike Ghost Ship, however, no humans were injured in the fire at 976 23rd Ave., which houses dozens of small businesses and art studios. Still, space and materials serving 7–10 of more than 30 tenants, including woodworkers and sculptors, were destroyed. The whole building is currently inaccessible, according to M0xy tenants. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Atticus Wolf, who founded \u003ca href=\"https://www.m0xy.com/\">M0xy\u003c/a> with a partner in 2015, said he was in his office at the facility early Friday morning when the fire started, and attempted to extinguish it to no avail. “What went through my head is ‘everybody out.’ I don’t know what else I was thinking, but it hurt,” Wolf said. “We have two warehouse cats and one of them didn’t make it—his name was Sebastian.” \u003c/p>\n\u003cp>The fire comes at a time when city scrutiny and competition for commercial space, not least from \u003ca href=\"https://www.kqed.org/arts/13826417/new-oakland-law-could-prevent-cannabis-companies-from-evicting-tenants\" rel=\"noopener\" target=\"_blank\">deep-pocketed cannabis cultivation companies\u003c/a>, threaten the art and fabrication studios that have long occupied warehouse and light-industrial buildings in East Oakland. Now, M0xy tenants are working and fundraising to ensure the studio space doesn’t permanently disappear. \u003c/p>\n\u003cp>“The city has been in constant contact with M0xy, working closely with them to get the property up and running again, and get these small businesses and sole proprietors back to work as soon as possible,” Kelley Kahn, Oakland’s policy director for art spaces, said in a statement. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>David Keenan of Safer DIY Spaces, which emerged after the Ghost Ship fire as a resource for preserving and upgrading artist housing and workspace, is also working with Wolf and M0xy tenants on repairs. “The city, building department—everyone’s been helpful,” he said. \u003c/p>\n\u003cp>Wolf said the block-long facility is composed of two buildings, and that the one most damaged by the fire will be demolished. He’s working with the property owner, Jason Dreisbach, whose family business provides warehousing services to the ports of Oakland and Richmond, to explore the construction of a new building and restore access to the rest of the complex, noting many tenants are general contractors and skilled laborers.\u003c/p>\n\u003cp>Meanwhile, at least five tenants affected by the fire have launched crowdfunding campaigns: \u003ca href=\"https://www.gofundme.com/f/HELP-SAVE-SKIFF\">Skiff\u003c/a>, a fabrication business with five employees; \u003ca href=\"https://www.gofundme.com/f/o2-treehouse\">02 Treehouse\u003c/a>, an architectural firm focused on treehouses; Rachel Sadd, an artist known as the \u003ca href=\"https://www.gofundme.com/f/crafty-avenger-jingletown-fire-recovery-fund\">Crafty Avenger\u003c/a>; woodworker \u003ca href=\"https://www.gofundme.com/f/aaron-pirata-cronshey039s-get-back-to-work-fund\">Aaron Pirate Cronshey\u003c/a>; and \u003ca href=\"https://www.gofundme.com/f/ryan-montgomery039s-post-m0xy-fire-support-fund\">Ryan Montgomery\u003c/a>, the installation artist behind Geary & Hyde Design. \u003c/p>\n\u003cp>Dustin Feider of 02 Treehouse said contributions will go to seeking temporary workspace and completing an outstanding project for a client in Seattle. “It’s been a rude awakening to look at rental rates elsewhere,” he said, mentioning that 02 Treehouse often subcontracts with other M0xy tenants. “I’m glad to hear Atticus is on a mission to rebuild.” \u003c/p>\n\u003cp>M0xy is also accepting donations through its fiscal sponsor \u003ca href=\"https://www.artsandmedia.net/\">Independent Arts and Media\u003c/a>. \u003c/p>\n\u003cp>No one lives at M0xy, Wolf said. Inspired by \u003ca href=\"https://localwiki.org/oakland/American_Steel_Studios\" rel=\"noopener\" target=\"_blank\">American Steel\u003c/a>, the idea of the below market-rate studio space is to foster tool- and knowledge-sharing among tenants loosely aligned with what he called the industrial arts. At the time of the fire, though, he was working with Community Arts Stabilization Trust, the San Francisco nonprofit, to build artist housing in the neighborhood. \u003c/p>\n\u003cp>The plan had reached the point of architectural renderings for a potential site across the street. “Now those resources have to go back into the M0xy building,” Wolf said. “We’re at a standstill.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Artists are particularly susceptible to being displaced from studio space, according to a 2016 report from Oakland Mayor Libby Schaaf’s Artist Housing and Workspace Task Force, due to the city’s lack of commercial rent control or other protections. Most of the 900 local artists who responded to a task force survey indicated their workspace leases are month-to-month.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Fans Feeling Cynical After Jay-Z Flip-Flops on the NFL",
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"content": "\u003cp>Just about the only thing that united America during 2019’s Super Bowl Halftime Show was the collective yawn it prompted.\u003c/p>\n\u003cp>After Rihanna and Pink, in solidarity with Colin Kaepernick, both turned down the chance to headline, the nation got stuck with a Maroon 5/Travis Scott/Big Boi snooze-fest—all of whom were \u003ca href=\"https://twitter.com/nessnitty/status/1085552587552837632?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1085552587552837632&ref_url=https%3A%2F%2Fvariety.com%2F2019%2Fbiz%2Fnews%2Ftravis-scott-colin-kaepernick-super-bowl-1203109159%2F\" target=\"_blank\" rel=\"noopener\">criticized\u003c/a> for taking part. Maroon 5 apparently \u003ca href=\"https://variety.com/2018/music/news/maroon-5-super-bowl-halftime-show-1203089706/\">struggled to find anyone\u003c/a> willing to fill the guest spots, with reports that Nicki Minaj, Usher, Cardi B, Mary J. Blige, Lauryn Hill and Andre 3000 all said no.\u003c/p>\n\u003cp>Probably fearing a similar outcome in 2020, the NFL has taken the bold step of collaborating with one of its fiercest critics: Jay-Z. Despite spitting \u003cem>“I said no to the Super Bowl, you need me, I don’t need you”\u003c/em> on last year’s \u003ca href=\"https://www.youtube.com/watch?v=kbMqWXnpXcA\">“APESHIT,”\u003c/a> and also reportedly trying to \u003ca href=\"https://variety.com/2019/biz/news/travis-scott-colin-kaepernick-super-bowl-1203109159/\" target=\"_blank\" rel=\"noopener\">talk Travis Scott out\u003c/a> of appearing at the halftime show, the rapper’s Roc Nation company has just signed on to be the NFL’s “live music entertainment strategist.” Moving forward, not only will Jay-Z co-produce the Super Bowl Halftime Show, he’ll also advise the NFL on musicians to be featured in the football season’s televised promos.\u003c/p>\n\u003cp>NFL Commissioner Roger Goodell has been careful to emphasize that this does not mean Jay-Z will be performing for them any time soon. “He was very quick to say that he does not want this to be about him performing,” \u003ca href=\"https://www.washingtonpost.com/sports/2019/08/13/nfl-is-partnering-with-jay-z-entertainment-social-justice-initiatives/\" target=\"_blank\" rel=\"noopener\">Goodell told the \u003cem>Washington Post\u003c/em>\u003c/a>, “that it was broader than that. It quickly went beyond that.” Goodell also noted that Jay-Z will also be involved in shaping programs at the NFL’s social justice organization, \u003ca href=\"https://operations.nfl.com/football-ops/economic-social-impact/inspire-change/\">Inspire Change\u003c/a>.\u003c/p>\n\u003cp>Jay-Z told the \u003cem>Washington Post\u003c/em> that while he had some Kaepernick-related hesitations before making the deal, “You can either go home, you can pack your bag and sit in the house, or you can choose to take it head-on. And that’s pretty much how we operate at Roc Nation. We seek to identify things that we want to be a part of and things that we believe that we can add value to, and we step in and we come with these ideas. And to their credit, the NFL agreed to these ideas.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>News of Jay-Z’s flip-flop regarding the NFL has been viewed with widespread cynicism on social media:\u003c/p>\n\u003cp>https://twitter.com/Kembo_Slice/status/1161336248071524353\u003c/p>\n\u003cp>https://twitter.com/MrErnestOwens/status/1161392218193592320\u003c/p>\n\u003cp>https://twitter.com/Hunitproof/status/1161360060313997312\u003c/p>\n\u003cp>https://twitter.com/BrianKnockin/status/1161339331467829250\u003c/p>\n\u003cp>Though some supporters are viewing the new partnership as positive progress:\u003c/p>\n\u003cp>https://twitter.com/jorgexluis__/status/1161355178739720193\u003c/p>\n\u003cp>https://twitter.com/AlecJRock/status/1161327794363744257\u003c/p>\n\u003cp>For his part, Jay-Z is sticking with the narrative that this business deal was intended to promote progress within the NFL. “We think at the end of the day,” he told the \u003cem>Washington Post\u003c/em>, “a lot of people will benefit from the NFL’s platform and the things that we brought to the table. We think it could help a lot of people.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Whether it helps or hurts Jay-Z’s credibility in the long run remains to be seen.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Just about the only thing that united America during 2019’s Super Bowl Halftime Show was the collective yawn it prompted.\u003c/p>\n\u003cp>After Rihanna and Pink, in solidarity with Colin Kaepernick, both turned down the chance to headline, the nation got stuck with a Maroon 5/Travis Scott/Big Boi snooze-fest—all of whom were \u003ca href=\"https://twitter.com/nessnitty/status/1085552587552837632?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1085552587552837632&ref_url=https%3A%2F%2Fvariety.com%2F2019%2Fbiz%2Fnews%2Ftravis-scott-colin-kaepernick-super-bowl-1203109159%2F\" target=\"_blank\" rel=\"noopener\">criticized\u003c/a> for taking part. Maroon 5 apparently \u003ca href=\"https://variety.com/2018/music/news/maroon-5-super-bowl-halftime-show-1203089706/\">struggled to find anyone\u003c/a> willing to fill the guest spots, with reports that Nicki Minaj, Usher, Cardi B, Mary J. Blige, Lauryn Hill and Andre 3000 all said no.\u003c/p>\n\u003cp>Probably fearing a similar outcome in 2020, the NFL has taken the bold step of collaborating with one of its fiercest critics: Jay-Z. Despite spitting \u003cem>“I said no to the Super Bowl, you need me, I don’t need you”\u003c/em> on last year’s \u003ca href=\"https://www.youtube.com/watch?v=kbMqWXnpXcA\">“APESHIT,”\u003c/a> and also reportedly trying to \u003ca href=\"https://variety.com/2019/biz/news/travis-scott-colin-kaepernick-super-bowl-1203109159/\" target=\"_blank\" rel=\"noopener\">talk Travis Scott out\u003c/a> of appearing at the halftime show, the rapper’s Roc Nation company has just signed on to be the NFL’s “live music entertainment strategist.” Moving forward, not only will Jay-Z co-produce the Super Bowl Halftime Show, he’ll also advise the NFL on musicians to be featured in the football season’s televised promos.\u003c/p>\n\u003cp>NFL Commissioner Roger Goodell has been careful to emphasize that this does not mean Jay-Z will be performing for them any time soon. “He was very quick to say that he does not want this to be about him performing,” \u003ca href=\"https://www.washingtonpost.com/sports/2019/08/13/nfl-is-partnering-with-jay-z-entertainment-social-justice-initiatives/\" target=\"_blank\" rel=\"noopener\">Goodell told the \u003cem>Washington Post\u003c/em>\u003c/a>, “that it was broader than that. It quickly went beyond that.” Goodell also noted that Jay-Z will also be involved in shaping programs at the NFL’s social justice organization, \u003ca href=\"https://operations.nfl.com/football-ops/economic-social-impact/inspire-change/\">Inspire Change\u003c/a>.\u003c/p>\n\u003cp>Jay-Z told the \u003cem>Washington Post\u003c/em> that while he had some Kaepernick-related hesitations before making the deal, “You can either go home, you can pack your bag and sit in the house, or you can choose to take it head-on. And that’s pretty much how we operate at Roc Nation. We seek to identify things that we want to be a part of and things that we believe that we can add value to, and we step in and we come with these ideas. And to their credit, the NFL agreed to these ideas.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>If you’ve ever been curious about the day-to-day lives of America’s most beloved suffragists—their relationships to one another, how they spoke about the movement in private, and how they found strength in the struggle—the Library of Congress has a really special gift for you. Not only has it just uploaded its collection of letters, diaries and speeches by the likes of Susan B. Anthony, Elizabeth Cady Stanton and Anna E. Dickinson to the web, it’s \u003ca href=\"https://crowd.loc.gov/campaigns-topics/\" target=\"_blank\" rel=\"noopener\">asking for the public’s help in transcribing them\u003c/a>.\u003c/p>\n\u003cp>The idea behind the crowdsourcing project is to digitize these historic papers for future generations, make them easier to read, and facilitate the process of locating specific documents via simple word search. A brief glance at the pages demonstrates the current challenges associated with exploring them in their original state. (Turns out these legendary ladies were too busy smashing the patriarchy to dedicate more time to their penmanship.)\u003c/p>\n\u003cfigure id=\"attachment_13864019\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/ConstitutionNationalWomenSuffrage_1200.jpg\" alt=\"The Constitution of the National Women Suffrage Association and a 1872 letter from Susan B. Anthony, in the volume Correspondence, 1846-1905.\" width=\"1200\" height=\"773\" class=\"size-full wp-image-13864019\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/ConstitutionNationalWomenSuffrage_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/ConstitutionNationalWomenSuffrage_1200-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/ConstitutionNationalWomenSuffrage_1200-800x515.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/ConstitutionNationalWomenSuffrage_1200-768x495.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/ConstitutionNationalWomenSuffrage_1200-1020x657.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The Constitution of the National Women Suffrage Association and a 1872 letter from Susan B. Anthony, in the volume Correspondence, 1846-1905. \u003ccite>(Courtesy of Library of Congress)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13864020\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/SusanBAnthonyDiary_1200.jpg\" alt=\"From Susan B. Anthony's papers, the first page of her 1873 diary.\" width=\"1200\" height=\"1042\" class=\"size-full wp-image-13864020\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/SusanBAnthonyDiary_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/SusanBAnthonyDiary_1200-160x139.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/SusanBAnthonyDiary_1200-800x695.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/SusanBAnthonyDiary_1200-768x667.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/SusanBAnthonyDiary_1200-1020x886.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">From Susan B. Anthony’s papers, the first page of her 1873 diary. \u003ccite>(Courtesy of Library of Congress)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13864021\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/SusanBAnthonyDiaryB_1200.jpg\" alt=\"Susan B. Anthony's diary entries for Jan. 20–21, 1877.\" width=\"1200\" height=\"953\" class=\"size-full wp-image-13864021\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/SusanBAnthonyDiaryB_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/SusanBAnthonyDiaryB_1200-160x127.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/SusanBAnthonyDiaryB_1200-800x635.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/SusanBAnthonyDiaryB_1200-768x610.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/SusanBAnthonyDiaryB_1200-1020x810.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Susan B. Anthony’s diary entries for Jan. 20–21, 1877. \u003ccite>(Courtesy of Library of Congress)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Currently, 2,820 volunteers are in the middle of working on 18,000 pages. They’ve already completed 6,781 of the documents, but there are more than 23,000 to go. You too can join in the task from the comfort of your own home, and feel like you’ve done your part for history. In their own time, suffragists asked for “Deeds, not words.” Finally, there’s a chance to give them both.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’ve ever been curious about the day-to-day lives of America’s most beloved suffragists—their relationships to one another, how they spoke about the movement in private, and how they found strength in the struggle—the Library of Congress has a really special gift for you. Not only has it just uploaded its collection of letters, diaries and speeches by the likes of Susan B. Anthony, Elizabeth Cady Stanton and Anna E. Dickinson to the web, it’s \u003ca href=\"https://crowd.loc.gov/campaigns-topics/\" target=\"_blank\" rel=\"noopener\">asking for the public’s help in transcribing them\u003c/a>.\u003c/p>\n\u003cp>The idea behind the crowdsourcing project is to digitize these historic papers for future generations, make them easier to read, and facilitate the process of locating specific documents via simple word search. A brief glance at the pages demonstrates the current challenges associated with exploring them in their original state. (Turns out these legendary ladies were too busy smashing the patriarchy to dedicate more time to their penmanship.)\u003c/p>\n\u003cfigure id=\"attachment_13864019\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/ConstitutionNationalWomenSuffrage_1200.jpg\" alt=\"The Constitution of the National Women Suffrage Association and a 1872 letter from Susan B. Anthony, in the volume Correspondence, 1846-1905.\" width=\"1200\" height=\"773\" class=\"size-full wp-image-13864019\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/ConstitutionNationalWomenSuffrage_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/ConstitutionNationalWomenSuffrage_1200-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/ConstitutionNationalWomenSuffrage_1200-800x515.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/ConstitutionNationalWomenSuffrage_1200-768x495.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/ConstitutionNationalWomenSuffrage_1200-1020x657.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The Constitution of the National Women Suffrage Association and a 1872 letter from Susan B. Anthony, in the volume Correspondence, 1846-1905. \u003ccite>(Courtesy of Library of Congress)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13864020\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/SusanBAnthonyDiary_1200.jpg\" alt=\"From Susan B. Anthony's papers, the first page of her 1873 diary.\" width=\"1200\" height=\"1042\" class=\"size-full wp-image-13864020\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/SusanBAnthonyDiary_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/SusanBAnthonyDiary_1200-160x139.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/SusanBAnthonyDiary_1200-800x695.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/SusanBAnthonyDiary_1200-768x667.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/SusanBAnthonyDiary_1200-1020x886.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">From Susan B. Anthony’s papers, the first page of her 1873 diary. \u003ccite>(Courtesy of Library of Congress)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13864021\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/SusanBAnthonyDiaryB_1200.jpg\" alt=\"Susan B. Anthony's diary entries for Jan. 20–21, 1877.\" width=\"1200\" height=\"953\" class=\"size-full wp-image-13864021\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/SusanBAnthonyDiaryB_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/SusanBAnthonyDiaryB_1200-160x127.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/SusanBAnthonyDiaryB_1200-800x635.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/SusanBAnthonyDiaryB_1200-768x610.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/SusanBAnthonyDiaryB_1200-1020x810.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Susan B. Anthony’s diary entries for Jan. 20–21, 1877. \u003ccite>(Courtesy of Library of Congress)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Currently, 2,820 volunteers are in the middle of working on 18,000 pages. They’ve already completed 6,781 of the documents, but there are more than 23,000 to go. You too can join in the task from the comfort of your own home, and feel like you’ve done your part for history. In their own time, suffragists asked for “Deeds, not words.” Finally, there’s a chance to give them both.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://sfopera.com/2019-20-season/placido/\" target=\"_blank\" rel=\"noopener\">San Francisco Opera\u003c/a> has canceled an upcoming, sold-out performance by Placido Domingo in the wake of \u003ca href=\"https://www.kqed.org/arts/13863923/women-accuse-opera-legend-placido-domingo-of-sexual-harassment\" target=\"_blank\" rel=\"noopener\">an Associated Press story\u003c/a> about multiple women accusing the opera star of sexual misconduct. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Domingo had been scheduled to appear at the War Memorial Opera House on Oct. 6 in a special concert celebrating 50 years of collaboration with the San Francisco Opera. \u003c/span>\u003c/p>\n\u003cp>[aside postID='arts_13863923' label='The Accusers Speak']\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But in a statement, the company said it can no longer go ahead with the event owing to the allegations brought forward by nine women, accusing the celebrated, 78-year-old singer of unwanted sexual advances that took place over several decades starting in the 1980s.\u003c/span>\u003c/p>\n\u003cp>“Though the alleged incidents reported did not take place at San Francisco Opera,” the statement reads in part, “the Company is unable to present the artist on the War Memorial Opera House stage.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Last year, the opera company \u003ca href=\"https://www.kqed.org/arts/13844556/sf-opera-drops-star-singer-in-wake-of-sexual-assault-allegations\" target=\"_blank\" rel=\"noopener\">took similar action against David Daniels\u003c/a> after the acclaimed countertenor was accused of sexual assault. \u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"https://www.inquirer.com/arts/placido-domingo-philadelphia-orchestra-invite-cancelled-sexual-harassment-allegations-20190813.html\" target=\"_blank\" rel=\"noopener\">The Philadelphia Orchestra\u003c/a> has also dropped an upcoming appearance by Domingo from its schedule. The \u003ca href=\"https://www.laopera.org/about-us/artists-2/cast-members/placido-domingo/\" target=\"_blank\" rel=\"noopener\">Los Angeles Opera\u003c/a>, where Domingo has served as general director for more than 15 years, is launching an investigation into his conduct.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Domingo issued a statement calling the allegations against him troubling and inaccurate.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://sfopera.com/2019-20-season/placido/\" target=\"_blank\" rel=\"noopener\">San Francisco Opera\u003c/a> has canceled an upcoming, sold-out performance by Placido Domingo in the wake of \u003ca href=\"https://www.kqed.org/arts/13863923/women-accuse-opera-legend-placido-domingo-of-sexual-harassment\" target=\"_blank\" rel=\"noopener\">an Associated Press story\u003c/a> about multiple women accusing the opera star of sexual misconduct. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Domingo had been scheduled to appear at the War Memorial Opera House on Oct. 6 in a special concert celebrating 50 years of collaboration with the San Francisco Opera. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Last year, the opera company \u003ca href=\"https://www.kqed.org/arts/13844556/sf-opera-drops-star-singer-in-wake-of-sexual-assault-allegations\" target=\"_blank\" rel=\"noopener\">took similar action against David Daniels\u003c/a> after the acclaimed countertenor was accused of sexual assault. \u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"https://www.inquirer.com/arts/placido-domingo-philadelphia-orchestra-invite-cancelled-sexual-harassment-allegations-20190813.html\" target=\"_blank\" rel=\"noopener\">The Philadelphia Orchestra\u003c/a> has also dropped an upcoming appearance by Domingo from its schedule. The \u003ca href=\"https://www.laopera.org/about-us/artists-2/cast-members/placido-domingo/\" target=\"_blank\" rel=\"noopener\">Los Angeles Opera\u003c/a>, where Domingo has served as general director for more than 15 years, is launching an investigation into his conduct.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Domingo issued a statement calling the allegations against him troubling and inaccurate.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Women Accuse Opera Legend Placido Domingo of Sexual Harassment",
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"content": "\u003cp>For decades, Placido Domingo, one of the most celebrated and powerful men in opera, has tried to pressure women into sexual relationships by dangling jobs and then sometimes punishing the women professionally when they refused his advances, numerous accusers told The Associated Press.\u003c/p>\n\u003cp>Regarded as one of the greatest opera singers of all time, Domingo also is a prolific conductor and the director of the Los Angeles Opera. The multiple Grammy winner is an immensely respected figure in his rarefied world, described by colleagues as a man of prodigious charm and energy who works tirelessly to promote his art form.\u003c/p>\n\u003cp>At 78, Domingo still attracts sellout crowds. In performances around the globe, he continues adding to the 150 roles he has sung in 4,000-plus performances, more than any opera singer in history.\u003c/p>\n\u003cp>[aside postID='arts_13863981' label='SF Opera Concert Canceled']\u003c/p>\n\u003cp>But his accusers and others in the industry say there is a troubling side to Domingo — one they say has long been an open secret in the opera world.\u003c/p>\n\u003cp>Eight singers and a dancer have told the AP that they were sexually harassed by the long-married, Spanish-born superstar in encounters that took place over three decades beginning in the late 1980s, at venues that included opera companies where he held top managerial positions.\u003c/p>\n\u003cp>One accuser said Domingo stuck his hand down her skirt and three others said he forced wet kisses on their lips — in a dressing room, a hotel room and at a lunch meeting.\u003c/p>\n\u003cp>“A business lunch is not strange,” said one of the singers. “Somebody trying to hold your hand during a business lunch is strange — or putting their hand on your knee is a little strange. He was always touching you in some way, and always kissing you.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In addition to the nine accusers, a half-dozen other women told the AP that suggestive overtures by Domingo made them uncomfortable, including one singer who said he repeatedly asked her out on dates after hiring her to sing a series of concerts with him in the 1990s.\u003c/p>\n\u003cp>The AP also spoke to almost three dozen other singers, dancers, orchestra musicians, members of backstage staff, voice teachers and an administrator who said they witnessed inappropriate sexually tinged behavior by Domingo and that he pursued younger women with impunity.\u003c/p>\n\u003cp>Domingo did not respond to detailed questions from the AP about specific incidents, but issued a statement saying: “The allegations from these unnamed individuals dating back as many as thirty years are deeply troubling, and as presented, inaccurate.\u003c/p>\n\u003cp>“Still, it is painful to hear that I may have upset anyone or made them feel uncomfortable — no matter how long ago and despite my best intentions. I believed that all of my interactions and relationships were always welcomed and consensual. People who know me or who have worked with me know that I am not someone who would intentionally harm, offend, or embarrass anyone.\u003c/p>\n\u003cp>“However, I recognize that the rules and standards by which we are — and should be — measured against today are very different than they were in the past. I am blessed and privileged to have had a more than 50-year career in opera and will hold myself to the highest standards.”\u003c/p>\n\u003cp>Seven of the nine accusers told the AP they feel their careers were adversely impacted after rejecting Domingo’s advances, with some saying that roles he promised never materialized and several noting that while they went on to work with other companies, they were never hired to work with him again.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=XB6QK5cdCXs\u003c/p>\n\u003cp>Only one of the nine women would allow her name to be used — Patricia Wulf, a mezzo-soprano who sang with Domingo at the Washington Opera. The others requested anonymity, saying they either still work in the business and feared reprisals or worried they might be publicly humiliated and even harassed.\u003c/p>\n\u003cp>The accusers’ stories lay out strikingly similar patterns of behavior that included Domingo persistently contacting them — often calling them repeatedly at home late at night — expressing interest in their careers and urging them to meet him privately for a drink or a meal, or at his apartment or hotel room, under the guise of offering professional advice.\u003c/p>\n\u003cp>None of the women could offer documentation, such as phone messages, but the AP spoke to many colleagues and friends who they confided in. In addition, the AP independently verified that the women worked where they said they did and that Domingo overlapped with them at those locations.\u003c/p>\n\u003cp>The AP has withheld certain details in cases where it could lead to identification of the accuser.\u003c/p>\n\u003cp>Two of the women said they briefly gave in to Domingo’s advances, feeling they couldn’t risk jeopardizing their careers by saying no to the most powerful man in their profession.\u003c/p>\n\u003cp>One of them said she had sex with him twice, including at the Biltmore hotel in Los Angeles. When Domingo left for a performance, the woman said, he put $10 on the dresser, saying, “I don’t want you to feel like a prostitute, but I also don’t want you to have to pay to park.”\u003c/p>\n\u003cp>Many of the accusers said they were warned repeatedly by colleagues to never be alone with Domingo, even in an elevator. If they did join him for a meal, they said they were told to avoid alcohol and meet at a public place — for lunch, not dinner.\u003c/p>\n\u003cp>The women making the accusations were mostly young and starting their careers at the time.\u003c/p>\n\u003cp>Several said they took extreme measures to avoid Domingo, including no longer using the ladies’ room near his office, asking other singers or backstage staff to stick with them while at work, and not answering their phones at home.\u003c/p>\n\u003cp>The dancer called her avoidance technique “the bob and weave, the giggle and get out,” and one soprano labeled it “walking the tightrope.”\u003c/p>\n\u003cp>Domingo’s influence in the opera world is so great that Wulf was the only person among the dozens who talked to the AP who spoke on the record. And many of those who spoke did so reluctantly, fearing retribution but also not wanting to inflict collateral damage on the industry itself.\u003c/p>\n\u003cp>But ultimately, those who talked to the AP said they felt emboldened by the #MeToo movement and decided the most effective way to attack the entrenched sexual misconduct in their industry was to call out the behavior of opera’s most prominent figure.\u003c/p>\n\u003cp>“There is an oral tradition of warning women against Placido Domingo,” said a mezzo-soprano who worked at the LA Opera but is not among the accusers. She echoed advice that several women said they had received: “Avoid interaction with him at all costs. And definitely don’t be alone with him.”\u003c/p>\n\u003ch2>‘Am I going to be the target or not?’\u003c/h2>\n\u003cp>Another mezzo-soprano who is one of the accusers was 23 and singing in the LA Opera chorus when she first met Domingo in 1988.\u003c/p>\n\u003cp>During a rehearsal of “Tales of Hoffman,” she was selected to kiss Domingo in an orgy scene. She said she remembers wiping his saliva off her face from a sloppy, wet kiss after which he whispered in her ear, “I wish we weren’t on stage.”\u003c/p>\n\u003cp>After that incident, she said, Domingo started calling her at home frequently, although she had not given him her number. He told her she was a talented singer with a promising future and he wanted to help her.\u003c/p>\n\u003cp>“I hadn’t started my career yet. I was completely flattered. And floored. And excited,” she said. “Then it got creepier.”\u003c/p>\n\u003cp>“He would say things like, ‘Come to my apartment. Let’s sing through some arias. I’ll give you coaching. I’d like to hear what you can do for casting.’”\u003c/p>\n\u003cp>Over the course of the next three years, she said, he was uncomfortably affectionate, slipping a hand around her waist when they crossed backstage or giving her a kiss on the cheek a bit too close to the mouth. He knew the key codes for the dressing rooms and would enter uninvited, she said, which she said she assumed was to catch her undressed.\u003c/p>\n\u003cp>Domingo was an artistic consultant at LA Opera in the 1980s when his stardom went mainstream. Newsweek magazine dubbed him “The King of The Opera” in a 1982 cover story and he appeared on popular television shows like “Sesame Street,” where a character, Placido Flamingo, was named for him. His collaboration in the “Three Tenors,” with the late Luciano Pavarotti and Jose Carreras, produced the best-selling classical recording of all time.\u003c/p>\n\u003cp>Rather than offend Domingo and risk losing future assignments, the mezzo-soprano said she strenuously tried to avoid being alone with him, while also striving not to insult him. But he did not take the hint, she said, and resumed his unwelcome pursuit whenever he returned to Los Angeles.\u003c/p>\n\u003cp>One night, she said, she agreed to meet Domingo about 11 p.m. “and then I had a full-blown panic attack. I freaked out, and I just kept not answering the phone. He just filled up the machine, calling me until 3:30 in the morning.”\u003c/p>\n\u003cp>She said she didn’t report his behavior because “that just wasn’t done” and also feared any misstep could kill her career.\u003c/p>\n\u003cp>Singers and administrators would “smile and shrug,” she said. “Everybody would see me running around to avoid him and laugh it off. That’s how everybody dealt with Placido.”\u003c/p>\n\u003cp>One backstage staff member said many felt Domingo was pursuing the mezzo-soprano “in some way that she was not wanting. We were all aware of that.” And a male singer and friend told the AP that he remembered the singer seeking his advice about how to navigate the situation.\u003c/p>\n\u003cp>The mezzo-soprano said she would mentally prepare herself for the star’s returns to Los Angeles. “I used to steel myself when he was in town, thinking, ‘Am I going to be the target or not? What will I say to him when he asks me again? How am I going to get out of it?’”\u003c/p>\n\u003cp>In 1991, she said, “I finally gave in and slept with him. I ran out of excuses. It was like, ‘OK, I guess this is what I have to do.’”\u003c/p>\n\u003cp>She said she had sex with Domingo on two occasions, at the Biltmore and at his Los Angeles apartment.\u003c/p>\n\u003cp>She said the superstar mentioned his “superstition that he had to be with a woman before a show” to help him relax and calm his nerves.\u003c/p>\n\u003cp>“I will sing better — and it will all be because of you,” she said he told her before he deposited $10 on the hotel dresser for the parking fee.\u003c/p>\n\u003cp>She cut off physical contact after the second encounter, a move she is convinced derailed her career at LA Opera.\u003c/p>\n\u003cp>“I don’t have a smoking gun,” she said, but “for somebody who was calling me and trying to see me every year, every time he was in town, to just never contact me again and never hire me again is pretty convenient.”\u003c/p>\n\u003ch2>‘How do you say no to God?’\u003c/h2>\n\u003cp>The LA Opera announced in 1998 that Domingo would become its artistic director, after working for years as a consultant for the company.\u003c/p>\n\u003cp>A young singer who met Domingo at a rehearsal that year said he immediately began calling her at home.\u003c/p>\n\u003cp>“He would say, ‘I’m going to talk to you as the future artistic director of the company’” and discuss possible roles for her, she said. “Then he would lower his voice and say, ‘Now I’m going to talk to you as Placido,’” she said, and ask her to meet him — for a drink in Santa Monica, to see a movie, to come to his apartment so he could cook her breakfast.\u003c/p>\n\u003cp>During one of his frequent uninvited visits to her dressing room, he admired her costume, leaning forward to kiss her cheeks and placing one hand on the side of her breast, she said.\u003c/p>\n\u003cp>From the beginning, the singer — who was 27 and just starting her career — said she felt panicked and trapped.\u003c/p>\n\u003cp>“I was totally intimidated and felt like saying no to him would be saying no to God. How do you say no to God?” she said.\u003c/p>\n\u003cp>As the calls wore on, she stopped picking up the phone. In person, she gave excuses, she said: She was busy, she was tired, she had an audition, she was married. She quoted Domingo as replying on one occasion: “It’s a shame your husband doesn’t understand about your career.”\u003c/p>\n\u003cp>After one performance, the singer said she went home and answered the phone, her heart sinking when she heard Domingo’s voice.\u003c/p>\n\u003cp>He told her he had champagne and asked if he could come pick her up so they could celebrate the performance. In that moment, she said, she had “a feeling of impending doom” that “I wasn’t going to have an opera career if I didn’t give in.” So, she said, she reluctantly agreed.\u003c/p>\n\u003cp>“He picked me up in his BMW and I got in the car with him. He was very excited. He was touching my knee. I went in my mind into acting so I could live with myself,” she said. She said they drove to his apartment near the opera’s Dorothy Chandler Pavilion, where champagne was waiting.\u003c/p>\n\u003cp>“We were sitting on the couch and at some point, he started kissing me,” she said. She said he then led her to a bedroom where he took her clothes off, then undressed himself. They engaged in “heavy petting” and “groping,” she said.\u003c/p>\n\u003cp>Domingo continued to pursue her in the days and weeks after, she said, calling her repeatedly. “I felt like prey. I felt like I was being hunted by him,” she said.\u003c/p>\n\u003cp>Ultimately, she told him the calls needed to stop and reminded him that she was married.\u003c/p>\n\u003cp>“I was not prepared for how much it would mess with my confidence, and my feeling shame about it and wondering who knew and if they thought that’s why I got an opportunity or a role,” she said. “I started to doubt my own talent and skills.”\u003c/p>\n\u003cp>The singer’s husband confirmed to the AP that she had told him at the time Domingo was persistently calling and that “eventually it was quite clear he was propositioning her.” When she confessed to what had happened with Domingo, the husband said her description of the star’s behavior persuaded him “that the only way to get out of it was to either give in — or give him a hard no and give up all concerns of your career.”\u003c/p>\n\u003cp>A friend and colleague of the singer told the AP that she remembered the singer saying Domingo was inundating her with calls and ignoring requests to stop. The singer’s weight dropped dramatically and she developed problems with her nerves, the colleague said.\u003c/p>\n\u003cp>“It was like watching someone be psychologically killed,” the colleague said. “She got smaller and smaller as a person.”\u003c/p>\n\u003cp>The singer said that once Domingo took over control of casting decisions at the LA Opera, he never hired her again.\u003c/p>\n\u003cp>Now 49 and retired, she said she is haunted by fears that submitting to Domingo had mitigated any wrongdoing on his part.\u003c/p>\n\u003cp>“I still struggle with the sense that I let myself down, pushing through and doing my job when I should have raised holy hell,” she said.\u003c/p>\n\u003ch2>‘Do you have to go home tonight?’\u003c/h2>\n\u003cp>Patricia Wulf, another mezzo-soprano who worked with Domingo, said he would confront her night after night with the same whispered question.\u003c/p>\n\u003cp>“Every time I would walk off stage, he would be in the wings waiting for me,” she said. “He would come right up to me, as close as could be, put his face right in my face, lower his voice and say, ‘Patricia, do you have to go home tonight?’”\u003c/p>\n\u003cp>At first, she said, she nervously laughed off Domingo’s remarks, even though she considered them offensive. But when he persisted, she made her position clear.\u003c/p>\n\u003cp>“I would say, ‘Yes! I have to go home tonight.’ And I would walk away.”\u003c/p>\n\u003cp>It was 1998 and Wulf’s career was taking off at the Washington Opera, where Domingo served as artistic director from 1996-2003 and general director from 2003-2011.\u003c/p>\n\u003cp>Then 40, she had been hired to do two solo roles that year, first in a production of “The Magic Flute” and later in “Fedora,” which starred Domingo and the great Italian soprano Mirella Freni. The opportunity to work with such famous singers was a career high point, she said, but the experience quickly became a nightmare.\u003c/p>\n\u003cp>In an interview at her home in Virginia, Wulf, now 61, held back tears as she related how, after investing years training her voice, she finally arrived on the big stage, only to find herself facing a predicament she didn’t know how to handle.\u003c/p>\n\u003cp>“You have to understand that when a man that powerful — he is almost like God in my business — when he would come up that close and say that, the first thing that goes through your mind is ‘What?!’\u003c/p>\n\u003cp>“But,” she added, “you also think as soon as you walk away and get away, you think, ‘Did I just ruin my career?’ And that went on through that entire production.”\u003c/p>\n\u003cp>Wulf said Domingo’s pursuit seemingly had no bounds.\u003c/p>\n\u003cp>“It got to a point that I would come off stage and try to slither behind a pillar, and he would still find a way to get to me,” she said.\u003c/p>\n\u003cp>She said Domingo would often knock on her dressing room door uninvited and that she feared leaving the room if he was in the hallway.\u003c/p>\n\u003cp>“I’d open the door and peek and see if he was there. And if he was there, I would just wait,” she said.\u003c/p>\n\u003cp>She said when she brought her husband, Richard Lew, to the “Magic Flute” opening night party, Domingo “came right up to me, took my hand, shook my hand, kissed both cheeks and he whispered in my ear, ‘I would like to meet my rival.’”\u003c/p>\n\u003cp>Lew told the AP that he would ask his wife after each performance, “Did it happen again? Did he say the same thing?” He added that “at a certain point, we didn’t have to ask. You could just tell by how upset she was.”\u003c/p>\n\u003cp>Wulf recalled the compassion of a male colleague who offered to stand up for her if she wanted to report him. “They’re not going to fire him — they’ll fire me,” she remembered telling him.\u003c/p>\n\u003cp>Contacted by the AP, the former colleague recalled Wulf’s discomfort and said he would accompany her to her car at work because she feared going alone.\u003c/p>\n\u003cp>Wulf said that Domingo did not physically touch her but that there was no mistaking his intentions.\u003c/p>\n\u003cp>“Absolutely and most certainly, that was sexual harassment,” she said. “When a man steps that close to you and with a wry smile asks if I have to go home — repeatedly — I can come up with no other conclusion than him wanting to bed me. Especially given his reputation for that.”\u003c/p>\n\u003cp>“It affected the way I dealt with men for the rest of my operatic career and the rest of my life,” she added.\u003c/p>\n\u003cp>Wulf said she is speaking out because the silence about what she called the “well-known secret” of Domingo’s behavior has stretched on too long. “I’m stepping forward because I hope that it can help other women come forward, or be strong enough to say no,” she said.\u003c/p>\n\u003ch2>‘I was frozen in terror.’\u003c/h2>\n\u003cp>Another singer who worked in Los Angeles in the mid-2000s told the AP that she already knew of Domingo’s reputation when he took an extreme interest in her career. She made sure she always had an excuse for leaving right after work.\u003c/p>\n\u003cp>“In the beginning, I wasn’t scared. I thought I could handle it,” she said, noting that he was persistent but not physically aggressive.\u003c/p>\n\u003cp>But one night after rehearsal, he caught her off-guard, she said, asking her for a ride home.\u003c/p>\n\u003cp>“The whole premise was ridiculous: Why would Placido Domingo not have a ride home?” she said. “But what was I going to do?”\u003c/p>\n\u003cp>Halfway through the short drive, she said, he put his hand on her leg and, as she reached his building, directed her toward a side entrance and told her to pull over.\u003c/p>\n\u003cp>“He leaned in and tried to kiss me,” then asked her upstairs, she said. She added that she declined, saying she had other plans.\u003c/p>\n\u003cp>Several weeks later, she said, Domingo approached her on a night that he knew she was scheduled to stay late.\u003c/p>\n\u003cp>He told her, “I’ve been trying to get you to work on this aria with me for weeks. I really want to hear you sing this role. Can you come to my apartment and we’ll run through this aria?”\u003c/p>\n\u003cp>His tone was different, she recalled. He sounded impatient.\u003c/p>\n\u003cp>“It sounds crazy to say, but it felt like he had invested so much time in this pursuit that he was annoyed with me,” she said. “I felt like I have dragged this out and avoided him for six weeks and he is Placido and he is my boss and he is offering to work with me on this role.”\u003c/p>\n\u003cp>She went to his apartment, where he poured two glasses of wine, she said.\u003c/p>\n\u003cp>“He sat down at the grand piano and we really did sing this aria, and we worked on it,” she said. “And he gave me coaching and was very complimentary.”\u003c/p>\n\u003cp>But then, she said, “When it was over, he stood up and slid his hand down my skirt, and that was when I had to get out of there.”\u003c/p>\n\u003cp>She said he followed her into the hallway, begged her to stay, then gestured downward and told her he had “two hours left,” which she believed was a reference to a sexual performance drug.\u003c/p>\n\u003cp>Back at her car, she sat in shock “for a long time until I felt like I could drive,” she said.\u003c/p>\n\u003cp>“I went home and was terrified to go back to work,” she said. “I was frozen in terror for that whole contract.”\u003c/p>\n\u003cp>Since then, she has sung at New York’s Metropolitan Opera, the San Francisco Opera and elsewhere, but has never again been hired to sing at the Los Angeles house or with Domingo.\u003c/p>\n\u003cp>“I’ve been hard on myself for a while,” the singer said. “Having a coaching session with somebody who offers you coaching is not consenting to sex.”\u003c/p>\n\u003ch2>‘Does he understand the risk he’s putting me in?’\u003c/h2>\n\u003cp>A dancer who worked with the superstar in several cities began recounting her experiences with him by stating, “My story is exceptionally common.”\u003c/p>\n\u003cp>She said a flirtatious Domingo called her late at night on-and-off for about a decade in the 1990s, leaving brazen messages that she would listen to in shock with her husband.\u003c/p>\n\u003cp>Domingo would ask her to meet him, including in his hotel room, but she said she would only go to lunch with him, always framed as a business meal. Still, she said, his hands would wander to her knee or he would hold her hand or kiss her cheek in ways that made her uncomfortable.\u003c/p>\n\u003cp>She said she would wonder to her husband: ”‘Does he understand the risk he’s putting me in, that he could wreck my marriage, wreck my career? Does he understand what he’s doing here?’ But he didn’t care.”\u003c/p>\n\u003cp>“When you’re working for the most powerful man in the opera, you try to play ball,” she said, adding that she was careful to never insult him and tried to appeal to his ego.\u003c/p>\n\u003cp>One afternoon when they were working together at the Washington Opera, she said Domingo asked her to meet for lunch at his hotel restaurant to discuss work. After the meal, he suggested they walk to rehearsal but said he needed to first stop at his room.\u003c/p>\n\u003cp>“He took me up to his room, ostensibly to pick up his stuff, and he invites me in,” she said. “And he starts hugging me and kissing me.”\u003c/p>\n\u003cp>She pushed him away, she said, and insisted she had to get to rehearsal.\u003c/p>\n\u003cp>“When I clearly was not going to have sex with him, he just walked me to the elevator and went back to his room,” she said. “The elevator doors opened, and I dropped. I just fell to the floor in the elevator and was sweating profusely.”\u003c/p>\n\u003cp>A former opera administrator said he was aware for years that Domingo was “constantly chasing” the dancer. And a conductor who is friends with the dancer said he recalled after she “said no to Domingo, she had the rug pulled out for several years.”\u003c/p>\n\u003cp>An opera employee who worked closely with Domingo said she found him gentlemanly and respectful, but confirmed that the dancer had complained of being harassed by the superstar for years. She said the dancer told her what happened in Domingo’s hotel room, adding that her impression was that “even though he was persistent, he did take no for an answer.”\u003c/p>\n\u003cp>After the hotel incident, the dancer said she didn’t work with Domingo for several years.\u003c/p>\n\u003cp>“There were years when I was a wreck about it and scared that I’d never be hired again,” the dancer said. Eventually, she said, she was “let back into his good graces.”\u003c/p>\n\u003cp>Perhaps for that reason, she said she feels conflicted about how to categorize Domingo’s behavior.\u003c/p>\n\u003cp>“What he did is wrong,” the dancer said. “He used his power, he stalked women, he put women in positions of vulnerability. People have dropped out of the business and been just erased because of submitting or not submitting to him.”\u003c/p>\n\u003ch2>‘He kept calling and leaving messages. I got frightened.’\u003c/h2>\n\u003cp>Domingo’s pursuits extended beyond the concert hall, according to one singer who said she encountered him in Italy during a backpacking trip.\u003c/p>\n\u003cp>In her 20s at the time, the singer was a master’s student at The Juilliard School in 1992, spending the summer traveling in Europe with her sister.\u003c/p>\n\u003cp>While in Rome, they stayed at a budget hotel off the Campo de Fiori, where she sang in the shower one morning with the window open. The doorman from a nearby luxury hotel yelled up to ask who was singing, she said, telling her that Domingo was a guest in his hotel and had heard her.\u003c/p>\n\u003cp>“He said you have a beautiful voice and he wants to meet you,” she said the doorman told her.\u003c/p>\n\u003cp>Domingo — who was in Rome that summer performing “Tosca” for a live broadcast around the world — sent a message asking her to meet him about 10 p.m. at another hotel.\u003c/p>\n\u003cp>She remembered walking into the hotel lobby and telling a clerk that she was meeting Placido Domingo. She was led up to the roof, where a private table was set up and Domingo emerged dressed in an elaborate costume-like robe and a billowy white shirt, with a beautiful, young brunette on his arm.\u003c/p>\n\u003cp>“The whole thing felt like something out of a movie,” she said.\u003c/p>\n\u003cp>She said she told him she was a student at Juilliard and he insisted she come see him that fall at the Metropolitan Opera, located a block from her school on Manhattan’s Upper West Side, so she could sing for him.\u003c/p>\n\u003cp>“He said he thought he could help me with my career,” she said.\u003c/p>\n\u003cp>Back in New York, she went to one of Domingo’s performances, then went backstage, where he remembered her and asked for her phone number, she said.\u003c/p>\n\u003cp>“At that point, I was enamored with the whole situation and excited to meet this really famous person with an amazing voice,” she said. “Then I started getting phone calls.”\u003c/p>\n\u003cp>“He would talk in this childlike voice that was flirty,” she recalled. “He wanted to come to my apartment — and that was weird.”\u003c/p>\n\u003cp>“In Italy and at the Met, the hook was, ‘I want to hear you sing. I can connect you with people.’ Once he started calling, it was just, ‘I want to see you. I want to meet you,’” she said.\u003c/p>\n\u003cp>She said she consulted a friend in the opera business who warned her to stay away from him.\u003c/p>\n\u003cp>“He was tenacious. He did not stop calling and calling and calling. The first couple times, I put him off. Then it got ridiculous. He kept calling and leaving messages. I got frightened.”\u003c/p>\n\u003cp>“His aggressiveness was too much to think he didn’t have an ulterior motive,” she said.\u003c/p>\n\u003cp>At one point, she asked a male classmate to answer her phone. Domingo never called again, she said.\u003c/p>\n\u003ch2>‘It was the death of the hero.’\u003c/h2>\n\u003cp>Another soprano said she felt she had reached the pinnacle of her career when the opportunity arose to work with Domingo at the Met in 2002. Domingo was her idol. His rich, spellbinding, soulful voice had inspired her to become an opera singer. Then in her 40s, her career goal had long been to work with him.\u003c/p>\n\u003cp>She remembers feeling elated when he praised her singing, taking her face in his hands after one performance and telling her, “You have moved me. Your performance moved me.” He was artistic director at both the Washington and LA operas and told her, “I’m going to find work for you. . I do many concerts. And I ask my favorite singers to join me.”\u003c/p>\n\u003cp>One evening at intermission, she said, Domingo knocked on her dressing room door and they chatted about the performance before he moved to kiss her goodbye.\u003c/p>\n\u003cp>“I gave him my cheek and instead he turned my face and kissed my lips,” the soprano said. “Suddenly there are wet lips on mine. It was a wet, slimy kiss.” As he pulled back, she said, he asked: ‘Do you understand?’”\u003c/p>\n\u003cp>“Yes,” the soprano answered.\u003c/p>\n\u003cp>“Do you really understand?” she said Domingo asked again, caressing her cheek.\u003c/p>\n\u003cp>″‘Yes, I absolutely understand.’” she said she answered.\u003c/p>\n\u003cp>“That’s all I said. But for me, it was the death of the hero. That was the death of my dream,” she said. Going forward, she said she gave him only her cheek to kiss and no longer looked him in the eye.\u003c/p>\n\u003cp>“He got the clear idea that I was not going to be cooperating. And he never pursued me again,” she said. Despite earlier declarations of future employment, she said she was never again asked to work with Domingo.\u003c/p>\n\u003cp>Domingo’s celebrity and fame are well-deserved, she said, and the opera world has benefited from his tremendous talent as a singer and performer.\u003c/p>\n\u003cp>“He’s got a soul when he sings, and that soul is there in the midst of this abuse of power,” she said.\u003c/p>\n\u003cp>Echoing several other accusers, she said she felt conflicted about damaging the legendary singer’s reputation but wanted him to know his behavior was wrong.\u003c/p>\n\u003cp>“It’s not that I want him to be punished. I want him to be made aware. I want him to have the opportunity to know exactly the kind of damage — emotional, psychological, professional and otherwise — that he’s responsible for,” she said.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"description": "For decades, Placido Domingo, one of the most celebrated and powerful men in opera, has tried to pressure women into sexual relationships by dangling jobs and then sometimes punishing the women professionally when they refused his advances, numerous accusers told The Associated Press. Regarded as one of the greatest opera singers of all time, Domingo",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For decades, Placido Domingo, one of the most celebrated and powerful men in opera, has tried to pressure women into sexual relationships by dangling jobs and then sometimes punishing the women professionally when they refused his advances, numerous accusers told The Associated Press.\u003c/p>\n\u003cp>Regarded as one of the greatest opera singers of all time, Domingo also is a prolific conductor and the director of the Los Angeles Opera. The multiple Grammy winner is an immensely respected figure in his rarefied world, described by colleagues as a man of prodigious charm and energy who works tirelessly to promote his art form.\u003c/p>\n\u003cp>At 78, Domingo still attracts sellout crowds. In performances around the globe, he continues adding to the 150 roles he has sung in 4,000-plus performances, more than any opera singer in history.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But his accusers and others in the industry say there is a troubling side to Domingo — one they say has long been an open secret in the opera world.\u003c/p>\n\u003cp>Eight singers and a dancer have told the AP that they were sexually harassed by the long-married, Spanish-born superstar in encounters that took place over three decades beginning in the late 1980s, at venues that included opera companies where he held top managerial positions.\u003c/p>\n\u003cp>One accuser said Domingo stuck his hand down her skirt and three others said he forced wet kisses on their lips — in a dressing room, a hotel room and at a lunch meeting.\u003c/p>\n\u003cp>“A business lunch is not strange,” said one of the singers. “Somebody trying to hold your hand during a business lunch is strange — or putting their hand on your knee is a little strange. He was always touching you in some way, and always kissing you.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In addition to the nine accusers, a half-dozen other women told the AP that suggestive overtures by Domingo made them uncomfortable, including one singer who said he repeatedly asked her out on dates after hiring her to sing a series of concerts with him in the 1990s.\u003c/p>\n\u003cp>The AP also spoke to almost three dozen other singers, dancers, orchestra musicians, members of backstage staff, voice teachers and an administrator who said they witnessed inappropriate sexually tinged behavior by Domingo and that he pursued younger women with impunity.\u003c/p>\n\u003cp>Domingo did not respond to detailed questions from the AP about specific incidents, but issued a statement saying: “The allegations from these unnamed individuals dating back as many as thirty years are deeply troubling, and as presented, inaccurate.\u003c/p>\n\u003cp>“Still, it is painful to hear that I may have upset anyone or made them feel uncomfortable — no matter how long ago and despite my best intentions. I believed that all of my interactions and relationships were always welcomed and consensual. People who know me or who have worked with me know that I am not someone who would intentionally harm, offend, or embarrass anyone.\u003c/p>\n\u003cp>“However, I recognize that the rules and standards by which we are — and should be — measured against today are very different than they were in the past. I am blessed and privileged to have had a more than 50-year career in opera and will hold myself to the highest standards.”\u003c/p>\n\u003cp>Seven of the nine accusers told the AP they feel their careers were adversely impacted after rejecting Domingo’s advances, with some saying that roles he promised never materialized and several noting that while they went on to work with other companies, they were never hired to work with him again.\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/XB6QK5cdCXs'\n title='//www.youtube.com/embed/XB6QK5cdCXs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Only one of the nine women would allow her name to be used — Patricia Wulf, a mezzo-soprano who sang with Domingo at the Washington Opera. The others requested anonymity, saying they either still work in the business and feared reprisals or worried they might be publicly humiliated and even harassed.\u003c/p>\n\u003cp>The accusers’ stories lay out strikingly similar patterns of behavior that included Domingo persistently contacting them — often calling them repeatedly at home late at night — expressing interest in their careers and urging them to meet him privately for a drink or a meal, or at his apartment or hotel room, under the guise of offering professional advice.\u003c/p>\n\u003cp>None of the women could offer documentation, such as phone messages, but the AP spoke to many colleagues and friends who they confided in. In addition, the AP independently verified that the women worked where they said they did and that Domingo overlapped with them at those locations.\u003c/p>\n\u003cp>The AP has withheld certain details in cases where it could lead to identification of the accuser.\u003c/p>\n\u003cp>Two of the women said they briefly gave in to Domingo’s advances, feeling they couldn’t risk jeopardizing their careers by saying no to the most powerful man in their profession.\u003c/p>\n\u003cp>One of them said she had sex with him twice, including at the Biltmore hotel in Los Angeles. When Domingo left for a performance, the woman said, he put $10 on the dresser, saying, “I don’t want you to feel like a prostitute, but I also don’t want you to have to pay to park.”\u003c/p>\n\u003cp>Many of the accusers said they were warned repeatedly by colleagues to never be alone with Domingo, even in an elevator. If they did join him for a meal, they said they were told to avoid alcohol and meet at a public place — for lunch, not dinner.\u003c/p>\n\u003cp>The women making the accusations were mostly young and starting their careers at the time.\u003c/p>\n\u003cp>Several said they took extreme measures to avoid Domingo, including no longer using the ladies’ room near his office, asking other singers or backstage staff to stick with them while at work, and not answering their phones at home.\u003c/p>\n\u003cp>The dancer called her avoidance technique “the bob and weave, the giggle and get out,” and one soprano labeled it “walking the tightrope.”\u003c/p>\n\u003cp>Domingo’s influence in the opera world is so great that Wulf was the only person among the dozens who talked to the AP who spoke on the record. And many of those who spoke did so reluctantly, fearing retribution but also not wanting to inflict collateral damage on the industry itself.\u003c/p>\n\u003cp>But ultimately, those who talked to the AP said they felt emboldened by the #MeToo movement and decided the most effective way to attack the entrenched sexual misconduct in their industry was to call out the behavior of opera’s most prominent figure.\u003c/p>\n\u003cp>“There is an oral tradition of warning women against Placido Domingo,” said a mezzo-soprano who worked at the LA Opera but is not among the accusers. She echoed advice that several women said they had received: “Avoid interaction with him at all costs. And definitely don’t be alone with him.”\u003c/p>\n\u003ch2>‘Am I going to be the target or not?’\u003c/h2>\n\u003cp>Another mezzo-soprano who is one of the accusers was 23 and singing in the LA Opera chorus when she first met Domingo in 1988.\u003c/p>\n\u003cp>During a rehearsal of “Tales of Hoffman,” she was selected to kiss Domingo in an orgy scene. She said she remembers wiping his saliva off her face from a sloppy, wet kiss after which he whispered in her ear, “I wish we weren’t on stage.”\u003c/p>\n\u003cp>After that incident, she said, Domingo started calling her at home frequently, although she had not given him her number. He told her she was a talented singer with a promising future and he wanted to help her.\u003c/p>\n\u003cp>“I hadn’t started my career yet. I was completely flattered. And floored. And excited,” she said. “Then it got creepier.”\u003c/p>\n\u003cp>“He would say things like, ‘Come to my apartment. Let’s sing through some arias. I’ll give you coaching. I’d like to hear what you can do for casting.’”\u003c/p>\n\u003cp>Over the course of the next three years, she said, he was uncomfortably affectionate, slipping a hand around her waist when they crossed backstage or giving her a kiss on the cheek a bit too close to the mouth. He knew the key codes for the dressing rooms and would enter uninvited, she said, which she said she assumed was to catch her undressed.\u003c/p>\n\u003cp>Domingo was an artistic consultant at LA Opera in the 1980s when his stardom went mainstream. Newsweek magazine dubbed him “The King of The Opera” in a 1982 cover story and he appeared on popular television shows like “Sesame Street,” where a character, Placido Flamingo, was named for him. His collaboration in the “Three Tenors,” with the late Luciano Pavarotti and Jose Carreras, produced the best-selling classical recording of all time.\u003c/p>\n\u003cp>Rather than offend Domingo and risk losing future assignments, the mezzo-soprano said she strenuously tried to avoid being alone with him, while also striving not to insult him. But he did not take the hint, she said, and resumed his unwelcome pursuit whenever he returned to Los Angeles.\u003c/p>\n\u003cp>One night, she said, she agreed to meet Domingo about 11 p.m. “and then I had a full-blown panic attack. I freaked out, and I just kept not answering the phone. He just filled up the machine, calling me until 3:30 in the morning.”\u003c/p>\n\u003cp>She said she didn’t report his behavior because “that just wasn’t done” and also feared any misstep could kill her career.\u003c/p>\n\u003cp>Singers and administrators would “smile and shrug,” she said. “Everybody would see me running around to avoid him and laugh it off. That’s how everybody dealt with Placido.”\u003c/p>\n\u003cp>One backstage staff member said many felt Domingo was pursuing the mezzo-soprano “in some way that she was not wanting. We were all aware of that.” And a male singer and friend told the AP that he remembered the singer seeking his advice about how to navigate the situation.\u003c/p>\n\u003cp>The mezzo-soprano said she would mentally prepare herself for the star’s returns to Los Angeles. “I used to steel myself when he was in town, thinking, ‘Am I going to be the target or not? What will I say to him when he asks me again? How am I going to get out of it?’”\u003c/p>\n\u003cp>In 1991, she said, “I finally gave in and slept with him. I ran out of excuses. It was like, ‘OK, I guess this is what I have to do.’”\u003c/p>\n\u003cp>She said she had sex with Domingo on two occasions, at the Biltmore and at his Los Angeles apartment.\u003c/p>\n\u003cp>She said the superstar mentioned his “superstition that he had to be with a woman before a show” to help him relax and calm his nerves.\u003c/p>\n\u003cp>“I will sing better — and it will all be because of you,” she said he told her before he deposited $10 on the hotel dresser for the parking fee.\u003c/p>\n\u003cp>She cut off physical contact after the second encounter, a move she is convinced derailed her career at LA Opera.\u003c/p>\n\u003cp>“I don’t have a smoking gun,” she said, but “for somebody who was calling me and trying to see me every year, every time he was in town, to just never contact me again and never hire me again is pretty convenient.”\u003c/p>\n\u003ch2>‘How do you say no to God?’\u003c/h2>\n\u003cp>The LA Opera announced in 1998 that Domingo would become its artistic director, after working for years as a consultant for the company.\u003c/p>\n\u003cp>A young singer who met Domingo at a rehearsal that year said he immediately began calling her at home.\u003c/p>\n\u003cp>“He would say, ‘I’m going to talk to you as the future artistic director of the company’” and discuss possible roles for her, she said. “Then he would lower his voice and say, ‘Now I’m going to talk to you as Placido,’” she said, and ask her to meet him — for a drink in Santa Monica, to see a movie, to come to his apartment so he could cook her breakfast.\u003c/p>\n\u003cp>During one of his frequent uninvited visits to her dressing room, he admired her costume, leaning forward to kiss her cheeks and placing one hand on the side of her breast, she said.\u003c/p>\n\u003cp>From the beginning, the singer — who was 27 and just starting her career — said she felt panicked and trapped.\u003c/p>\n\u003cp>“I was totally intimidated and felt like saying no to him would be saying no to God. How do you say no to God?” she said.\u003c/p>\n\u003cp>As the calls wore on, she stopped picking up the phone. In person, she gave excuses, she said: She was busy, she was tired, she had an audition, she was married. She quoted Domingo as replying on one occasion: “It’s a shame your husband doesn’t understand about your career.”\u003c/p>\n\u003cp>After one performance, the singer said she went home and answered the phone, her heart sinking when she heard Domingo’s voice.\u003c/p>\n\u003cp>He told her he had champagne and asked if he could come pick her up so they could celebrate the performance. In that moment, she said, she had “a feeling of impending doom” that “I wasn’t going to have an opera career if I didn’t give in.” So, she said, she reluctantly agreed.\u003c/p>\n\u003cp>“He picked me up in his BMW and I got in the car with him. He was very excited. He was touching my knee. I went in my mind into acting so I could live with myself,” she said. She said they drove to his apartment near the opera’s Dorothy Chandler Pavilion, where champagne was waiting.\u003c/p>\n\u003cp>“We were sitting on the couch and at some point, he started kissing me,” she said. She said he then led her to a bedroom where he took her clothes off, then undressed himself. They engaged in “heavy petting” and “groping,” she said.\u003c/p>\n\u003cp>Domingo continued to pursue her in the days and weeks after, she said, calling her repeatedly. “I felt like prey. I felt like I was being hunted by him,” she said.\u003c/p>\n\u003cp>Ultimately, she told him the calls needed to stop and reminded him that she was married.\u003c/p>\n\u003cp>“I was not prepared for how much it would mess with my confidence, and my feeling shame about it and wondering who knew and if they thought that’s why I got an opportunity or a role,” she said. “I started to doubt my own talent and skills.”\u003c/p>\n\u003cp>The singer’s husband confirmed to the AP that she had told him at the time Domingo was persistently calling and that “eventually it was quite clear he was propositioning her.” When she confessed to what had happened with Domingo, the husband said her description of the star’s behavior persuaded him “that the only way to get out of it was to either give in — or give him a hard no and give up all concerns of your career.”\u003c/p>\n\u003cp>A friend and colleague of the singer told the AP that she remembered the singer saying Domingo was inundating her with calls and ignoring requests to stop. The singer’s weight dropped dramatically and she developed problems with her nerves, the colleague said.\u003c/p>\n\u003cp>“It was like watching someone be psychologically killed,” the colleague said. “She got smaller and smaller as a person.”\u003c/p>\n\u003cp>The singer said that once Domingo took over control of casting decisions at the LA Opera, he never hired her again.\u003c/p>\n\u003cp>Now 49 and retired, she said she is haunted by fears that submitting to Domingo had mitigated any wrongdoing on his part.\u003c/p>\n\u003cp>“I still struggle with the sense that I let myself down, pushing through and doing my job when I should have raised holy hell,” she said.\u003c/p>\n\u003ch2>‘Do you have to go home tonight?’\u003c/h2>\n\u003cp>Patricia Wulf, another mezzo-soprano who worked with Domingo, said he would confront her night after night with the same whispered question.\u003c/p>\n\u003cp>“Every time I would walk off stage, he would be in the wings waiting for me,” she said. “He would come right up to me, as close as could be, put his face right in my face, lower his voice and say, ‘Patricia, do you have to go home tonight?’”\u003c/p>\n\u003cp>At first, she said, she nervously laughed off Domingo’s remarks, even though she considered them offensive. But when he persisted, she made her position clear.\u003c/p>\n\u003cp>“I would say, ‘Yes! I have to go home tonight.’ And I would walk away.”\u003c/p>\n\u003cp>It was 1998 and Wulf’s career was taking off at the Washington Opera, where Domingo served as artistic director from 1996-2003 and general director from 2003-2011.\u003c/p>\n\u003cp>Then 40, she had been hired to do two solo roles that year, first in a production of “The Magic Flute” and later in “Fedora,” which starred Domingo and the great Italian soprano Mirella Freni. The opportunity to work with such famous singers was a career high point, she said, but the experience quickly became a nightmare.\u003c/p>\n\u003cp>In an interview at her home in Virginia, Wulf, now 61, held back tears as she related how, after investing years training her voice, she finally arrived on the big stage, only to find herself facing a predicament she didn’t know how to handle.\u003c/p>\n\u003cp>“You have to understand that when a man that powerful — he is almost like God in my business — when he would come up that close and say that, the first thing that goes through your mind is ‘What?!’\u003c/p>\n\u003cp>“But,” she added, “you also think as soon as you walk away and get away, you think, ‘Did I just ruin my career?’ And that went on through that entire production.”\u003c/p>\n\u003cp>Wulf said Domingo’s pursuit seemingly had no bounds.\u003c/p>\n\u003cp>“It got to a point that I would come off stage and try to slither behind a pillar, and he would still find a way to get to me,” she said.\u003c/p>\n\u003cp>She said Domingo would often knock on her dressing room door uninvited and that she feared leaving the room if he was in the hallway.\u003c/p>\n\u003cp>“I’d open the door and peek and see if he was there. And if he was there, I would just wait,” she said.\u003c/p>\n\u003cp>She said when she brought her husband, Richard Lew, to the “Magic Flute” opening night party, Domingo “came right up to me, took my hand, shook my hand, kissed both cheeks and he whispered in my ear, ‘I would like to meet my rival.’”\u003c/p>\n\u003cp>Lew told the AP that he would ask his wife after each performance, “Did it happen again? Did he say the same thing?” He added that “at a certain point, we didn’t have to ask. You could just tell by how upset she was.”\u003c/p>\n\u003cp>Wulf recalled the compassion of a male colleague who offered to stand up for her if she wanted to report him. “They’re not going to fire him — they’ll fire me,” she remembered telling him.\u003c/p>\n\u003cp>Contacted by the AP, the former colleague recalled Wulf’s discomfort and said he would accompany her to her car at work because she feared going alone.\u003c/p>\n\u003cp>Wulf said that Domingo did not physically touch her but that there was no mistaking his intentions.\u003c/p>\n\u003cp>“Absolutely and most certainly, that was sexual harassment,” she said. “When a man steps that close to you and with a wry smile asks if I have to go home — repeatedly — I can come up with no other conclusion than him wanting to bed me. Especially given his reputation for that.”\u003c/p>\n\u003cp>“It affected the way I dealt with men for the rest of my operatic career and the rest of my life,” she added.\u003c/p>\n\u003cp>Wulf said she is speaking out because the silence about what she called the “well-known secret” of Domingo’s behavior has stretched on too long. “I’m stepping forward because I hope that it can help other women come forward, or be strong enough to say no,” she said.\u003c/p>\n\u003ch2>‘I was frozen in terror.’\u003c/h2>\n\u003cp>Another singer who worked in Los Angeles in the mid-2000s told the AP that she already knew of Domingo’s reputation when he took an extreme interest in her career. She made sure she always had an excuse for leaving right after work.\u003c/p>\n\u003cp>“In the beginning, I wasn’t scared. I thought I could handle it,” she said, noting that he was persistent but not physically aggressive.\u003c/p>\n\u003cp>But one night after rehearsal, he caught her off-guard, she said, asking her for a ride home.\u003c/p>\n\u003cp>“The whole premise was ridiculous: Why would Placido Domingo not have a ride home?” she said. “But what was I going to do?”\u003c/p>\n\u003cp>Halfway through the short drive, she said, he put his hand on her leg and, as she reached his building, directed her toward a side entrance and told her to pull over.\u003c/p>\n\u003cp>“He leaned in and tried to kiss me,” then asked her upstairs, she said. She added that she declined, saying she had other plans.\u003c/p>\n\u003cp>Several weeks later, she said, Domingo approached her on a night that he knew she was scheduled to stay late.\u003c/p>\n\u003cp>He told her, “I’ve been trying to get you to work on this aria with me for weeks. I really want to hear you sing this role. Can you come to my apartment and we’ll run through this aria?”\u003c/p>\n\u003cp>His tone was different, she recalled. He sounded impatient.\u003c/p>\n\u003cp>“It sounds crazy to say, but it felt like he had invested so much time in this pursuit that he was annoyed with me,” she said. “I felt like I have dragged this out and avoided him for six weeks and he is Placido and he is my boss and he is offering to work with me on this role.”\u003c/p>\n\u003cp>She went to his apartment, where he poured two glasses of wine, she said.\u003c/p>\n\u003cp>“He sat down at the grand piano and we really did sing this aria, and we worked on it,” she said. “And he gave me coaching and was very complimentary.”\u003c/p>\n\u003cp>But then, she said, “When it was over, he stood up and slid his hand down my skirt, and that was when I had to get out of there.”\u003c/p>\n\u003cp>She said he followed her into the hallway, begged her to stay, then gestured downward and told her he had “two hours left,” which she believed was a reference to a sexual performance drug.\u003c/p>\n\u003cp>Back at her car, she sat in shock “for a long time until I felt like I could drive,” she said.\u003c/p>\n\u003cp>“I went home and was terrified to go back to work,” she said. “I was frozen in terror for that whole contract.”\u003c/p>\n\u003cp>Since then, she has sung at New York’s Metropolitan Opera, the San Francisco Opera and elsewhere, but has never again been hired to sing at the Los Angeles house or with Domingo.\u003c/p>\n\u003cp>“I’ve been hard on myself for a while,” the singer said. “Having a coaching session with somebody who offers you coaching is not consenting to sex.”\u003c/p>\n\u003ch2>‘Does he understand the risk he’s putting me in?’\u003c/h2>\n\u003cp>A dancer who worked with the superstar in several cities began recounting her experiences with him by stating, “My story is exceptionally common.”\u003c/p>\n\u003cp>She said a flirtatious Domingo called her late at night on-and-off for about a decade in the 1990s, leaving brazen messages that she would listen to in shock with her husband.\u003c/p>\n\u003cp>Domingo would ask her to meet him, including in his hotel room, but she said she would only go to lunch with him, always framed as a business meal. Still, she said, his hands would wander to her knee or he would hold her hand or kiss her cheek in ways that made her uncomfortable.\u003c/p>\n\u003cp>She said she would wonder to her husband: ”‘Does he understand the risk he’s putting me in, that he could wreck my marriage, wreck my career? Does he understand what he’s doing here?’ But he didn’t care.”\u003c/p>\n\u003cp>“When you’re working for the most powerful man in the opera, you try to play ball,” she said, adding that she was careful to never insult him and tried to appeal to his ego.\u003c/p>\n\u003cp>One afternoon when they were working together at the Washington Opera, she said Domingo asked her to meet for lunch at his hotel restaurant to discuss work. After the meal, he suggested they walk to rehearsal but said he needed to first stop at his room.\u003c/p>\n\u003cp>“He took me up to his room, ostensibly to pick up his stuff, and he invites me in,” she said. “And he starts hugging me and kissing me.”\u003c/p>\n\u003cp>She pushed him away, she said, and insisted she had to get to rehearsal.\u003c/p>\n\u003cp>“When I clearly was not going to have sex with him, he just walked me to the elevator and went back to his room,” she said. “The elevator doors opened, and I dropped. I just fell to the floor in the elevator and was sweating profusely.”\u003c/p>\n\u003cp>A former opera administrator said he was aware for years that Domingo was “constantly chasing” the dancer. And a conductor who is friends with the dancer said he recalled after she “said no to Domingo, she had the rug pulled out for several years.”\u003c/p>\n\u003cp>An opera employee who worked closely with Domingo said she found him gentlemanly and respectful, but confirmed that the dancer had complained of being harassed by the superstar for years. She said the dancer told her what happened in Domingo’s hotel room, adding that her impression was that “even though he was persistent, he did take no for an answer.”\u003c/p>\n\u003cp>After the hotel incident, the dancer said she didn’t work with Domingo for several years.\u003c/p>\n\u003cp>“There were years when I was a wreck about it and scared that I’d never be hired again,” the dancer said. Eventually, she said, she was “let back into his good graces.”\u003c/p>\n\u003cp>Perhaps for that reason, she said she feels conflicted about how to categorize Domingo’s behavior.\u003c/p>\n\u003cp>“What he did is wrong,” the dancer said. “He used his power, he stalked women, he put women in positions of vulnerability. People have dropped out of the business and been just erased because of submitting or not submitting to him.”\u003c/p>\n\u003ch2>‘He kept calling and leaving messages. I got frightened.’\u003c/h2>\n\u003cp>Domingo’s pursuits extended beyond the concert hall, according to one singer who said she encountered him in Italy during a backpacking trip.\u003c/p>\n\u003cp>In her 20s at the time, the singer was a master’s student at The Juilliard School in 1992, spending the summer traveling in Europe with her sister.\u003c/p>\n\u003cp>While in Rome, they stayed at a budget hotel off the Campo de Fiori, where she sang in the shower one morning with the window open. The doorman from a nearby luxury hotel yelled up to ask who was singing, she said, telling her that Domingo was a guest in his hotel and had heard her.\u003c/p>\n\u003cp>“He said you have a beautiful voice and he wants to meet you,” she said the doorman told her.\u003c/p>\n\u003cp>Domingo — who was in Rome that summer performing “Tosca” for a live broadcast around the world — sent a message asking her to meet him about 10 p.m. at another hotel.\u003c/p>\n\u003cp>She remembered walking into the hotel lobby and telling a clerk that she was meeting Placido Domingo. She was led up to the roof, where a private table was set up and Domingo emerged dressed in an elaborate costume-like robe and a billowy white shirt, with a beautiful, young brunette on his arm.\u003c/p>\n\u003cp>“The whole thing felt like something out of a movie,” she said.\u003c/p>\n\u003cp>She said she told him she was a student at Juilliard and he insisted she come see him that fall at the Metropolitan Opera, located a block from her school on Manhattan’s Upper West Side, so she could sing for him.\u003c/p>\n\u003cp>“He said he thought he could help me with my career,” she said.\u003c/p>\n\u003cp>Back in New York, she went to one of Domingo’s performances, then went backstage, where he remembered her and asked for her phone number, she said.\u003c/p>\n\u003cp>“At that point, I was enamored with the whole situation and excited to meet this really famous person with an amazing voice,” she said. “Then I started getting phone calls.”\u003c/p>\n\u003cp>“He would talk in this childlike voice that was flirty,” she recalled. “He wanted to come to my apartment — and that was weird.”\u003c/p>\n\u003cp>“In Italy and at the Met, the hook was, ‘I want to hear you sing. I can connect you with people.’ Once he started calling, it was just, ‘I want to see you. I want to meet you,’” she said.\u003c/p>\n\u003cp>She said she consulted a friend in the opera business who warned her to stay away from him.\u003c/p>\n\u003cp>“He was tenacious. He did not stop calling and calling and calling. The first couple times, I put him off. Then it got ridiculous. He kept calling and leaving messages. I got frightened.”\u003c/p>\n\u003cp>“His aggressiveness was too much to think he didn’t have an ulterior motive,” she said.\u003c/p>\n\u003cp>At one point, she asked a male classmate to answer her phone. Domingo never called again, she said.\u003c/p>\n\u003ch2>‘It was the death of the hero.’\u003c/h2>\n\u003cp>Another soprano said she felt she had reached the pinnacle of her career when the opportunity arose to work with Domingo at the Met in 2002. Domingo was her idol. His rich, spellbinding, soulful voice had inspired her to become an opera singer. Then in her 40s, her career goal had long been to work with him.\u003c/p>\n\u003cp>She remembers feeling elated when he praised her singing, taking her face in his hands after one performance and telling her, “You have moved me. Your performance moved me.” He was artistic director at both the Washington and LA operas and told her, “I’m going to find work for you. . I do many concerts. And I ask my favorite singers to join me.”\u003c/p>\n\u003cp>One evening at intermission, she said, Domingo knocked on her dressing room door and they chatted about the performance before he moved to kiss her goodbye.\u003c/p>\n\u003cp>“I gave him my cheek and instead he turned my face and kissed my lips,” the soprano said. “Suddenly there are wet lips on mine. It was a wet, slimy kiss.” As he pulled back, she said, he asked: ‘Do you understand?’”\u003c/p>\n\u003cp>“Yes,” the soprano answered.\u003c/p>\n\u003cp>“Do you really understand?” she said Domingo asked again, caressing her cheek.\u003c/p>\n\u003cp>″‘Yes, I absolutely understand.’” she said she answered.\u003c/p>\n\u003cp>“That’s all I said. But for me, it was the death of the hero. That was the death of my dream,” she said. Going forward, she said she gave him only her cheek to kiss and no longer looked him in the eye.\u003c/p>\n\u003cp>“He got the clear idea that I was not going to be cooperating. And he never pursued me again,” she said. Despite earlier declarations of future employment, she said she was never again asked to work with Domingo.\u003c/p>\n\u003cp>Domingo’s celebrity and fame are well-deserved, she said, and the opera world has benefited from his tremendous talent as a singer and performer.\u003c/p>\n\u003cp>“He’s got a soul when he sings, and that soul is there in the midst of this abuse of power,” she said.\u003c/p>\n\u003cp>Echoing several other accusers, she said she felt conflicted about damaging the legendary singer’s reputation but wanted him to know his behavior was wrong.\u003c/p>\n\u003cp>“It’s not that I want him to be punished. I want him to be made aware. I want him to have the opportunity to know exactly the kind of damage — emotional, psychological, professional and otherwise — that he’s responsible for,” she said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "critical-resistance-prison-abolition-oakland-temescal-baby-world",
"title": "How Prison Abolitionists Acquired a Former Baby Store in Oakland's Temescal District",
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"headTitle": "How Prison Abolitionists Acquired a Former Baby Store in Oakland’s Temescal District | KQED",
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"content": "\u003cp>On the corner of 44th Street and Telegraph Avenue in Oakland, amid the upstart cafes and yoga studios of the Temescal district, a longtime baby shop is becoming a center for prison abolition.\u003c/p>\n\u003cp>Where months ago the building’s blue facade advertised toys and car seats, now murals and slogans promote a world without incarceration. An image of a white dove ascends from brown hands, and a woman blows the word “Libertad” from a conch shell. Window banners mark local campaigns against police conferences and gang injunctions, and lettering above the 7,000-square-foot corner storefront’s entrance announces the new occupants’ intentions: “Building People Power.”\u003c/p>\n\u003cp>This will be the new national offices of \u003ca href=\"http://criticalresistance.org/\">Critical Resistance\u003c/a>. The prison abolitionist group, cofounded 20 years ago by the activist and scholar Angela Davis, recently acquired the $3.3 million real estate through a young supporter who’s vowed to “radically redistribute” her inherited wealth, and is building offices and gathering space to share with allied groups. It’s an improbable fate for commercial property in an area synonymous with the city’s influx of young professionals.\u003c/p>\n\u003cp>And the unlikely deal required even more surprisingly interlocked interests: The Cabellos, who ran Baby World for decades, sold the building to Critical Resistance after rejecting offers from developers and corporate retailers (including one they blame for helping drive them out of business). They wanted to mitigate gentrification in North Oakland, and were endeared to the nonprofit’s politics by their harrowing experience of the United States-backed coup in their native Chile.\u003c/p>\n\u003cp>“I’d just seen \u003cem>Black Panther\u003c/em>,” recalled Dania Cabello, the business owners’ 36-year-old daughter, of helping solicit Critical Resistance, where her brother once interned, to buy the family property. “So I was like, ‘How do we bring a real-life Wakanda Institute to Oakland?”\u003c/p>\n\u003cfigure id=\"attachment_13863804\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863804\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Critical-Resistance-Building-Campaign-Posters-in-Windows-800x450.jpg\" alt=\"Critical Resistance marks successful and ongoing campaigns against the prison-industrial complex in the windows of its new building. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Critical-Resistance-Building-Campaign-Posters-in-Windows-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Critical-Resistance-Building-Campaign-Posters-in-Windows-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Critical-Resistance-Building-Campaign-Posters-in-Windows-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Critical-Resistance-Building-Campaign-Posters-in-Windows-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Critical-Resistance-Building-Campaign-Posters-in-Windows-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Critical-Resistance-Building-Campaign-Posters-in-Windows.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Critical Resistance marks successful and ongoing campaigns against the prison-industrial complex in the windows of its new building. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Abolition, Not Reform\u003c/h2>\n\u003cp>The acquisition means stability for Critical Resistance, which faces steep rent increases in its downtown Oakland offices, and a more conspicuous public presence at a time when its once-fringe ideas are going mainstream. “Look at the headlines—you have people proudly calling themselves abolitionists, the popularization of ‘abolish ICE,’” said communications director Mohamed Shehk. “It shows chipping away at state violence is an achievable reality.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Critical Resistance has several full-time employees and chapters in Los Angeles, New York City, Portland and Oakland. Part of its strategy is to dismantle the infrastructure of the prison-industrial complex, and then try to redirect public resources away from policing, surveillance and incarceration. Locally, for example, it participated in a successful coalition-based \u003ca href=\"http://stopurbanshield.org/\">campaign\u003c/a> against Urban Shield, a law-enforcement exposition criticized for promoting police militarization with emergency preparedness funds.\u003c/p>\n\u003cp>Building on the momentum of the recent San Francisco youth jail closure, Critical Resistance is working with Supervisor Matt Haney to shutter the county jail on Bryant Street. There’s broad political support for closing the seismically unsafe facility; Critical Resistance wants to go further and see that it isn’t replaced. “The idea is to reduce the incarcerated population, implement bail reform and divert people into services that make a new jail unnecessary,” Shehk said.\u003c/p>\n\u003cfigure id=\"attachment_13863808\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863808\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Critical-Resistance-Building-Stop-Urban-Shield-800x450.jpg\" alt=\"Critical Resistance was part of a coalition urging Oakland and Alameda officials to cut ties to Urban Shield.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Critical-Resistance-Building-Stop-Urban-Shield-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Critical-Resistance-Building-Stop-Urban-Shield-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Critical-Resistance-Building-Stop-Urban-Shield-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Critical-Resistance-Building-Stop-Urban-Shield-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Critical-Resistance-Building-Stop-Urban-Shield-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Critical-Resistance-Building-Stop-Urban-Shield.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Critical Resistance was part of a coalition urging Oakland and Alameda officials to cut ties to Urban Shield. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Oakland Power Projects,” an ongoing campaign, shows another side of Critical Resistance’s work: community-based alternatives to policing. For one project, organizers canvassed Oaklanders and then developed literature about addressing health emergencies without calling the cops. Tahirah Rasheed, an Oakland native recently hired as building project manager, said the Temescal center will make these resources more accessible. “It will be a hub for racial justice and social justice organizing—especially pushing back against gentrification,” she said.\u003c/p>\n\u003cp>At a time when criminal-justice reform has widespread support, even from conservatives such as the Koch Brothers, Critical Resistance is leery of its ideas being co-opted or diluted, and often assails progressive-seeming ideas that entrench incarceration. In 2016, for example, the organization opposed a California proposition to repeal capital punishment and resentence death row prisoners to life without parole, arguing it enshrined “the other death sentence.”\u003c/p>\n\u003cp>Lately, the group has similarly challenged liberal outrage at privately-run prisons: Ruth Wilson Gilmore, the theorist and Critical Resistance cofounder, recently stressed her critique of the reformist referendum on private prisons in a \u003cem>New York Times Magazine \u003c/em>\u003ca href=\"https://www.nytimes.com/2019/04/17/magazine/prison-abolition-ruth-wilson-gilmore.html\">profile\u003c/a>, saying they play only a small, parasitic role in mass incarceration. “We don’t believe the system is broken, so we don’t want it fixed,” Critical Resistance organizer Rehana Lerandeau explained to KQED. “We want it abolished.”\u003c/p>\n\u003cfigure id=\"attachment_13863827\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863827\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/TREAT-U-NICE-800x450.jpg\" alt=\"Critical Resistance commissioned muralist-activists Leslie “Dime” Lopez and Dominic “Treat U Nice” Villeda (pictured) to paint the building.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/TREAT-U-NICE-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/TREAT-U-NICE-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/TREAT-U-NICE-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/TREAT-U-NICE-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/TREAT-U-NICE-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/TREAT-U-NICE.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Critical Resistance commissioned muralist-activists Leslie “Dime” Lopez and Dominic “Treat U Nice” Villeda (pictured) to paint the building. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Philanthropy as Redistribution\u003c/h2>\n\u003cp>Rachel Gelman grew up in what she called a wealthy, owning-class family in Washington, D.C., struggling to reconcile her sharpening social-justice convictions with her privilege. Her family’s fortune, she said, derives largely from investments that benefit shareholders and executives at the expense of workers. “So, I was confused about my role in the movement,” she said.\u003c/p>\n\u003cp>Gelman, 29, is program director at Jewish Youth for Community Action, an activist and leadership training program in Piedmont. She moved to Oakland six years ago and discovered \u003ca href=\"https://resourcegeneration.org/\">Resource Generation\u003c/a>, a nonprofit that encourages wealthy young people to back leftist and progressive causes. Members of her family are philanthropists, and she considers their giving well-meaning and inspiring. But old-world charity, she said, can be “top down” or prescriptive, and it almost always entrenches status. Gelman doesn’t want her name on a theater.\u003c/p>\n\u003cp>Resource Generation, by contrast, recasts philanthropy as redistribution, stressing donations as a way to diffuse instead of bolster one’s own power. Now Gelman thinks of giving as a way to help upend the forces of capitalism, patriarchy and white supremacy that underlie her inheritance. “I believe ending this economic system that creates such drastic wealth inequality is necessary for all peoples’ humanity and dignity, including my own and that of my family,” she said.\u003c/p>\n\u003cp>Gelman was supporting Critical Resistance when the organization approached her about the Temescal building. She knew Critical Resistance was struggling with rising rents, and saw an opportunity to offer the group stability while removing property from the speculative market with her $3.3 million purchase. The company she formed to hold the building, which Critical Resistance is considering placing in a land trust, is named for an Arundhati Roy quotation: Another World Possible.\u003c/p>\n\u003cp>Critical Resistance shifted Gelman’s view of incarceration. She had gone from from being disgusted at its profiteers to embracing the idea that “any system that cages people is fundamentally inhumane,” she said. The multimillion-dollar donation to an organization that in 2017 had $373,000 in revenue reflects her optimism about the prospect of abolition, and she agreed to be interviewed in order to send a message to people with backgrounds similar to hers: “Invest in a world that benefits everybody.”\u003c/p>\n\u003cfigure id=\"attachment_13863809\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863809\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Crititcal-Resistance-Building-Libertad-Mural-800x450.jpg\" alt=\"The Cabellos, who ran Baby World for decades, were endeared to Critical Resistance's politics by their harrowing experience of a United States-backed coup in their native Chile.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Crititcal-Resistance-Building-Libertad-Mural-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Crititcal-Resistance-Building-Libertad-Mural-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Crititcal-Resistance-Building-Libertad-Mural-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Crititcal-Resistance-Building-Libertad-Mural-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Crititcal-Resistance-Building-Libertad-Mural-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Crititcal-Resistance-Building-Libertad-Mural.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Cabellos, who ran Baby World for decades, were endeared to Critical Resistance’s politics by their harrowing experience of a United States-backed coup in their native Chile. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Bittersweet’\u003c/h2>\n\u003cp>Aldo and Cristina Cabello listed 4400 Telegraph Ave. for sale in 2017, as business at Baby World declined. Dania, their daughter, pointed to online competition and also to displacement: The family-run business, founded more than 30 years prior, found the intergenerational continuity of its customer base severed. So it was “heartbreaking,” she said, to field offers from “condo developers and mega-corporations—the antithesis of the community we want to serve.”\u003c/p>\n\u003cp>Selling to Critical Resistance, though, appealed to the Cabellos’ abiding quest for justice. They came to Oakland as political refugees from Chile in 1973 after Augusto Pinochet, with United States government support, seized power in a military coup. A hit squad known as the Caravan of Death had executed Aldo’s brother Winston, and they feared for their lives. “My father was actually taken in on a couple occasions and released alive,” Dania said. “That was rare.”\u003c/p>\n\u003cp>Living in North Oakland with Dania’s two elder sisters, the Cabellos started selling refurbished electronics and baby accessories at the Coliseum Flea Market. “My memory is bleaching used toys in the backyard,” Dania said. The hustle led to small storefronts and, in the 1990s, the property on Telegraph Avenue. All the while, Aldo and other exiled family members researched the role of Armando Fernandez Larios, an officer in the Caravan of Death, in Winston’s slaying.\u003c/p>\n\u003cfigure id=\"attachment_13863828\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863828\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/CORNER-SIGN-800x450.jpg\" alt=\"Dania Cabello said Baby World's business suffered due to online competition and displacement.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/CORNER-SIGN-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/CORNER-SIGN-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/CORNER-SIGN-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/CORNER-SIGN-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/CORNER-SIGN-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/CORNER-SIGN.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dania Cabello said Baby World’s business suffered due to online competition and displacement. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The effort culminated in a 1999 civil lawsuit against Larios, who was then living in Florida as part of a plea agreement with federal prosecutors regarding other assassinations. Four years later, a jury found him liable for torture, crimes against humanity and extrajudicial killing, and awarded the Cabellos $4 million in damages. (Dania called the figure “symbolic,” saying they don’t expect to ever receive the money.) According to the Center for Justice and Accountability, it was the first time a Pinochet operative was tried in the United States for human rights violations.\u003c/p>\n\u003cp>The United States’ hand in Pinochet’s coup, particularly training Larios through the School of the Americas, instilled in the Cabellos a sensitivity to abuses of power that easily dovetails with prison abolitionism. Dania’s brother interned with Critical Resistance, and her activism ties enabled the acquisition. She hopes it inspires more wealthy people to support collective ownership, and beamed that Critical Resistance commissioned muralist-activists Leslie “Dime” Lopez and Dominic “Treat U Nice” Villeda to “spread messages of strength and freedom” from the building.\u003c/p>\n\u003cp>Still, it’s “bittersweet,” Dania noted, because her parents felt financially forced to close the business and sell the building. She noted her generation’s habit of entering a store to “taste it, smell it, bounce on it,” and then going home to buy it online.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“But we’re all thrilled and proud to be affiliated with Critical Resistance,” she said. “What they do is in line with what my family did for 30 years.”\u003c/p>\n\n",
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"excerpt": "Critical Resistance, a national prison abolitionist organization founded by Angela Davis, is moving into a Temescal building through an unlikely set of circumstances.",
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"title": "How Prison Abolitionists Acquired a Former Baby Store in Oakland's Temescal District | KQED",
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"headline": "How Prison Abolitionists Acquired a Former Baby Store in Oakland's Temescal District",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On the corner of 44th Street and Telegraph Avenue in Oakland, amid the upstart cafes and yoga studios of the Temescal district, a longtime baby shop is becoming a center for prison abolition.\u003c/p>\n\u003cp>Where months ago the building’s blue facade advertised toys and car seats, now murals and slogans promote a world without incarceration. An image of a white dove ascends from brown hands, and a woman blows the word “Libertad” from a conch shell. Window banners mark local campaigns against police conferences and gang injunctions, and lettering above the 7,000-square-foot corner storefront’s entrance announces the new occupants’ intentions: “Building People Power.”\u003c/p>\n\u003cp>This will be the new national offices of \u003ca href=\"http://criticalresistance.org/\">Critical Resistance\u003c/a>. The prison abolitionist group, cofounded 20 years ago by the activist and scholar Angela Davis, recently acquired the $3.3 million real estate through a young supporter who’s vowed to “radically redistribute” her inherited wealth, and is building offices and gathering space to share with allied groups. It’s an improbable fate for commercial property in an area synonymous with the city’s influx of young professionals.\u003c/p>\n\u003cp>And the unlikely deal required even more surprisingly interlocked interests: The Cabellos, who ran Baby World for decades, sold the building to Critical Resistance after rejecting offers from developers and corporate retailers (including one they blame for helping drive them out of business). They wanted to mitigate gentrification in North Oakland, and were endeared to the nonprofit’s politics by their harrowing experience of the United States-backed coup in their native Chile.\u003c/p>\n\u003cp>“I’d just seen \u003cem>Black Panther\u003c/em>,” recalled Dania Cabello, the business owners’ 36-year-old daughter, of helping solicit Critical Resistance, where her brother once interned, to buy the family property. “So I was like, ‘How do we bring a real-life Wakanda Institute to Oakland?”\u003c/p>\n\u003cfigure id=\"attachment_13863804\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863804\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Critical-Resistance-Building-Campaign-Posters-in-Windows-800x450.jpg\" alt=\"Critical Resistance marks successful and ongoing campaigns against the prison-industrial complex in the windows of its new building. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Critical-Resistance-Building-Campaign-Posters-in-Windows-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Critical-Resistance-Building-Campaign-Posters-in-Windows-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Critical-Resistance-Building-Campaign-Posters-in-Windows-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Critical-Resistance-Building-Campaign-Posters-in-Windows-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Critical-Resistance-Building-Campaign-Posters-in-Windows-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Critical-Resistance-Building-Campaign-Posters-in-Windows.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Critical Resistance marks successful and ongoing campaigns against the prison-industrial complex in the windows of its new building. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Abolition, Not Reform\u003c/h2>\n\u003cp>The acquisition means stability for Critical Resistance, which faces steep rent increases in its downtown Oakland offices, and a more conspicuous public presence at a time when its once-fringe ideas are going mainstream. “Look at the headlines—you have people proudly calling themselves abolitionists, the popularization of ‘abolish ICE,’” said communications director Mohamed Shehk. “It shows chipping away at state violence is an achievable reality.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Critical Resistance has several full-time employees and chapters in Los Angeles, New York City, Portland and Oakland. Part of its strategy is to dismantle the infrastructure of the prison-industrial complex, and then try to redirect public resources away from policing, surveillance and incarceration. Locally, for example, it participated in a successful coalition-based \u003ca href=\"http://stopurbanshield.org/\">campaign\u003c/a> against Urban Shield, a law-enforcement exposition criticized for promoting police militarization with emergency preparedness funds.\u003c/p>\n\u003cp>Building on the momentum of the recent San Francisco youth jail closure, Critical Resistance is working with Supervisor Matt Haney to shutter the county jail on Bryant Street. There’s broad political support for closing the seismically unsafe facility; Critical Resistance wants to go further and see that it isn’t replaced. “The idea is to reduce the incarcerated population, implement bail reform and divert people into services that make a new jail unnecessary,” Shehk said.\u003c/p>\n\u003cfigure id=\"attachment_13863808\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863808\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Critical-Resistance-Building-Stop-Urban-Shield-800x450.jpg\" alt=\"Critical Resistance was part of a coalition urging Oakland and Alameda officials to cut ties to Urban Shield.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Critical-Resistance-Building-Stop-Urban-Shield-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Critical-Resistance-Building-Stop-Urban-Shield-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Critical-Resistance-Building-Stop-Urban-Shield-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Critical-Resistance-Building-Stop-Urban-Shield-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Critical-Resistance-Building-Stop-Urban-Shield-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Critical-Resistance-Building-Stop-Urban-Shield.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Critical Resistance was part of a coalition urging Oakland and Alameda officials to cut ties to Urban Shield. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Oakland Power Projects,” an ongoing campaign, shows another side of Critical Resistance’s work: community-based alternatives to policing. For one project, organizers canvassed Oaklanders and then developed literature about addressing health emergencies without calling the cops. Tahirah Rasheed, an Oakland native recently hired as building project manager, said the Temescal center will make these resources more accessible. “It will be a hub for racial justice and social justice organizing—especially pushing back against gentrification,” she said.\u003c/p>\n\u003cp>At a time when criminal-justice reform has widespread support, even from conservatives such as the Koch Brothers, Critical Resistance is leery of its ideas being co-opted or diluted, and often assails progressive-seeming ideas that entrench incarceration. In 2016, for example, the organization opposed a California proposition to repeal capital punishment and resentence death row prisoners to life without parole, arguing it enshrined “the other death sentence.”\u003c/p>\n\u003cp>Lately, the group has similarly challenged liberal outrage at privately-run prisons: Ruth Wilson Gilmore, the theorist and Critical Resistance cofounder, recently stressed her critique of the reformist referendum on private prisons in a \u003cem>New York Times Magazine \u003c/em>\u003ca href=\"https://www.nytimes.com/2019/04/17/magazine/prison-abolition-ruth-wilson-gilmore.html\">profile\u003c/a>, saying they play only a small, parasitic role in mass incarceration. “We don’t believe the system is broken, so we don’t want it fixed,” Critical Resistance organizer Rehana Lerandeau explained to KQED. “We want it abolished.”\u003c/p>\n\u003cfigure id=\"attachment_13863827\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863827\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/TREAT-U-NICE-800x450.jpg\" alt=\"Critical Resistance commissioned muralist-activists Leslie “Dime” Lopez and Dominic “Treat U Nice” Villeda (pictured) to paint the building.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/TREAT-U-NICE-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/TREAT-U-NICE-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/TREAT-U-NICE-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/TREAT-U-NICE-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/TREAT-U-NICE-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/TREAT-U-NICE.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Critical Resistance commissioned muralist-activists Leslie “Dime” Lopez and Dominic “Treat U Nice” Villeda (pictured) to paint the building. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Philanthropy as Redistribution\u003c/h2>\n\u003cp>Rachel Gelman grew up in what she called a wealthy, owning-class family in Washington, D.C., struggling to reconcile her sharpening social-justice convictions with her privilege. Her family’s fortune, she said, derives largely from investments that benefit shareholders and executives at the expense of workers. “So, I was confused about my role in the movement,” she said.\u003c/p>\n\u003cp>Gelman, 29, is program director at Jewish Youth for Community Action, an activist and leadership training program in Piedmont. She moved to Oakland six years ago and discovered \u003ca href=\"https://resourcegeneration.org/\">Resource Generation\u003c/a>, a nonprofit that encourages wealthy young people to back leftist and progressive causes. Members of her family are philanthropists, and she considers their giving well-meaning and inspiring. But old-world charity, she said, can be “top down” or prescriptive, and it almost always entrenches status. Gelman doesn’t want her name on a theater.\u003c/p>\n\u003cp>Resource Generation, by contrast, recasts philanthropy as redistribution, stressing donations as a way to diffuse instead of bolster one’s own power. Now Gelman thinks of giving as a way to help upend the forces of capitalism, patriarchy and white supremacy that underlie her inheritance. “I believe ending this economic system that creates such drastic wealth inequality is necessary for all peoples’ humanity and dignity, including my own and that of my family,” she said.\u003c/p>\n\u003cp>Gelman was supporting Critical Resistance when the organization approached her about the Temescal building. She knew Critical Resistance was struggling with rising rents, and saw an opportunity to offer the group stability while removing property from the speculative market with her $3.3 million purchase. The company she formed to hold the building, which Critical Resistance is considering placing in a land trust, is named for an Arundhati Roy quotation: Another World Possible.\u003c/p>\n\u003cp>Critical Resistance shifted Gelman’s view of incarceration. She had gone from from being disgusted at its profiteers to embracing the idea that “any system that cages people is fundamentally inhumane,” she said. The multimillion-dollar donation to an organization that in 2017 had $373,000 in revenue reflects her optimism about the prospect of abolition, and she agreed to be interviewed in order to send a message to people with backgrounds similar to hers: “Invest in a world that benefits everybody.”\u003c/p>\n\u003cfigure id=\"attachment_13863809\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863809\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Crititcal-Resistance-Building-Libertad-Mural-800x450.jpg\" alt=\"The Cabellos, who ran Baby World for decades, were endeared to Critical Resistance's politics by their harrowing experience of a United States-backed coup in their native Chile.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Crititcal-Resistance-Building-Libertad-Mural-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Crititcal-Resistance-Building-Libertad-Mural-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Crititcal-Resistance-Building-Libertad-Mural-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Crititcal-Resistance-Building-Libertad-Mural-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Crititcal-Resistance-Building-Libertad-Mural-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Crititcal-Resistance-Building-Libertad-Mural.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Cabellos, who ran Baby World for decades, were endeared to Critical Resistance’s politics by their harrowing experience of a United States-backed coup in their native Chile. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Bittersweet’\u003c/h2>\n\u003cp>Aldo and Cristina Cabello listed 4400 Telegraph Ave. for sale in 2017, as business at Baby World declined. Dania, their daughter, pointed to online competition and also to displacement: The family-run business, founded more than 30 years prior, found the intergenerational continuity of its customer base severed. So it was “heartbreaking,” she said, to field offers from “condo developers and mega-corporations—the antithesis of the community we want to serve.”\u003c/p>\n\u003cp>Selling to Critical Resistance, though, appealed to the Cabellos’ abiding quest for justice. They came to Oakland as political refugees from Chile in 1973 after Augusto Pinochet, with United States government support, seized power in a military coup. A hit squad known as the Caravan of Death had executed Aldo’s brother Winston, and they feared for their lives. “My father was actually taken in on a couple occasions and released alive,” Dania said. “That was rare.”\u003c/p>\n\u003cp>Living in North Oakland with Dania’s two elder sisters, the Cabellos started selling refurbished electronics and baby accessories at the Coliseum Flea Market. “My memory is bleaching used toys in the backyard,” Dania said. The hustle led to small storefronts and, in the 1990s, the property on Telegraph Avenue. All the while, Aldo and other exiled family members researched the role of Armando Fernandez Larios, an officer in the Caravan of Death, in Winston’s slaying.\u003c/p>\n\u003cfigure id=\"attachment_13863828\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863828\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/CORNER-SIGN-800x450.jpg\" alt=\"Dania Cabello said Baby World's business suffered due to online competition and displacement.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/CORNER-SIGN-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/CORNER-SIGN-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/CORNER-SIGN-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/CORNER-SIGN-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/CORNER-SIGN-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/CORNER-SIGN.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dania Cabello said Baby World’s business suffered due to online competition and displacement. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The effort culminated in a 1999 civil lawsuit against Larios, who was then living in Florida as part of a plea agreement with federal prosecutors regarding other assassinations. Four years later, a jury found him liable for torture, crimes against humanity and extrajudicial killing, and awarded the Cabellos $4 million in damages. (Dania called the figure “symbolic,” saying they don’t expect to ever receive the money.) According to the Center for Justice and Accountability, it was the first time a Pinochet operative was tried in the United States for human rights violations.\u003c/p>\n\u003cp>The United States’ hand in Pinochet’s coup, particularly training Larios through the School of the Americas, instilled in the Cabellos a sensitivity to abuses of power that easily dovetails with prison abolitionism. Dania’s brother interned with Critical Resistance, and her activism ties enabled the acquisition. She hopes it inspires more wealthy people to support collective ownership, and beamed that Critical Resistance commissioned muralist-activists Leslie “Dime” Lopez and Dominic “Treat U Nice” Villeda to “spread messages of strength and freedom” from the building.\u003c/p>\n\u003cp>Still, it’s “bittersweet,” Dania noted, because her parents felt financially forced to close the business and sell the building. She noted her generation’s habit of entering a store to “taste it, smell it, bounce on it,” and then going home to buy it online.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“But we’re all thrilled and proud to be affiliated with Critical Resistance,” she said. “What they do is in line with what my family did for 30 years.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "tierra-whacks-weirdness-childish-gambinos-doctrine-outside-lands-day-two-highlights",
"title": "Tierra Whack's Weirdness, Childish Gambino's Doctrine: Outside Lands Day Two Highlights",
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"content": "\u003cp>Tierra Whack’s 2018 debut, \u003cem>Whack World\u003c/em>, gave a taste of the breakout star’s weird imagination in 15 one-minute-long, bite-sized pieces. Without such stringent time constraints, her hour-long Outside Lands set allowed her oddball, colorful personality to flourish in one of the day’s most dynamic performances.\u003c/p>\n\u003cp>Whack took the stage Saturday in a \u003cem>Cat in the Hat \u003c/em>T-shirt dress draped in tassels, plus matching red-and-white socks and Jordans. Opening with her propulsive trap single “Westbound Eastbound,” she worked the crowd, running back and forth and imploring the audience to turn up with her cartoonish facial expressions.\u003c/p>\n\u003cp>The packed crowd happily obeyed. After asking if there were any birthdays in the house, Whack climbed onto the barrier as if about to crowdsurf, and then, endearingly, handed out cupcakes. (When she was finished, her DJ revealed that it was actually Whack’s birthday, and the audience sang to her.)\u003c/p>\n\u003cfigure id=\"attachment_13863641\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6704-800x533.jpg\" alt=\"Tierra Whack performs at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863641\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6704.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6704-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6704-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tierra Whack performs at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The rapper then ran through her \u003cem>Whack World\u003c/em> tracks, each one distilling a different emotion in 60 seconds—a testament to her effectiveness as a songwriter and performer. The twangy “F-ck Off” gave the audience an opportunity for catharsis as they jumped up and down with middle fingers raised, cursing their “deadbeat dads.” During the sexy, winding R&B joint “Hungry Hippo,” she walked offstage in a pseudo-diva moment because the audience didn’t sing along loudly enough. She returned more hyped than ever when they yelled the lyrics to her satisfaction.\u003c/p>\n\u003cp>After a call and response of “Whack! Whack!,” Whack had her audience repeat weird noises—the kind little kids might make when they think adults aren’t listening to their game of pretend. It was the sound of Tierra Whack taking Outside Lands to the wonderful, wacky world of her imagination.\u003c/p>\n\u003ch2>Other Highlights\u003c/h2>\n\u003cfigure id=\"attachment_13863653\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6854-Edit-800x533.jpg\" alt=\"Childish Gambino performs at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863653\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6854-Edit.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6854-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6854-Edit-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Childish Gambino performs at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Childish Gambino\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Backed by gospel singers in church robes, Childish Gambino told the Outside Lands audience to put their phones away because “this is church.” Though he commanded the largest crowd in the festival’s history, as he announced, he took care to make the show feel as intimate as possible during Saturday’s headlining set, which he began by singing a cappella in the middle of the audience and giving high fives on the way to the main stage.\u003c/p>\n\u003cp>Calling Oakland his second home, he sang his 2013 pop-rap homage to the Bay Area, “Telegraph Ave. (“Oakland” by Lloyd).” When it came time to perform “This is America,” Gambino—shirtless and in white pants, just like in the music video—broke out in a frenzied dance that underscored the song’s frenetic tempo changes and message of spiritual and political upheaval.\u003c/p>\n\u003cfigure id=\"attachment_13863639\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6646-800x533.jpg\" alt=\"Altın Gün performs at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863639\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6646.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6646-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6646-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Altın Gün performs at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Altin Gün\u003c/strong>\u003c/p>\n\u003cp>Hailing from Amsterdam, the multicultural, psychedelic sextet Altin Gün fused Turkish folk sounds with well-placed electronics and oozing funk-rock instrumentation. Singer, keyboardist and \u003cem>baglama\u003c/em> player Erdinc Yildiz Ecevit proved to be the star of the show with his breathy, dramatic vocal delivery and impressive dexterity on keys and strings alike. Though the audience couldn’t understand the band’s Turkish lyrics, they happily danced and snapped along in the sun.\u003c/p>\n\u003cfigure id=\"attachment_13863645\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6764-Edit-800x533.jpg\" alt=\"Big Wild performs at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863645\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6764-Edit.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6764-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6764-Edit-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Big Wild performs at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Big Wild\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Indie pop singer Jackson Stell, a.k.a. Big Wild, showed off his many abilities as his big, wild hair billowed in the wind. Electronic drumming? Check. Singing anthemic hooks? Check. Not one, but two whistle solos?! Check. Accompanied by an all-woman band in matching jumpsuits and red lipstick, Stell’s soul and disco-infused tracks took the audience to ecstatic heights.\u003c/p>\n\u003ch2>More Photos from Outside Lands 2019 Day Two\u003c/h2>\n\u003cfigure id=\"attachment_13863654\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6878-Edit-800x533.jpg\" alt=\"Childish Gambino performs at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863654\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6878-Edit.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6878-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6878-Edit-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Childish Gambino performs at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863648\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6792-800x533.jpg\" alt=\"Ella Mai performs at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863648\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6792.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6792-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6792-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ella Mai performs at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863647\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6782-Edit-800x533.jpg\" alt=\"CupcakKe performs at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863647\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6782-Edit.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6782-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6782-Edit-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">CupcakKe performs at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863638\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6644-Edit-800x533.jpg\" alt=\"Delacey at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863638\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6644-Edit.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6644-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6644-Edit-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Delacey at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863655\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6882-800x533.jpg\" alt=\"Childish Gambino performs at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863655\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6882.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6882-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6882-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Childish Gambino performs at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863649\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6799-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863649\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6799.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6799-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6799-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863642\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6720-Edit-800x533.jpg\" alt=\"Hozier at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863642\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6720-Edit.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6720-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6720-Edit-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hozier at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863644\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6742-800x533.jpg\" alt=\"Alina Baraz performs at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863644\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6742.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6742-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6742-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alina Baraz performs at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863650\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6803-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863650\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6803.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6803-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6803-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863660\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6888-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863660\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6888.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6888-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6888-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863636\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6629-Edit-800x533.jpg\" alt=\"Wallows perform at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863636\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6629-Edit.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6629-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6629-Edit-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Wallows perform at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863637\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6633-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863637\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6633.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6633-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6633-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863643\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6722-800x533.jpg\" alt=\"Caamp at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863643\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6722.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6722-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6722-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caamp at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863646\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6773-Edit-800x533.jpg\" alt=\"Big Wild performs at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863646\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6773-Edit.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6773-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6773-Edit-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Big Wild performs at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863657\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6893-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863657\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6893.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6893-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6893-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"excerpt": "Gambino led a sermon, Whack handed out cupcakes, and Saturday's Outside Lands crowd was reportedly the largest in the festival's history.",
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"title": "Tierra Whack's Weirdness, Childish Gambino's Doctrine: Outside Lands Day Two Highlights | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tierra Whack’s 2018 debut, \u003cem>Whack World\u003c/em>, gave a taste of the breakout star’s weird imagination in 15 one-minute-long, bite-sized pieces. Without such stringent time constraints, her hour-long Outside Lands set allowed her oddball, colorful personality to flourish in one of the day’s most dynamic performances.\u003c/p>\n\u003cp>Whack took the stage Saturday in a \u003cem>Cat in the Hat \u003c/em>T-shirt dress draped in tassels, plus matching red-and-white socks and Jordans. Opening with her propulsive trap single “Westbound Eastbound,” she worked the crowd, running back and forth and imploring the audience to turn up with her cartoonish facial expressions.\u003c/p>\n\u003cp>The packed crowd happily obeyed. After asking if there were any birthdays in the house, Whack climbed onto the barrier as if about to crowdsurf, and then, endearingly, handed out cupcakes. (When she was finished, her DJ revealed that it was actually Whack’s birthday, and the audience sang to her.)\u003c/p>\n\u003cfigure id=\"attachment_13863641\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6704-800x533.jpg\" alt=\"Tierra Whack performs at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863641\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6704.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6704-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6704-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tierra Whack performs at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The rapper then ran through her \u003cem>Whack World\u003c/em> tracks, each one distilling a different emotion in 60 seconds—a testament to her effectiveness as a songwriter and performer. The twangy “F-ck Off” gave the audience an opportunity for catharsis as they jumped up and down with middle fingers raised, cursing their “deadbeat dads.” During the sexy, winding R&B joint “Hungry Hippo,” she walked offstage in a pseudo-diva moment because the audience didn’t sing along loudly enough. She returned more hyped than ever when they yelled the lyrics to her satisfaction.\u003c/p>\n\u003cp>After a call and response of “Whack! Whack!,” Whack had her audience repeat weird noises—the kind little kids might make when they think adults aren’t listening to their game of pretend. It was the sound of Tierra Whack taking Outside Lands to the wonderful, wacky world of her imagination.\u003c/p>\n\u003ch2>Other Highlights\u003c/h2>\n\u003cfigure id=\"attachment_13863653\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6854-Edit-800x533.jpg\" alt=\"Childish Gambino performs at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863653\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6854-Edit.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6854-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6854-Edit-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Childish Gambino performs at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Childish Gambino\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Backed by gospel singers in church robes, Childish Gambino told the Outside Lands audience to put their phones away because “this is church.” Though he commanded the largest crowd in the festival’s history, as he announced, he took care to make the show feel as intimate as possible during Saturday’s headlining set, which he began by singing a cappella in the middle of the audience and giving high fives on the way to the main stage.\u003c/p>\n\u003cp>Calling Oakland his second home, he sang his 2013 pop-rap homage to the Bay Area, “Telegraph Ave. (“Oakland” by Lloyd).” When it came time to perform “This is America,” Gambino—shirtless and in white pants, just like in the music video—broke out in a frenzied dance that underscored the song’s frenetic tempo changes and message of spiritual and political upheaval.\u003c/p>\n\u003cfigure id=\"attachment_13863639\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6646-800x533.jpg\" alt=\"Altın Gün performs at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863639\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6646.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6646-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6646-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Altın Gün performs at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Altin Gün\u003c/strong>\u003c/p>\n\u003cp>Hailing from Amsterdam, the multicultural, psychedelic sextet Altin Gün fused Turkish folk sounds with well-placed electronics and oozing funk-rock instrumentation. Singer, keyboardist and \u003cem>baglama\u003c/em> player Erdinc Yildiz Ecevit proved to be the star of the show with his breathy, dramatic vocal delivery and impressive dexterity on keys and strings alike. Though the audience couldn’t understand the band’s Turkish lyrics, they happily danced and snapped along in the sun.\u003c/p>\n\u003cfigure id=\"attachment_13863645\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6764-Edit-800x533.jpg\" alt=\"Big Wild performs at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863645\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6764-Edit.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6764-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6764-Edit-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Big Wild performs at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Big Wild\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Indie pop singer Jackson Stell, a.k.a. Big Wild, showed off his many abilities as his big, wild hair billowed in the wind. Electronic drumming? Check. Singing anthemic hooks? Check. Not one, but two whistle solos?! Check. Accompanied by an all-woman band in matching jumpsuits and red lipstick, Stell’s soul and disco-infused tracks took the audience to ecstatic heights.\u003c/p>\n\u003ch2>More Photos from Outside Lands 2019 Day Two\u003c/h2>\n\u003cfigure id=\"attachment_13863654\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6878-Edit-800x533.jpg\" alt=\"Childish Gambino performs at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863654\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6878-Edit.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6878-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6878-Edit-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Childish Gambino performs at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863648\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6792-800x533.jpg\" alt=\"Ella Mai performs at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863648\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6792.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6792-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6792-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ella Mai performs at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863647\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6782-Edit-800x533.jpg\" alt=\"CupcakKe performs at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863647\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6782-Edit.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6782-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6782-Edit-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">CupcakKe performs at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863638\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6644-Edit-800x533.jpg\" alt=\"Delacey at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863638\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6644-Edit.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6644-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6644-Edit-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Delacey at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863655\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6882-800x533.jpg\" alt=\"Childish Gambino performs at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863655\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6882.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6882-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6882-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Childish Gambino performs at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863649\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6799-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863649\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6799.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6799-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6799-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863642\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6720-Edit-800x533.jpg\" alt=\"Hozier at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863642\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6720-Edit.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6720-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6720-Edit-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hozier at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863644\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6742-800x533.jpg\" alt=\"Alina Baraz performs at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863644\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6742.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6742-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6742-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alina Baraz performs at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863650\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6803-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863650\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6803.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6803-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6803-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863660\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6888-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863660\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6888.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6888-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6888-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863636\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6629-Edit-800x533.jpg\" alt=\"Wallows perform at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863636\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6629-Edit.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6629-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6629-Edit-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Wallows perform at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863637\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6633-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863637\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6633.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6633-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6633-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863643\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6722-800x533.jpg\" alt=\"Caamp at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863643\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6722.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6722-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6722-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caamp at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863646\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6773-Edit-800x533.jpg\" alt=\"Big Wild performs at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863646\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6773-Edit.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6773-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6773-Edit-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Big Wild performs at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863657\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6893-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863657\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6893.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6893-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6893-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"slug": "lil-wayne-bodied-outside-lands-day-one-and-other-highlights",
"title": "Lil Wayne Bodied Outside Lands Day One—And Other Highlights",
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"headTitle": "Lil Wayne Bodied Outside Lands Day One—And Other Highlights | KQED",
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"content": "\u003cp>“Music!” yelled Lil Wayne on Friday night, ordering his band to play with the tone of a cartoon villain demanding the hounds be released. After pausing for a moment to humbly bask in applause, his face flashed a mischievous, Joker-like grin of diamond grills as the DJ dropped the instantly recognizable drum roll of “A Milli,” one of the many hits that defined his reign over the 2000s rap charts.\u003c/p>\n\u003cp>Humor and theatrics came naturally to Wayne on the opening day of Outside Lands on Aug. 9, where his early-evening performance was indisputably one of the day’s strongest. Like a big little kid in his oversized, multicolored Gucci sweatsuit, he gleefully frolicked on stage while delivering dynamic, arena-scale renditions of sex songs like “Bed Rock” and “Lollipop,” rap braggadocio like “6 Foot 7 Foot,” and testaments to resilience and survival like “Can’t Be Broken.”\u003c/p>\n\u003cfigure id=\"attachment_13863565\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6328-800x533.jpg\" alt=\"Lil Wayne performs at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863565\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6328.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6328-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6328-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lil Wayne performs at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At 36 years old, Lil Wayne is still young for a rap veteran, though influential and successful enough to have a decade-defining resume of hits, and to have spawned a legion of successors (Nicki Minaj, Drake, Young Thug) who’ve carried his zany, raunchy style into the present. While some of his peers barely rap along to their backing vocal tracks, at Outside Lands, Wayne went full rockstar in his live show, flexing his vocal abilities with a DJ, a mighty drummer and a solo-happy guitarist with a top hat like Slash from Guns N’ Roses. It was a dynamic format for his hit parade, and Lil Wayne joyfully presided over the party.\u003c/p>\n\u003cp>All in all, Wayne exuded an uplifting, centered energy. He implored the audience to love and celebrate themselves, to applaud (and to tip) the festival staff. Throughout the show, he reminded us of his gratitude with his self-effacing refrain: “We all ain’t shit without the love, and I ain’t shit without you.”\u003c/p>\n\u003ch2>Other Highlights\u003c/h2>\n\u003cfigure id=\"attachment_13863567\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6366-800x533.jpg\" alt=\"Yaeji performs at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863567\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6366.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6366-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6366-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yaeji performs at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Yaeji\u003c/strong>\u003cbr>\nThere are fewer indie rock bands at Outside Lands than usual this year, and the festival lineup includes a noticeable increase in dance music acts. One of the standouts of that genre is Yaeji, whose hard-to-classify style encompasses club bangers like “Raingurl”—which sparked an unselfconscious dance party—and slower, more contemplative songs like “One More,” which had the English-speaking Outside Lands audience singing along in Korean. A one-woman band, she switched between singing on the mic, dancing at the front of the stage like a pop star, and working her magic behind the decks. Her minimal cover of Drake’s “Passionfruit” inspired dreamy sways and sentimental embraces among lovers and friends.\u003c/p>\n\u003cfigure id=\"attachment_13863576\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6460-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6460.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6460-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6460-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Still Woozy\u003c/strong>\u003cbr>\nOakland’s Still Woozy proved himself a promising up-and-coming performer, commanding a surprisingly full and enthusiastic early crowd with his charming, awkward exuberance. His lo-fi R&B and indie pop tracks gained new dimensions with the accompaniment of live drums, bass, guitar and keys as Still Woozy wiggled around the stage like an inflatable tube man, bending his knees and shaking his hips with unbridled enthusiasm.\u003c/p>\n\u003cfigure id=\"attachment_13863571\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6423-800x533.jpg\" alt=\"Blink 182 perform at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6423.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6423-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6423-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Blink 182 perform at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Blink-182\u003c/strong>\u003cbr>\nPop-punk idols Blink-182 took the Outside Lands audience back to 1999 with “Adam’s Song” and “All the Small Things,” peppering their angsty anthems with sarcastic asides that kept the mood light—essential for a bunch of adults (both on stage and in the audience) channeling their whiniest middle school selves.\u003c/p>\n\u003cfigure id=\"attachment_13863577\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6464-800x533.jpg\" alt=\"Luttrell performs at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863577\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6464.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6464-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6464-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Luttrell performs at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Luttrell\u003c/strong>\u003cbr>\nSan Francisco techno producer Luttrell is better known in the Burning Man circuit than the festival scene. At Outside Lands, he sparked a small yet enthusiastic dance party with his euphoric grooves during the lull before headliners Twenty One Pilots. Grandiose, soaring synths carried listeners away like the wings of a pegasus, while pounding bass grounded them back down to earth.\u003c/p>\n\u003cfigure id=\"attachment_13863594\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6613-1-800x533.jpg\" alt=\"Flying Lotus performs at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863594\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6613-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6613-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6613-1-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Flying Lotus performs at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Flying Lotus\u003c/strong>\u003cbr>\nFlying Lotus’ sculptural DJ booth looked like an outer-space submarine as he spun his golden threads of jazz, hip-hop and experimental beats. Transfixed festival-goers in 3D glasses bobbed along, vapes in hand, to his heady music and biomorphic, neon visuals.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch2>More Photos from Outside Lands 2019 Day One\u003c/h2>\n\u003cfigure id=\"attachment_13863592\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6524-Edit-1-800x533.jpg\" alt=\"Twenty One Pilots perform at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863592\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6524-Edit-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6524-Edit-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6524-Edit-1-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Twenty One Pilots perform at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863556\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6267-800x533.jpg\" alt=\"Miya Folick performs at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863556\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6267.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6267-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6267-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Miya Folick performs at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863555\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6224-800x533.jpg\" alt=\"K. Flay at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863555\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6224.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6224-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6224-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">K. Flay at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863589\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6499-1-800x533.jpg\" alt=\"Twenty One Pilots perform at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6499-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6499-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6499-1-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Twenty One Pilots perform at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863575\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6452-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863575\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6452-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6452-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863568\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6370-800x533.jpg\" alt=\"Yaeji performs at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863568\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6370.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6370-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6370-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yaeji performs at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863593\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6590-1-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863593\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6590-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6590-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6590-1-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863570\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6406-800x533.jpg\" alt=\"Blink 182 perform at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863570\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6406.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6406-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6406-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Blink 182 perform at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863559\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6288-800x533.jpg\" alt=\"P-Lo at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863559\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6288.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6288-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6288-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">P-Lo at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863569\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6376-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863569\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6376.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6376-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6376-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863595\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6619-1-800x533.jpg\" alt=\"Flying Lotus performs at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863595\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6619-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6619-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6619-1-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Flying Lotus performs at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863573\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6440-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863573\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6440.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6440-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6440-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"excerpt": "At Outside Lands on Friday, electronic musicians, such as Yaeji, Flying Lotus and Luttrell, also shined in Golden Gate Park. ",
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"title": "Lil Wayne Bodied Outside Lands Day One—And Other Highlights | KQED",
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"headline": "Lil Wayne Bodied Outside Lands Day One—And Other Highlights",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Music!” yelled Lil Wayne on Friday night, ordering his band to play with the tone of a cartoon villain demanding the hounds be released. After pausing for a moment to humbly bask in applause, his face flashed a mischievous, Joker-like grin of diamond grills as the DJ dropped the instantly recognizable drum roll of “A Milli,” one of the many hits that defined his reign over the 2000s rap charts.\u003c/p>\n\u003cp>Humor and theatrics came naturally to Wayne on the opening day of Outside Lands on Aug. 9, where his early-evening performance was indisputably one of the day’s strongest. Like a big little kid in his oversized, multicolored Gucci sweatsuit, he gleefully frolicked on stage while delivering dynamic, arena-scale renditions of sex songs like “Bed Rock” and “Lollipop,” rap braggadocio like “6 Foot 7 Foot,” and testaments to resilience and survival like “Can’t Be Broken.”\u003c/p>\n\u003cfigure id=\"attachment_13863565\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6328-800x533.jpg\" alt=\"Lil Wayne performs at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863565\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6328.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6328-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6328-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lil Wayne performs at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At 36 years old, Lil Wayne is still young for a rap veteran, though influential and successful enough to have a decade-defining resume of hits, and to have spawned a legion of successors (Nicki Minaj, Drake, Young Thug) who’ve carried his zany, raunchy style into the present. While some of his peers barely rap along to their backing vocal tracks, at Outside Lands, Wayne went full rockstar in his live show, flexing his vocal abilities with a DJ, a mighty drummer and a solo-happy guitarist with a top hat like Slash from Guns N’ Roses. It was a dynamic format for his hit parade, and Lil Wayne joyfully presided over the party.\u003c/p>\n\u003cp>All in all, Wayne exuded an uplifting, centered energy. He implored the audience to love and celebrate themselves, to applaud (and to tip) the festival staff. Throughout the show, he reminded us of his gratitude with his self-effacing refrain: “We all ain’t shit without the love, and I ain’t shit without you.”\u003c/p>\n\u003ch2>Other Highlights\u003c/h2>\n\u003cfigure id=\"attachment_13863567\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6366-800x533.jpg\" alt=\"Yaeji performs at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863567\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6366.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6366-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6366-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yaeji performs at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Yaeji\u003c/strong>\u003cbr>\nThere are fewer indie rock bands at Outside Lands than usual this year, and the festival lineup includes a noticeable increase in dance music acts. One of the standouts of that genre is Yaeji, whose hard-to-classify style encompasses club bangers like “Raingurl”—which sparked an unselfconscious dance party—and slower, more contemplative songs like “One More,” which had the English-speaking Outside Lands audience singing along in Korean. A one-woman band, she switched between singing on the mic, dancing at the front of the stage like a pop star, and working her magic behind the decks. Her minimal cover of Drake’s “Passionfruit” inspired dreamy sways and sentimental embraces among lovers and friends.\u003c/p>\n\u003cfigure id=\"attachment_13863576\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6460-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6460.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6460-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6460-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Still Woozy\u003c/strong>\u003cbr>\nOakland’s Still Woozy proved himself a promising up-and-coming performer, commanding a surprisingly full and enthusiastic early crowd with his charming, awkward exuberance. His lo-fi R&B and indie pop tracks gained new dimensions with the accompaniment of live drums, bass, guitar and keys as Still Woozy wiggled around the stage like an inflatable tube man, bending his knees and shaking his hips with unbridled enthusiasm.\u003c/p>\n\u003cfigure id=\"attachment_13863571\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6423-800x533.jpg\" alt=\"Blink 182 perform at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6423.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6423-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6423-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Blink 182 perform at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Blink-182\u003c/strong>\u003cbr>\nPop-punk idols Blink-182 took the Outside Lands audience back to 1999 with “Adam’s Song” and “All the Small Things,” peppering their angsty anthems with sarcastic asides that kept the mood light—essential for a bunch of adults (both on stage and in the audience) channeling their whiniest middle school selves.\u003c/p>\n\u003cfigure id=\"attachment_13863577\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6464-800x533.jpg\" alt=\"Luttrell performs at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863577\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6464.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6464-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6464-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Luttrell performs at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Luttrell\u003c/strong>\u003cbr>\nSan Francisco techno producer Luttrell is better known in the Burning Man circuit than the festival scene. At Outside Lands, he sparked a small yet enthusiastic dance party with his euphoric grooves during the lull before headliners Twenty One Pilots. Grandiose, soaring synths carried listeners away like the wings of a pegasus, while pounding bass grounded them back down to earth.\u003c/p>\n\u003cfigure id=\"attachment_13863594\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6613-1-800x533.jpg\" alt=\"Flying Lotus performs at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863594\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6613-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6613-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6613-1-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Flying Lotus performs at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Flying Lotus\u003c/strong>\u003cbr>\nFlying Lotus’ sculptural DJ booth looked like an outer-space submarine as he spun his golden threads of jazz, hip-hop and experimental beats. Transfixed festival-goers in 3D glasses bobbed along, vapes in hand, to his heady music and biomorphic, neon visuals.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch2>More Photos from Outside Lands 2019 Day One\u003c/h2>\n\u003cfigure id=\"attachment_13863592\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6524-Edit-1-800x533.jpg\" alt=\"Twenty One Pilots perform at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863592\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6524-Edit-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6524-Edit-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6524-Edit-1-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Twenty One Pilots perform at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863556\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6267-800x533.jpg\" alt=\"Miya Folick performs at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863556\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6267.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6267-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6267-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Miya Folick performs at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863555\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6224-800x533.jpg\" alt=\"K. Flay at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863555\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6224.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6224-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6224-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">K. Flay at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863589\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6499-1-800x533.jpg\" alt=\"Twenty One Pilots perform at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6499-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6499-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6499-1-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Twenty One Pilots perform at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863575\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6452-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863575\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6452-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6452-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863568\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6370-800x533.jpg\" alt=\"Yaeji performs at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863568\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6370.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6370-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6370-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yaeji performs at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863593\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6590-1-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863593\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6590-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6590-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6590-1-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863570\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6406-800x533.jpg\" alt=\"Blink 182 perform at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863570\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6406.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6406-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6406-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Blink 182 perform at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863559\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6288-800x533.jpg\" alt=\"P-Lo at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863559\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6288.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6288-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6288-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">P-Lo at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863569\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6376-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863569\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6376.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6376-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6376-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863595\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6619-1-800x533.jpg\" alt=\"Flying Lotus performs at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863595\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6619-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6619-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6619-1-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Flying Lotus performs at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863573\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6440-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863573\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6440.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6440-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6440-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"slug": "el-llanto-de-el-paso-corrido-walmart-shooting",
"title": "El Paso and the Strength of the Mexican Corrido",
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"headTitle": "El Paso and the Strength of the Mexican Corrido | KQED",
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"content": "\u003cp>As a crowd gathered Tuesday night outside the Walmart in Cielo Vista, El Paso, strums of two guitars drifted through the air.\u003c/p>\n\u003cp>Their 3/4 cadence held an onlooking circle of mourners, many of them standing tall through their tears. Just three days before, on this spot, a white supremacist-fueled massacre claimed the lives of 22 people and wounded 26.\u003c/p>\n\u003cp>Two young men thrummed together before a circle of silent onlookers, as they began their song:\u003c/p>\n\u003cp>https://twitter.com/fotornelas/status/1158942680019156992\u003c/p>\n\u003cp>Photojournalist \u003ca href=\"https://twitter.com/fotornelas\" target=\"_blank\" rel=\"noopener noreferrer\">Omar Ornelas\u003c/a> of USA Today Network captured this scene at a vigil just one night before Donald Trump’s visit to El Paso. The \u003cem>corrido\u003c/em>, “\u003ca href=\"https://www.youtube.com/watch?v=XCb3DFg_TMU\" target=\"_blank\" rel=\"noopener noreferrer\">El Llanto de El Paso Texas\u003c/a>,” attributed to songwriter Josue Rodriguez, sparked an immediate emotional outpouring from viewers, many of whom grew up listening to familiar melodies in Mexican households.\u003c/p>\n\u003cp>To many, it may be just a song. But for me and many others, after the deadliest attack \u003ca href=\"https://www.vox.com/2019/8/6/20756750/el-paso-shooter-targeted-latinx-walmart\" target=\"_blank\" rel=\"noopener noreferrer\">targeting our people\u003c/a> in recent U.S. history, it’s an act of strength and resilience we need now more than ever.\u003c/p>\n\u003ch2>A Long Oral Tradition\u003c/h2>\n\u003cp>The Mexican oral tradition of the \u003ci>corrido\u003c/i> allows us to look critically at and heal from disturbing events. It gives us the power look death in the eye. To name it. To inspire empathy among the masses, and take action against threats on one’s freedom, sovereignty and right to live.\u003c/p>\n\u003cp>It’s the \u003cem>llanto\u003c/em>, the collective cry that brings people together—\u003cem>el canto del pueblo, \u003c/em>or the song of the people—that says: “We do not fear you. You have only made us stronger. Your hate will only bring us closer.”\u003c/p>\n\u003cp>As the lyrics of “El Llanto de El Paso Texas” say:\u003c/p>\n\u003cblockquote>\u003cp>A Saturday morning on August 3,\u003cbr>\nat the Walmart in Cielo Vista\u003cbr>\npeople peacefully walked,\u003cbr>\nbut they could never imagine\u003cbr>\ntheir lives would change.\u003c/p>\n\u003cp>They heard several shots,\u003cbr>\na gun unloading.\u003cbr>\nThe massacre began,\u003cbr>\nand my people were scared.\u003cbr>\nThe could not find where to run,\u003cbr>\nbut they all helped each other.\u003c/p>\n\u003cp>These events that I tell you,\u003cbr>\nthe news reported 22 killed,\u003cbr>\nand 26 badly injured.\u003cbr>\nEl Chucho [El Paso] is sad,\u003cbr>\nmany families are in mourning.\u003c/p>\n\u003cp>It was an act of terrorism\u003cbr>\nthat this monster caused.\u003cbr>\nHe wanted to break my people,\u003cbr>\nbut he didn’t succeed.\u003cbr>\nNow we’re more united than ever,\u003cbr>\nmany thanks to God.\u003c/p>\u003c/blockquote>\n\u003cp>\u003cem>Corridos\u003c/em>, based on the Spanish word \u003cem>correr\u003c/em> (“to run”), are folk songs that capture a collective cry against injustice; the musicologist Henry Cowell called them “\u003ca href=\"https://folkways.si.edu/mexican-corridos/latin-world/music/album/smithsonian\" target=\"_blank\" rel=\"noopener noreferrer\">stories told in song\u003c/a>.” Over generations, their form of balladic storytelling became known as “border music,” although their roots predate the U.S.-Mexico border we know today.\u003c/p>\n\u003cp>At the outset of the \u003ca href=\"https://laii.unm.edu/info/k-12-educators/assets/documents/mexican-revolution/music-of-the-revolution.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Mexican revolution\u003c/a>, \u003cem>cantantes\u003c/em> would carry their guitars from town to town with songs like “\u003ca href=\"https://www.youtube.com/watch?v=hlGtOv-QEQQ\" target=\"_blank\" rel=\"noopener noreferrer\">La Adelita\u003c/a>,” recounting tales of peasant soldiers and indigenous communities rising up against an elite governing class in Mexico. This creative dissemination of the news—delivered across \u003ca href=\"http://artsedge.kennedy-center.org/~/media/ArtsEdge/LessonPrintables/grade-9-12/corridos_about_mex_rev_what_is_a_corrido.ashx\" target=\"_blank\" rel=\"noopener noreferrer\">36 lines\u003c/a> in 3/4 time—built a backbone to a growing resistance.\u003c/p>\n\u003cp>Even today, \u003cem>corridos\u003c/em> put a human face on even the most difficult circumstances.\u003c/p>\n\u003ch2>‘The Corrido Does Not Tell Lies’\u003c/h2>\n\u003cp>In 2004, celebrated San Jose-based \u003ci>norteño\u003c/i> band \u003ca href=\"https://www.kqed.org/arts/tag/los-tigres-del-norte\" target=\"_blank\" rel=\"noopener noreferrer\">Los Tigres del Norte\u003c/a> \u003ca href=\"https://www.emol.com/noticias/magazine/2004/04/22/145666/mexico-piden-censurar-cancion-de-los-tigres-del-norte-sobre-mujeres-asesinadas.html\" target=\"_blank\" rel=\"noopener noreferrer\">sparred\u003c/a> with the Mexican state of Chihuahua over their \u003ci>corrido\u003c/i> “Las Mujeres de Juárez\u003cem>.” \u003c/em>Against a jolting, upbeat tempo, its lyrics reveal a crisis outside the north Mexican border town—mass femicide of hundreds of \u003cem>maquiladora\u003c/em> workers:\u003c/p>\n\u003cblockquote>\u003cp>Humiliating and abusive,\u003cbr>\nThe untouchable impunity,\u003cbr>\nThe bones in the desert\u003cbr>\nTell the raw truth\u003cbr>\nThe dead women of Juárez\u003cbr>\nAre a national embarrassment.\u003c/p>\u003c/blockquote>\n\u003cp>In the final stanza, singer Jorge Hernandez calls for an investigation into the murdered women left in the deserts of Chihuahua:\u003c/p>\n\u003cblockquote>\u003cp>Because there are several thousands of dead women\u003cbr>\nIn clandestine cemeteries\u003cbr>\nMany missing women\u003cbr>\nThat I refuse to believe\u003cbr>\nIt’s the people’s demand\u003cbr>\nThat the law sheds light on this.\u003c/p>\u003c/blockquote>\n\u003cp>Threatening censorship, the governor of Chihuahua claimed the lyrics were too macabre for mass consumption and would incite fear in a region grappling with excessive violence. Critics argued that the real reason the state wanted to squash the song was to avoid upsetting a regional economy fueled by industrial production along the border.\u003c/p>\n\u003cp>Guadalupe Morfin Otero, a government commissioner who worked on the case of the murdered women of Juárez, defended the song. “It seems to me that the corrido does not tell lies,” he said. “This and other artistic expressions that have surfaced on this theme are valid when they are an expression of solidarity.”\u003c/p>\n\u003ch2>Reclaiming the Narrative\u003c/h2>\n\u003cp>Earlier this week, a recording of mariachis performing Juan Gabriel’s “Amor Eterno” at the El Paso vigil captivated a country grieving in the wake of three mass shootings in one week. The \u003cem>bolero\u003c/em>, written by Gabriel after his mother’s death, was made popular by Spanish singer Rocío Durcal. Its heartrending rendition, illuminated by candlelight in El Paso, hit home for many Latinos, who hold the song close to their heart in times of grief and loss.\u003c/p>\n\u003cblockquote class=\"twitter-tweet\" data-width=\"550\" data-dnt=\"true\">\n\u003cp lang=\"en\" dir=\"ltr\">If you come from a Mexican family, you know this song. It's usually sung at funerals as a last good bye. It ends with the promise that one day we will reunite.\u003c/p>\n\u003cp>Today, \u003ca href=\"https://twitter.com/hashtag/ElPaso?src=hash&ref_src=twsrc%5Etfw\">#ElPaso\u003c/a> sang it to the 20 victims of Saturday's massacre. \u003ca href=\"https://twitter.com/hashtag/AmorEterno?src=hash&ref_src=twsrc%5Etfw\">#AmorEterno\u003c/a> \u003ca href=\"https://t.co/EUACgnqIsl\">pic.twitter.com/EUACgnqIsl\u003c/a>\u003c/p>\n\u003cp>— Angélica María Casas (@AngelicaMCasas) \u003ca href=\"https://twitter.com/AngelicaMCasas/status/1158255630043537408?ref_src=twsrc%5Etfw\">August 5, 2019\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>\u003cscript async src=\"https://platform.twitter.com/widgets.js\" charset=\"utf-8\">\u003c/script>\u003c/p>\n\u003cp>At a time when Latinos are targeted, stigmatized and falsely accused en masse, it’s critical we reclaim our own narratives. By deconstructing tragedies like the mass shooting in El Paso, line by line, the \u003cem>corrido\u003c/em> provides a deeper understanding to a grieving community, and says to the rest of the world, “this is \u003cem>our\u003c/em> story.”\u003c/p>\n\u003cp>Passed from guitar to guitar, handed down from grandparent to parent to young one, \u003cem>corridos \u003c/em>like “El Llanto de El Paso Texas” help us make sense of the madness. And even in this moment of fractured families, driven apart by steel, concrete and bullets, our strength carries on.\u003c/p>\n\u003cp>\u003cem>Sobrevivimos\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"excerpt": "In storytelling through song, corridos say: 'We do not fear you. You have only made us stronger. Your hate will only bring us closer.'\r\n",
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"title": "El Paso and the Strength of the Mexican Corrido | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As a crowd gathered Tuesday night outside the Walmart in Cielo Vista, El Paso, strums of two guitars drifted through the air.\u003c/p>\n\u003cp>Their 3/4 cadence held an onlooking circle of mourners, many of them standing tall through their tears. Just three days before, on this spot, a white supremacist-fueled massacre claimed the lives of 22 people and wounded 26.\u003c/p>\n\u003cp>Two young men thrummed together before a circle of silent onlookers, as they began their song:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Photojournalist \u003ca href=\"https://twitter.com/fotornelas\" target=\"_blank\" rel=\"noopener noreferrer\">Omar Ornelas\u003c/a> of USA Today Network captured this scene at a vigil just one night before Donald Trump’s visit to El Paso. The \u003cem>corrido\u003c/em>, “\u003ca href=\"https://www.youtube.com/watch?v=XCb3DFg_TMU\" target=\"_blank\" rel=\"noopener noreferrer\">El Llanto de El Paso Texas\u003c/a>,” attributed to songwriter Josue Rodriguez, sparked an immediate emotional outpouring from viewers, many of whom grew up listening to familiar melodies in Mexican households.\u003c/p>\n\u003cp>To many, it may be just a song. But for me and many others, after the deadliest attack \u003ca href=\"https://www.vox.com/2019/8/6/20756750/el-paso-shooter-targeted-latinx-walmart\" target=\"_blank\" rel=\"noopener noreferrer\">targeting our people\u003c/a> in recent U.S. history, it’s an act of strength and resilience we need now more than ever.\u003c/p>\n\u003ch2>A Long Oral Tradition\u003c/h2>\n\u003cp>The Mexican oral tradition of the \u003ci>corrido\u003c/i> allows us to look critically at and heal from disturbing events. It gives us the power look death in the eye. To name it. To inspire empathy among the masses, and take action against threats on one’s freedom, sovereignty and right to live.\u003c/p>\n\u003cp>It’s the \u003cem>llanto\u003c/em>, the collective cry that brings people together—\u003cem>el canto del pueblo, \u003c/em>or the song of the people—that says: “We do not fear you. You have only made us stronger. Your hate will only bring us closer.”\u003c/p>\n\u003cp>As the lyrics of “El Llanto de El Paso Texas” say:\u003c/p>\n\u003cblockquote>\u003cp>A Saturday morning on August 3,\u003cbr>\nat the Walmart in Cielo Vista\u003cbr>\npeople peacefully walked,\u003cbr>\nbut they could never imagine\u003cbr>\ntheir lives would change.\u003c/p>\n\u003cp>They heard several shots,\u003cbr>\na gun unloading.\u003cbr>\nThe massacre began,\u003cbr>\nand my people were scared.\u003cbr>\nThe could not find where to run,\u003cbr>\nbut they all helped each other.\u003c/p>\n\u003cp>These events that I tell you,\u003cbr>\nthe news reported 22 killed,\u003cbr>\nand 26 badly injured.\u003cbr>\nEl Chucho [El Paso] is sad,\u003cbr>\nmany families are in mourning.\u003c/p>\n\u003cp>It was an act of terrorism\u003cbr>\nthat this monster caused.\u003cbr>\nHe wanted to break my people,\u003cbr>\nbut he didn’t succeed.\u003cbr>\nNow we’re more united than ever,\u003cbr>\nmany thanks to God.\u003c/p>\u003c/blockquote>\n\u003cp>\u003cem>Corridos\u003c/em>, based on the Spanish word \u003cem>correr\u003c/em> (“to run”), are folk songs that capture a collective cry against injustice; the musicologist Henry Cowell called them “\u003ca href=\"https://folkways.si.edu/mexican-corridos/latin-world/music/album/smithsonian\" target=\"_blank\" rel=\"noopener noreferrer\">stories told in song\u003c/a>.” Over generations, their form of balladic storytelling became known as “border music,” although their roots predate the U.S.-Mexico border we know today.\u003c/p>\n\u003cp>At the outset of the \u003ca href=\"https://laii.unm.edu/info/k-12-educators/assets/documents/mexican-revolution/music-of-the-revolution.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Mexican revolution\u003c/a>, \u003cem>cantantes\u003c/em> would carry their guitars from town to town with songs like “\u003ca href=\"https://www.youtube.com/watch?v=hlGtOv-QEQQ\" target=\"_blank\" rel=\"noopener noreferrer\">La Adelita\u003c/a>,” recounting tales of peasant soldiers and indigenous communities rising up against an elite governing class in Mexico. This creative dissemination of the news—delivered across \u003ca href=\"http://artsedge.kennedy-center.org/~/media/ArtsEdge/LessonPrintables/grade-9-12/corridos_about_mex_rev_what_is_a_corrido.ashx\" target=\"_blank\" rel=\"noopener noreferrer\">36 lines\u003c/a> in 3/4 time—built a backbone to a growing resistance.\u003c/p>\n\u003cp>Even today, \u003cem>corridos\u003c/em> put a human face on even the most difficult circumstances.\u003c/p>\n\u003ch2>‘The Corrido Does Not Tell Lies’\u003c/h2>\n\u003cp>In 2004, celebrated San Jose-based \u003ci>norteño\u003c/i> band \u003ca href=\"https://www.kqed.org/arts/tag/los-tigres-del-norte\" target=\"_blank\" rel=\"noopener noreferrer\">Los Tigres del Norte\u003c/a> \u003ca href=\"https://www.emol.com/noticias/magazine/2004/04/22/145666/mexico-piden-censurar-cancion-de-los-tigres-del-norte-sobre-mujeres-asesinadas.html\" target=\"_blank\" rel=\"noopener noreferrer\">sparred\u003c/a> with the Mexican state of Chihuahua over their \u003ci>corrido\u003c/i> “Las Mujeres de Juárez\u003cem>.” \u003c/em>Against a jolting, upbeat tempo, its lyrics reveal a crisis outside the north Mexican border town—mass femicide of hundreds of \u003cem>maquiladora\u003c/em> workers:\u003c/p>\n\u003cblockquote>\u003cp>Humiliating and abusive,\u003cbr>\nThe untouchable impunity,\u003cbr>\nThe bones in the desert\u003cbr>\nTell the raw truth\u003cbr>\nThe dead women of Juárez\u003cbr>\nAre a national embarrassment.\u003c/p>\u003c/blockquote>\n\u003cp>In the final stanza, singer Jorge Hernandez calls for an investigation into the murdered women left in the deserts of Chihuahua:\u003c/p>\n\u003cblockquote>\u003cp>Because there are several thousands of dead women\u003cbr>\nIn clandestine cemeteries\u003cbr>\nMany missing women\u003cbr>\nThat I refuse to believe\u003cbr>\nIt’s the people’s demand\u003cbr>\nThat the law sheds light on this.\u003c/p>\u003c/blockquote>\n\u003cp>Threatening censorship, the governor of Chihuahua claimed the lyrics were too macabre for mass consumption and would incite fear in a region grappling with excessive violence. Critics argued that the real reason the state wanted to squash the song was to avoid upsetting a regional economy fueled by industrial production along the border.\u003c/p>\n\u003cp>Guadalupe Morfin Otero, a government commissioner who worked on the case of the murdered women of Juárez, defended the song. “It seems to me that the corrido does not tell lies,” he said. “This and other artistic expressions that have surfaced on this theme are valid when they are an expression of solidarity.”\u003c/p>\n\u003ch2>Reclaiming the Narrative\u003c/h2>\n\u003cp>Earlier this week, a recording of mariachis performing Juan Gabriel’s “Amor Eterno” at the El Paso vigil captivated a country grieving in the wake of three mass shootings in one week. The \u003cem>bolero\u003c/em>, written by Gabriel after his mother’s death, was made popular by Spanish singer Rocío Durcal. Its heartrending rendition, illuminated by candlelight in El Paso, hit home for many Latinos, who hold the song close to their heart in times of grief and loss.\u003c/p>\n\u003cblockquote class=\"twitter-tweet\" data-width=\"550\" data-dnt=\"true\">\n\u003cp lang=\"en\" dir=\"ltr\">If you come from a Mexican family, you know this song. It's usually sung at funerals as a last good bye. It ends with the promise that one day we will reunite.\u003c/p>\n\u003cp>Today, \u003ca href=\"https://twitter.com/hashtag/ElPaso?src=hash&ref_src=twsrc%5Etfw\">#ElPaso\u003c/a> sang it to the 20 victims of Saturday's massacre. \u003ca href=\"https://twitter.com/hashtag/AmorEterno?src=hash&ref_src=twsrc%5Etfw\">#AmorEterno\u003c/a> \u003ca href=\"https://t.co/EUACgnqIsl\">pic.twitter.com/EUACgnqIsl\u003c/a>\u003c/p>\n\u003cp>— Angélica María Casas (@AngelicaMCasas) \u003ca href=\"https://twitter.com/AngelicaMCasas/status/1158255630043537408?ref_src=twsrc%5Etfw\">August 5, 2019\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>\u003cscript async src=\"https://platform.twitter.com/widgets.js\" charset=\"utf-8\">\u003c/script>\u003c/p>\n\u003cp>At a time when Latinos are targeted, stigmatized and falsely accused en masse, it’s critical we reclaim our own narratives. By deconstructing tragedies like the mass shooting in El Paso, line by line, the \u003cem>corrido\u003c/em> provides a deeper understanding to a grieving community, and says to the rest of the world, “this is \u003cem>our\u003c/em> story.”\u003c/p>\n\u003cp>Passed from guitar to guitar, handed down from grandparent to parent to young one, \u003cem>corridos \u003c/em>like “El Llanto de El Paso Texas” help us make sense of the madness. And even in this moment of fractured families, driven apart by steel, concrete and bullets, our strength carries on.\u003c/p>\n\u003cp>\u003cem>Sobrevivimos\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Music Fans Scared to Attend Outside Lands, Other Festivals After Mass Shootings",
"headTitle": "Music Fans Scared to Attend Outside Lands, Other Festivals After Mass Shootings | KQED",
"content": "\u003cp>Rebecca Macias was looking forward to seeing Blink-182 and Twenty One Pilots at Outside Lands so much that she splurged on a three-day VIP pass and a place to stay in San Francisco—a big expense for a fourth-grade teacher from Davis. But after the July 28 mass shooting in nearby Gilroy, and the ones that followed in El Paso, Texas and Dayton, Ohio, she’s spent the week deliberating whether she should go at all. [aside postid='arts_13862605']\u003c/p>\n\u003cp>“My anxiety is through the roof,” she says days ahead of the festival, which takes place in Golden Gate Park Aug. 9–11. “It feels like we’re going and we’re hoping there’s not a mass shooter, and that shouldn’t be on our minds.”\u003c/p>\n\u003cp>According to new research from Chapman University, \u003ca href=\"https://www.usatoday.com/story/news/2019/07/31/california-gilroy-garlic-festival-shooting-gun/1870808001/\" target=\"_blank\" rel=\"noopener\">41 percent of Americans\u003c/a> are afraid of mass shootings—and for good reason, as the incidents have become \u003ca href=\"https://www.latimes.com/business/hiltzik/la-fi-hiltzik-mass-shootings-20171120-story.html\" target=\"_blank\" rel=\"noopener\">more common\u003c/a>, and deadlier, in the last two decades.\u003c/p>\n\u003cp>That fear has only increased as politicians continue to offer \u003ca href=\"http://www.markfiore.com/april-june-2016/2016/6/15/thoughts-and-prayers\" target=\"_blank\" rel=\"noopener\">thoughts and prayers\u003c/a> for victims of shootings without passing legislation to curb civilian access to military-grade assault weapons. And on Aug. 7, Amnesty International issued a \u003ca href=\"https://www.amnestyusa.org/our-work/government-relations/advocacy/travel-advisory-united-states-of-america/\" target=\"_blank\" rel=\"noopener\">travel advisory\u003c/a> for the United States, urging international visitors to exercise caution and avoid cultural events, places of worship, malls and schools.\u003c/p>\n\u003cp>[\u003cem>My colleague Pendarvis Harshaw and I asked our Twitter followings about whether people are hesitant to attend large events after mass shootings. We heard from \u003ca href=\"https://twitter.com/OGpenn/status/1158968816639995904?s=20\" target=\"_blank\" rel=\"noopener\">dozens\u003c/a> of \u003ca href=\"https://twitter.com/nananastia/status/1158832418993819648?s=20\" target=\"_blank\" rel=\"noopener\">readers\u003c/a>, some who stayed home from events or found themselves coming up with evacuation plans while trying to enjoy themselves.\u003c/em>]\u003c/p>\n\u003cp>Emily Watkins, a data scientist from Napa, says she became unsure about attending Outside Lands after reading about a \u003ca href=\"https://www.latimes.com/california/story/2019-08-05/gilroy-man-arrested-after-online-threat\" target=\"_blank\" rel=\"noopener\">Gilroy man who was arrested\u003c/a> for posting on Facebook that “my goal is to kill 500, not three” after the mass shooting in his city.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Anytime you hear about any of this, it makes you not want to go to any events ever,” says Watkins, adding that she goes back and forth on giving up the tickets her boyfriend gave her as a graduation gift.\u003c/p>\n\u003cfigure id=\"attachment_13862630\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862630\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/07292019_Gilroy-qut-1020x680-800x533.jpg\" alt=\"People leave mementos at a makeshift memorial outside the site of the Gilroy Garlic Festival after a mass shooting took place at the event yesterday on July 29, 2019 in Gilroy.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/07292019_Gilroy-qut-1020x680-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/07292019_Gilroy-qut-1020x680-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/07292019_Gilroy-qut-1020x680-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/07292019_Gilroy-qut-1020x680.jpg 1020w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">People leave mementos at a makeshift memorial outside the site of the Gilroy Garlic Festival after a mass shooting took place at the event yesterday on July 29, 2019 in Gilroy. \u003ccite>(Mario Tama/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Outside Lands has implemented an emergency alert system that attendees can sign up for by texting “OUTSIDELANDS” to 888-777. In a statement, festival producer Another Planet Entertainment told KQED that Outside Lands will include heightened security and police presence this year. “While for obvious reasons we do not provide specific information regarding our procedures, staffing or security measures, we do work closely with local, state and federal agencies when planning throughout the year and are continually addressing the current incidences that have occurred around the state, country and world,” the statement reads.\u003c/p>\n\u003cp>The producers of San Jose Jazz Summer Fest, which also takes place Aug. 9–11, say that they’ve reduced the number of entrances and increased the number of exits to the event, and are also working with law enforcement. “Since the tragedy in Gilroy, we have been in close communication with the Mayor’s Office and the San Jose Police Department regarding additional measures that will be implemented this year,” San Jose Jazz Executive Director Brendan Rawson told KQED in an email. [aside postid='arts_13862534']\u003c/p>\n\u003cp>Despite these reassurances, some festival-goers are still reluctant to attend. \u003ca href=\"https://www.latimes.com/world-nation/story/2019-08-03/united-states-mass-shootings\" target=\"_blank\" rel=\"noopener\">Recent mass shootings\u003c/a> have taken place at such a wide variety of locations, and affected people across so many demographic lines, that it’s impossible to predict when and where the next one will happen.\u003c/p>\n\u003cp>“Pop concerts, rock concerts, country concerts, gay clubs, regular nightclubs, elementary schools, high schools, college campuses, f-ckin’ post offices—everybody and everything is a target,” says Guillermo Hayes, a show producer at ALT 105.3 FM. He plans to attend Outside Lands for the first time this weekend, albeit with plans to mind the exits and stay aware of his surroundings.\u003c/p>\n\u003cp>“They can have all the screening they want. They talked about bringing clear bags and backpacks, and you’re going to go through a metal detector and body search,” says Macias. “In this email, they have all these ways they’re going to protect us with more police. But to me, that doesn’t make me feel any more safe, because some other places have had that as well, and there’s been shootings.”\u003c/p>\n\u003cfigure id=\"attachment_13863065\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863065\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/RS38403_2016SummerFest-FunkyMetersAudience-JeromeBrunet-qut-800x518.jpg\" alt=\"Funky Meters perform for a packed Main Stage audience during the 2016 San Jose Jazz Summer Fest.\" width=\"800\" height=\"518\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38403_2016SummerFest-FunkyMetersAudience-JeromeBrunet-qut-800x518.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38403_2016SummerFest-FunkyMetersAudience-JeromeBrunet-qut-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38403_2016SummerFest-FunkyMetersAudience-JeromeBrunet-qut-768x497.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38403_2016SummerFest-FunkyMetersAudience-JeromeBrunet-qut-1020x660.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38403_2016SummerFest-FunkyMetersAudience-JeromeBrunet-qut-1200x776.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38403_2016SummerFest-FunkyMetersAudience-JeromeBrunet-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Funky Meters perform for a packed Main Stage audience during the 2016 San Jose Jazz Summer Fest. \u003ccite>(Photo: Courtesy of Jerome Brunet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jarvis Neely, a San Francisco startup employee and musician, is considering selling his three-day Outside Lands pass. Neely is frustrated with government inaction in the face of white supremacist violence. While the FBI is investigating the Gilroy shooting as domestic terrorism, \u003ca href=\"https://www.forbes.com/sites/niallmccarthy/2019/08/01/report-hate-crime-is-rising-in-30-major-american-cities-infographic/#4e3f5cb8b8d0\" target=\"_blank\" rel=\"noopener\">hate crimes have been on the rise for five consecutive years\u003c/a>.\u003c/p>\n\u003cp>“It’s a blind eye that gets turned—this is coming from a pure Black kid in the city,” Neely says. “In my eyes, nothing is changing with racism. It’s getting worse, and it’s getting easier to conceal it.”\u003c/p>\n\u003cp>Macias agrees.\u003c/p>\n\u003cp>“I feel like with the president we have now, it’s fueling the flames to where [white supremacists] feel like they’re a part of something,” says Macias. “Just like the Taliban and ISIS, I think we’re having these suicide missions for the cause. The gunmen that go in, they know there’s a high chance they’ll be killed, but they don’t care.”\u003c/p>\n\u003cp>Still, despite her anxiety, Macias says that she’ll still most likely attend Outside Lands anyway. That’s what Dr. Melissa Brymer, director of the terrorism and disaster programs at UCLA, advises people to do. Bringing a friend for emotional support helps, she says, as well as reading up on the festival’s official safety guidelines.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Having fun is important for our well-being,” Brymer says. “That also has to be the message in this.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Rebecca Macias was looking forward to seeing Blink-182 and Twenty One Pilots at Outside Lands so much that she splurged on a three-day VIP pass and a place to stay in San Francisco—a big expense for a fourth-grade teacher from Davis. But after the July 28 mass shooting in nearby Gilroy, and the ones that followed in El Paso, Texas and Dayton, Ohio, she’s spent the week deliberating whether she should go at all. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“My anxiety is through the roof,” she says days ahead of the festival, which takes place in Golden Gate Park Aug. 9–11. “It feels like we’re going and we’re hoping there’s not a mass shooter, and that shouldn’t be on our minds.”\u003c/p>\n\u003cp>According to new research from Chapman University, \u003ca href=\"https://www.usatoday.com/story/news/2019/07/31/california-gilroy-garlic-festival-shooting-gun/1870808001/\" target=\"_blank\" rel=\"noopener\">41 percent of Americans\u003c/a> are afraid of mass shootings—and for good reason, as the incidents have become \u003ca href=\"https://www.latimes.com/business/hiltzik/la-fi-hiltzik-mass-shootings-20171120-story.html\" target=\"_blank\" rel=\"noopener\">more common\u003c/a>, and deadlier, in the last two decades.\u003c/p>\n\u003cp>That fear has only increased as politicians continue to offer \u003ca href=\"http://www.markfiore.com/april-june-2016/2016/6/15/thoughts-and-prayers\" target=\"_blank\" rel=\"noopener\">thoughts and prayers\u003c/a> for victims of shootings without passing legislation to curb civilian access to military-grade assault weapons. And on Aug. 7, Amnesty International issued a \u003ca href=\"https://www.amnestyusa.org/our-work/government-relations/advocacy/travel-advisory-united-states-of-america/\" target=\"_blank\" rel=\"noopener\">travel advisory\u003c/a> for the United States, urging international visitors to exercise caution and avoid cultural events, places of worship, malls and schools.\u003c/p>\n\u003cp>[\u003cem>My colleague Pendarvis Harshaw and I asked our Twitter followings about whether people are hesitant to attend large events after mass shootings. We heard from \u003ca href=\"https://twitter.com/OGpenn/status/1158968816639995904?s=20\" target=\"_blank\" rel=\"noopener\">dozens\u003c/a> of \u003ca href=\"https://twitter.com/nananastia/status/1158832418993819648?s=20\" target=\"_blank\" rel=\"noopener\">readers\u003c/a>, some who stayed home from events or found themselves coming up with evacuation plans while trying to enjoy themselves.\u003c/em>]\u003c/p>\n\u003cp>Emily Watkins, a data scientist from Napa, says she became unsure about attending Outside Lands after reading about a \u003ca href=\"https://www.latimes.com/california/story/2019-08-05/gilroy-man-arrested-after-online-threat\" target=\"_blank\" rel=\"noopener\">Gilroy man who was arrested\u003c/a> for posting on Facebook that “my goal is to kill 500, not three” after the mass shooting in his city.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Anytime you hear about any of this, it makes you not want to go to any events ever,” says Watkins, adding that she goes back and forth on giving up the tickets her boyfriend gave her as a graduation gift.\u003c/p>\n\u003cfigure id=\"attachment_13862630\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862630\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/07292019_Gilroy-qut-1020x680-800x533.jpg\" alt=\"People leave mementos at a makeshift memorial outside the site of the Gilroy Garlic Festival after a mass shooting took place at the event yesterday on July 29, 2019 in Gilroy.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/07292019_Gilroy-qut-1020x680-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/07292019_Gilroy-qut-1020x680-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/07292019_Gilroy-qut-1020x680-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/07292019_Gilroy-qut-1020x680.jpg 1020w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">People leave mementos at a makeshift memorial outside the site of the Gilroy Garlic Festival after a mass shooting took place at the event yesterday on July 29, 2019 in Gilroy. \u003ccite>(Mario Tama/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Outside Lands has implemented an emergency alert system that attendees can sign up for by texting “OUTSIDELANDS” to 888-777. In a statement, festival producer Another Planet Entertainment told KQED that Outside Lands will include heightened security and police presence this year. “While for obvious reasons we do not provide specific information regarding our procedures, staffing or security measures, we do work closely with local, state and federal agencies when planning throughout the year and are continually addressing the current incidences that have occurred around the state, country and world,” the statement reads.\u003c/p>\n\u003cp>The producers of San Jose Jazz Summer Fest, which also takes place Aug. 9–11, say that they’ve reduced the number of entrances and increased the number of exits to the event, and are also working with law enforcement. “Since the tragedy in Gilroy, we have been in close communication with the Mayor’s Office and the San Jose Police Department regarding additional measures that will be implemented this year,” San Jose Jazz Executive Director Brendan Rawson told KQED in an email. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Despite these reassurances, some festival-goers are still reluctant to attend. \u003ca href=\"https://www.latimes.com/world-nation/story/2019-08-03/united-states-mass-shootings\" target=\"_blank\" rel=\"noopener\">Recent mass shootings\u003c/a> have taken place at such a wide variety of locations, and affected people across so many demographic lines, that it’s impossible to predict when and where the next one will happen.\u003c/p>\n\u003cp>“Pop concerts, rock concerts, country concerts, gay clubs, regular nightclubs, elementary schools, high schools, college campuses, f-ckin’ post offices—everybody and everything is a target,” says Guillermo Hayes, a show producer at ALT 105.3 FM. He plans to attend Outside Lands for the first time this weekend, albeit with plans to mind the exits and stay aware of his surroundings.\u003c/p>\n\u003cp>“They can have all the screening they want. They talked about bringing clear bags and backpacks, and you’re going to go through a metal detector and body search,” says Macias. “In this email, they have all these ways they’re going to protect us with more police. But to me, that doesn’t make me feel any more safe, because some other places have had that as well, and there’s been shootings.”\u003c/p>\n\u003cfigure id=\"attachment_13863065\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863065\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/RS38403_2016SummerFest-FunkyMetersAudience-JeromeBrunet-qut-800x518.jpg\" alt=\"Funky Meters perform for a packed Main Stage audience during the 2016 San Jose Jazz Summer Fest.\" width=\"800\" height=\"518\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38403_2016SummerFest-FunkyMetersAudience-JeromeBrunet-qut-800x518.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38403_2016SummerFest-FunkyMetersAudience-JeromeBrunet-qut-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38403_2016SummerFest-FunkyMetersAudience-JeromeBrunet-qut-768x497.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38403_2016SummerFest-FunkyMetersAudience-JeromeBrunet-qut-1020x660.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38403_2016SummerFest-FunkyMetersAudience-JeromeBrunet-qut-1200x776.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38403_2016SummerFest-FunkyMetersAudience-JeromeBrunet-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Funky Meters perform for a packed Main Stage audience during the 2016 San Jose Jazz Summer Fest. \u003ccite>(Photo: Courtesy of Jerome Brunet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jarvis Neely, a San Francisco startup employee and musician, is considering selling his three-day Outside Lands pass. Neely is frustrated with government inaction in the face of white supremacist violence. While the FBI is investigating the Gilroy shooting as domestic terrorism, \u003ca href=\"https://www.forbes.com/sites/niallmccarthy/2019/08/01/report-hate-crime-is-rising-in-30-major-american-cities-infographic/#4e3f5cb8b8d0\" target=\"_blank\" rel=\"noopener\">hate crimes have been on the rise for five consecutive years\u003c/a>.\u003c/p>\n\u003cp>“It’s a blind eye that gets turned—this is coming from a pure Black kid in the city,” Neely says. “In my eyes, nothing is changing with racism. It’s getting worse, and it’s getting easier to conceal it.”\u003c/p>\n\u003cp>Macias agrees.\u003c/p>\n\u003cp>“I feel like with the president we have now, it’s fueling the flames to where [white supremacists] feel like they’re a part of something,” says Macias. “Just like the Taliban and ISIS, I think we’re having these suicide missions for the cause. The gunmen that go in, they know there’s a high chance they’ll be killed, but they don’t care.”\u003c/p>\n\u003cp>Still, despite her anxiety, Macias says that she’ll still most likely attend Outside Lands anyway. That’s what Dr. Melissa Brymer, director of the terrorism and disaster programs at UCLA, advises people to do. Bringing a friend for emotional support helps, she says, as well as reading up on the festival’s official safety guidelines.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Having fun is important for our well-being,” Brymer says. “That also has to be the message in this.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Wally Schnalle, a professional jazz drummer and director of the \u003ca href=\"https://sanjosejazz.org/summer-jazz-camp/\" target=\"_blank\" rel=\"noopener\">Summer Jazz Camp\u003c/a>, stands in a sunny practice room at Valley Christian High School in San Jose.\u003c/p>\n\u003cp>It’s a hot Sunday morning and he’s watching seven students from the Summer Jazz Camp rehearse “Lingus” by \u003ca href=\"https://snarkypuppy.com\" target=\"_blank\" rel=\"noopener\">Snarky Puppy\u003c/a> for the 30th annual San Jose Jazz Summer Fest.\u003c/p>\n\u003cp>“That’s a challenging tune,” Schnalle said. “It’s an odd meter. Everybody gets solos and different sorts of rhythmic environments.”\u003c/p>\n\u003cp>Schnalle has long white hair pulled into a pony tail and a white goatee to match. His silver peace sign earrings swing back and forth as he bobs his head to the music.\u003c/p>\n\u003cp>The song ends abruptly, and Schnalle tells the students, “Yeah, that was better, and you even quoted the groove you wanted to end up on. ”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">San Jose Jazz is more than the annual festival. The organization also support music education locally through three different programs. \u003c/span>One, called \u003ca href=\"https://sanjosejazz.org/education/progressions/\" target=\"_blank\" rel=\"noopener\">Progressions\u003c/a>, connects at-risk youth with music in San Jose’s Franklin-McKinley School District. The \u003ca href=\"https://sanjosejazz.org/high-school-all-stars/\" target=\"_blank\" rel=\"noopener\">High School All Stars\u003c/a> is a regional band that’s exactly what it sounds like. They also run the \u003ca href=\"https://sanjosejazz.org/summer-jazz-camp/\" target=\"_blank\" rel=\"noopener\">Summer Jazz Camp\u003c/a>.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=pwSXNlTn89A]”It really is a conduit,” said San Jose Jazz Executive Director Brendan Rawson. “We’ve been excited to have a range of folks over the years that have come through our own education programs that come back in other ensemble formats as as artists that we’re presenting. I think it ties into the long term direction of the organization of supporting the music and supporting artists coming from the area. ”\u003c/p>\n\u003cp>[aside postID='arts_13863049,arts_13804037,arts_10885260' label='More San Jose Jazz']Schnalle says, unlike a lot of other professional musicians who teach to help pay the bills, he really likes it.\u003c/p>\n\u003cp>“It’s really heartening,” Schnalle said. “Not only to see them trading things that they learned in the classes. I see them helping each other once they learn something or they get it quicker than the other students will help.”\u003c/p>\n\u003cp>Schnalle’s teaching often goes beyond notes and tempo. He works with a lot of talented kids, and some of them want to know: should they pursue music professionally like Schnalle? Are the financial insecurity and the late nights worth it?\u003c/p>\n\u003cp>“I couldn’t imagine doing me doing anything else,” Schnalle said, “and if that’s the way you feel about it, then please do go for it, right? Because then you’ll be rewarded many times. But if you think ‘oh that’ll be a cool thing to do,’ then yeah that’s gonna be an uphill battle.”\u003c/p>\n\u003cp>\u003cem>\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/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The\u003cstrong> Summer Jazz Camp\u003c/strong> performs as part of the \u003cstrong>San Jose Jazz Summer Fest\u003c/strong> on August 10, 2019 on the SJMA Next Gen Stage. For more information, click \u003ca href=\"https://summerfest.sanjosejazz.org/artists/san-jose-jazz-summer-jazz-camp-combo-2\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Wally Schnalle, a professional jazz drummer and director of the \u003ca href=\"https://sanjosejazz.org/summer-jazz-camp/\" target=\"_blank\" rel=\"noopener\">Summer Jazz Camp\u003c/a>, stands in a sunny practice room at Valley Christian High School in San Jose.\u003c/p>\n\u003cp>It’s a hot Sunday morning and he’s watching seven students from the Summer Jazz Camp rehearse “Lingus” by \u003ca href=\"https://snarkypuppy.com\" target=\"_blank\" rel=\"noopener\">Snarky Puppy\u003c/a> for the 30th annual San Jose Jazz Summer Fest.\u003c/p>\n\u003cp>“That’s a challenging tune,” Schnalle said. “It’s an odd meter. Everybody gets solos and different sorts of rhythmic environments.”\u003c/p>\n\u003cp>Schnalle has long white hair pulled into a pony tail and a white goatee to match. His silver peace sign earrings swing back and forth as he bobs his head to the music.\u003c/p>\n\u003cp>The song ends abruptly, and Schnalle tells the students, “Yeah, that was better, and you even quoted the groove you wanted to end up on. ”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">San Jose Jazz is more than the annual festival. The organization also support music education locally through three different programs. \u003c/span>One, called \u003ca href=\"https://sanjosejazz.org/education/progressions/\" target=\"_blank\" rel=\"noopener\">Progressions\u003c/a>, connects at-risk youth with music in San Jose’s Franklin-McKinley School District. The \u003ca href=\"https://sanjosejazz.org/high-school-all-stars/\" target=\"_blank\" rel=\"noopener\">High School All Stars\u003c/a> is a regional band that’s exactly what it sounds like. They also run the \u003ca href=\"https://sanjosejazz.org/summer-jazz-camp/\" target=\"_blank\" rel=\"noopener\">Summer Jazz Camp\u003c/a>.\u003c/p>\n\u003cp>\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/pwSXNlTn89A'\n title='//www.youtube.com/embed/pwSXNlTn89A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>”It really is a conduit,” said San Jose Jazz Executive Director Brendan Rawson. “We’ve been excited to have a range of folks over the years that have come through our own education programs that come back in other ensemble formats as as artists that we’re presenting. I think it ties into the long term direction of the organization of supporting the music and supporting artists coming from the area. ”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Schnalle says, unlike a lot of other professional musicians who teach to help pay the bills, he really likes it.\u003c/p>\n\u003cp>“It’s really heartening,” Schnalle said. “Not only to see them trading things that they learned in the classes. I see them helping each other once they learn something or they get it quicker than the other students will help.”\u003c/p>\n\u003cp>Schnalle’s teaching often goes beyond notes and tempo. He works with a lot of talented kids, and some of them want to know: should they pursue music professionally like Schnalle? Are the financial insecurity and the late nights worth it?\u003c/p>\n\u003cp>“I couldn’t imagine doing me doing anything else,” Schnalle said, “and if that’s the way you feel about it, then please do go for it, right? Because then you’ll be rewarded many times. But if you think ‘oh that’ll be a cool thing to do,’ then yeah that’s gonna be an uphill battle.”\u003c/p>\n\u003cp>\u003cem>\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/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The\u003cstrong> Summer Jazz Camp\u003c/strong> performs as part of the \u003cstrong>San Jose Jazz Summer Fest\u003c/strong> on August 10, 2019 on the SJMA Next Gen Stage. For more information, click \u003ca href=\"https://summerfest.sanjosejazz.org/artists/san-jose-jazz-summer-jazz-camp-combo-2\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"masters-of-scale": {
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},
"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"onourwatch": {
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"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"pbs-newshour": {
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},
"perspectives": {
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"order": 14
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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