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Eyes open, a teenager who loves Madonna and Public Enemy films herself in her family’s apartment in Tooting, south of London. She dances. She drinks. She addresses the camera, makes sure it’s picking up the things around her. She discusses being poor, being an immigrant and a refugee, interviews her siblings about resenting their absentee father (a founder of the militant Tamil revolution in the family’s native northern Sri Lanka). It’s relentless self-documentation, a full two decades before Instagram or reality TV or selfie culture—and years before she had an inkling anyone might care.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Of course, it helps that the camera loves her right back: she was stunning, even then. But the urgency is what pulls you in. This is a young woman who knows she has a story worth telling, and doesn’t trust anyone else to tell it.\u003c/p>\n\u003cp>Turns out, she had good reason.\u003c/p>\n\u003cfigure id=\"attachment_13843123\" class=\"wp-caption aligncenter\" style=\"max-width: 651px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13843123\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/MIA_PressImages_4.jpg\" alt=\"M.I.A. is the subject of a new documentary, 'MATANGI / MAYA / M.I.A.'\" width=\"651\" height=\"790\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIA_PressImages_4.jpg 651w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIA_PressImages_4-160x194.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIA_PressImages_4-240x291.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIA_PressImages_4-375x455.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIA_PressImages_4-520x631.jpg 520w\" sizes=\"(max-width: 651px) 100vw, 651px\">\u003cfigcaption class=\"wp-caption-text\">M.I.A. is the subject of a new documentary, ‘MATANGI / MAYA / M.I.A.’ \u003ccite>(Courtesy Abramorama)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>n a culture with the attention span of a gnat, it can be difficult, once an accepted narrative about a famous person has settled into place, to remember how it got there—let alone to question its plot points. (Witness America just \u003ca href=\"https://www.harpersbazaar.com/culture/politics/a21530030/monica-lewinsky-apology/\" target=\"_blank\" rel=\"noopener noreferrer\">beginning to reconsider the tale of Monica Lewinsky \u003c/a>a mere two decades later.) No, the easier thing is to form a sort of composite sketch about a person or event based on incomplete information, without even realizing you’re doing it: a particularly vivid rumor; a magazine interview you skimmed in the supermarket checkout line; a knee-jerk reaction based on your ex having liked their stuff.\u003c/p>\n\u003cp>Heading into this film \u003ca href=\"https://www.roxie.com/ai1ec_event/matangi-maya-m-i-a/\" target=\"_blank\" rel=\"noopener noreferrer\">at the Roxie this week\u003c/a>, I knew I loved some of M.I.A.’s songs—I was in college in 2005, when her trailblazing blend of hip-hop, pop, electroclash, punk and world music first stormed the charts in the shape of collaborations with then-boyfriend Diplo. (\u003ca href=\"https://www.billboard.com/articles/news/dance/7942273/mia-diplo-major-lazer-interview-2017\" target=\"_blank\" rel=\"noopener noreferrer\">Exactly who deserves credit for whose career here is a fight for another time.\u003c/a>) I knew she had an outspoken, combative public persona, and had cultivated a “bad girl” image (literally, her 2012 single is called “Bad Girls”). I knew she espoused revolutionary politics, and I \u003cem>kind of\u003c/em> knew she had been cut off on television while speaking about the plight of the Tamil people (which she’s said were victims of a “genocide” in northern Sri Lanka; the Sri Lankan government has basically said “you are mistaken, please stop talking”).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2uYs0gJD-LE\u003c/p>\n\u003cp>But I also believed M.I.A. to be something of a loose cannon—one whose ammo wasn’t exactly grounded in reality. In retrospect, this was mainly thanks to a \u003ca href=\"https://www.nytimes.com/2010/05/30/magazine/30mia-t.html\" target=\"_blank\" rel=\"noopener noreferrer\">brutal 2010 \u003cem>New York Times Magazine\u003c/em> profile\u003c/a> that portrayed the star like a pampered college freshman who just read Howard Zinn for the first time and ran out to buy a “Free Mumia” bumper sticker. At the time of the piece, she was engaged to Benjamin Bronfman (heir to the Seagrams fortune), regularly appeared at swank Hollywood parties, and had songs at the top of the pop charts. The juxtaposition, in the story, rendered her activism naïve at best, disingenuous at worst.\u003c/p>\n\u003cp>At the very least, she didn’t know to \u003cem>not\u003c/em> talk about her radical politics over cocktails and truffle fries at the Beverly Wilshire Hotel. From the \u003cem>New York Times\u003c/em> piece:\u003c/p>\n\u003cblockquote>\u003cp>“I kind of want to be an outsider,” she said, eating a truffle-flavored French fry. “I don’t want to make the same music, sing about the same stuff, talk about the same things. If that makes me a terrorist, then I’m a terrorist.”\u003c/p>\u003c/blockquote>\n\u003cp>The irony was just too delicious. For years, our collective conscious held onto that damn truffle fry.\u003c/p>\n\u003cfigure id=\"attachment_13805063\" class=\"wp-caption aligncenter\" style=\"max-width: 402px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13805063\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/IMG_4573.jpg\" alt=\"M.I.A. performing at Outside Lands in Golden Gate Park, 2009.\" width=\"402\" height=\"602\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_4573.jpg 402w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_4573-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_4573-240x359.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_4573-375x562.jpg 375w\" sizes=\"(max-width: 402px) 100vw, 402px\">\u003cfigcaption class=\"wp-caption-text\">M.I.A. performing at Outside Lands in Golden Gate Park, 2009. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To the degree that a documentary directed by the subject’s school friend can be described as a more reliable narrator, \u003cem>MATANGI / MAYA / M.I.A.\u003c/em> provides a corrective course. It suggests that the “M.I.A.” we in America have come to believe we know is a lazy caricature, and also that that’s far from accidental: it’s the result of sexism, racism, and censorship by a culture that has no idea what to do with an outspoken, brown-skinned female pop star. (Footage of talking heads on Fox News decrying her \u003ca href=\"https://www.rollingstone.com/music/music-news/nfl-sues-m-i-a-for-16-6-million-over-super-bowl-middle-finger-187835/\" target=\"_blank\" rel=\"noopener noreferrer\">costly Super Bowl stunt\u003c/a> and \u003ca href=\"https://www.mediaite.com/tv/dana-perino-is-outraged-that-m-i-a-not-even-an-american-performed-at-the-super-bowl/\" target=\"_blank\" rel=\"noopener noreferrer\">questioning why we can’t have some “American” in our football\u003c/a>, like Blake Shelton or Miranda Lambert, is a nice bit of supporting evidence.)\u003c/p>\n\u003cp>These are also the major underlying reasons, the film offers, that her career has sort of … slid sideways over the past decade. She continues to work, but the U.S. in particular seems to have moved on. Her most recent full-length, 2016’s \u003cem>AIM,\u003c/em> came with the announcement that it was\u003ca href=\"https://www.theguardian.com/music/2016/jul/15/mia-aim-last-album\" target=\"_blank\" rel=\"noopener noreferrer\"> her retirement record. \u003c/a>Then she said \u003ca href=\"https://www.theatlantic.com/entertainment/archive/2018/10/mia-maya-matangi-documentary-interview/571750/\" target=\"_blank\" rel=\"noopener noreferrer\">maybe never mind. \u003c/a>It was her first record not to crack Billboard’s Top 40 since her debut.\u003c/p>\n\u003cfigure id=\"attachment_13843124\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13843124\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/MIAHEADHSHOT-800x1044.jpg\" alt=\"M.I.A. is the subject of a new documentary, 'MATANGI / MAYA / M.I.A.'\" width=\"800\" height=\"1044\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIAHEADHSHOT-800x1044.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIAHEADHSHOT-160x209.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIAHEADHSHOT-768x1002.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIAHEADHSHOT-1020x1331.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIAHEADHSHOT-920x1200.jpg 920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIAHEADHSHOT-960x1252.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIAHEADHSHOT-240x313.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIAHEADHSHOT-375x489.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIAHEADHSHOT-520x678.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIAHEADHSHOT.jpg 1123w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">M.I.A. is the subject of a new documentary, ‘MATANGI / MAYA / M.I.A.’ \u003ccite>(Courtesy Abramorama)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span> left the theater on Monday night consumed by thoughts of Bono.\u003c/p>\n\u003cp>Because here’s the thing: M.I.A. may be more of a shapeshifter than most, but you can drive yourself crazy trying to get at the “real” or “authentic” version of \u003cem>any\u003c/em> celebrity. Direct celeb-to-fan contact via social media has provided a simulacrum, but in today’s landscape, we all know that a personal-seeming Instagram account is just one more required tentacle of a savvy #brand strategy.\u003c/p>\n\u003cp>Besides, what’s more interesting to me than authenticity is standards. Specifically: if we acknowledge that M.I.A.’s activism and lifestyle might not quite align—and I can—then can we also acknowledge that no white man working in entertainment has ever been held to the same standard she has in this department?\u003c/p>\n\u003cp>There’s a tidbit about Bono that’s stuck with me for years now—a “truffle fry” moment, if you will. I can’t help it. I think about it every time there’s a headline about his AIDS work in Africa, every time he participates in another \u003ca href=\"https://archives.sfweekly.com/shookdown/2014/11/17/breaking-do-they-know-its-christmas-is-still-a-misguided-patronizing-terrible-song\" target=\"_blank\" rel=\"noopener noreferrer\">patronizing Christmas song\u003c/a>, every time my friend who works at a fancy restaurant in the Ferry Building texts me to say Bono’s there spending a gazillion dollars in the private dining room with Apple’s Jony Ive after an iPod launch (okay, that only happened once). It’s this: \u003ca href=\"http://www.contactmusic.com/bono/news/bono-pays-.1.500-to-get-forgotten-hat\" target=\"_blank\" rel=\"noopener noreferrer\">Bono once paid $1,500 for a hat to fly first-class from England to Italy, so he could wear it during a charity concert\u003c/a>.\u003c/p>\n\u003cp>\u003cem>Do you know how many starving children $1,500 could feed?\u003c/em> is a question I have never seen in a \u003cem>New York Times Magazine\u003c/em> profile of Bono. \u003cem>Bono was wearing a $12,000 suit and drinking a $400 bottle of wine while talking about AIDS and poverty\u003c/em> is an irony I have never seen stick like rubber cement in the minds of a million Americans.\u003c/p>\n\u003cp>I’ve been trying, since I saw this documentary, to think of a white male pop star who’s been raked over the coals in a way that even remotely resembles what our culture has done with M.I.A., all for the hypocrisy of being a rich person—who lives like a rich person—while speaking about the plight of poor people. Or one who, in discussing their politics, has consistently been described by the press not as “controversial” or “bold” but as “naïve” or “a loose cannon.” So far I can’t think of one.\u003c/p>\n\u003cfigure id=\"attachment_13843122\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13843122\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/MIA_PressImages_3-800x1067.jpg\" alt=\"M.I.A. is the subject of a new documentary, 'MATANGI / MAYA / M.I.A.'\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIA_PressImages_3-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIA_PressImages_3-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIA_PressImages_3-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIA_PressImages_3-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIA_PressImages_3-900x1200.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIA_PressImages_3-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIA_PressImages_3-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIA_PressImages_3-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIA_PressImages_3-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIA_PressImages_3-520x693.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIA_PressImages_3.jpg 1536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">M.I.A. is the subject of a new documentary, ‘MATANGI / MAYA / M.I.A.’ \u003ccite>(Courtesy Abramorama)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>f I were the kind of person who felt sorry for celebrities, I would say I’ve felt sorry for celebrities over the past two years. After the 2016 election, conventional wisdom about how to use one’s platform for social causes went out the window. The ground has shifted; posting about Black Lives Matter is par for the white celebrity course; \u003ca href=\"https://noisey.vice.com/en_us/article/jpbwbp/when-did-katy-perry-become-woke-an-investigation\" target=\"_blank\" rel=\"noopener noreferrer\">even Katy Perry is “woke,” or something\u003c/a>. Everyone’s scrambling to learn the new playbook, all while the rules continue to change.\u003c/p>\n\u003cp>So when Taylor Swift—she of perfect blond waves and calculated, stubborn apoliticality—\u003ca href=\"https://www.npr.org/2018/10/08/655599374/taylor-swift-endorses-democratic-candidates-in-tennessee\" target=\"_blank\" rel=\"noopener noreferrer\">posted to Instagram last week in reasoned support of Democratic candidates in Tennessee (and impassioned support of voting in general)\u003c/a>, it was hard not to imagine the marketing meeting that preceded it.\u003c/p>\n\u003cp>“It’s time!” one of her publicists must have cried. “She’s out of step with the rest of America by \u003cem>not\u003c/em> weighing in.” Or maybe the team all gathered around someone’s computer, did some tallies on Quickbooks, realized she was worth more than \u003ca href=\"https://www.forbes.com/sites/zackomalleygreenburg/2018/07/11/taylor-swifts-net-worth-320-million-in-2018/#7467e197233f\" target=\"_blank\" rel=\"noopener noreferrer\">THREE HUNDRED AND TWENTY MILLION DOLLARS\u003c/a>, and shrugged. They hit “post.” \u003ca href=\"https://www.nytimes.com/2018/10/09/us/politics/taylor-swift-voter-registration.html\" target=\"_blank\" rel=\"noopener noreferrer\">Voter registration spiked\u003c/a>.\u003c/p>\n\u003cp>It’s interesting, in this context, to think about what M.I.A.’s career might have looked like if she was coming up right now, as opposed to 15 years ago. She might be more image-savvy. She might not give interviews like the one she did to the \u003cem>New York Times\u003c/em>. Even if she did, she might not \u003ca href=\"https://www.theguardian.com/music/2010/may/28/mia-tweets-phone-number-journalist\" target=\"_blank\" rel=\"noopener noreferrer\">launch a personal attack on the journalist\u003c/a> who conducted it. Or \u003ca href=\"https://www.huffingtonpost.com/2010/01/13/mia-f-new-york-times_n_422167.html\" target=\"_blank\" rel=\"noopener noreferrer\">tweet this\u003c/a>, uh, in general.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wcN1i6Qcjxg\u003c/p>\n\u003cp>“Why don’t I just shut up and get a hit?” is one of the first things we hear her say in this documentary, in a weary way that suggests she has fielded this question countless times. Her answer, and I believe her here, is that she can’t.\u003c/p>\n\u003cp>If she could “shut up” and follow a now-established political celebrity path, she might have teamed up earlier with more traditional activists—like folks from a nonprofit working on sexual violence against Tamil women, as we see her eventually do in this film. She might have an easier package to sell; she might have been more manageable. She might not be portrayed as difficult, or “crazy,” or “\u003ca href=\"https://www.theguardian.com/music/2016/sep/11/mia-is-the-musician-paranoid-or-is-everyone-out-to-get-her\" target=\"_blank\" rel=\"noopener noreferrer\">paranoid\u003c/a>” for saying that tech companies are tools for government surveillance. Commercially, at least, her career would certainly have been better for it.\u003c/p>\n\u003cp>But here’s where it’s tough not to go back to that first version of M.I.A., the teenager we meet early on this doc. Because that funny, intense young woman obsessively documenting herself—plotting films, fingerpainting with the sounds and attitudes of British punk and American hip-hop and Madonna through her headphones at night, sure in her belief that her little life will be one that makes people sit up and take notice? As it turns out, \u003ca href=\"https://pitchfork.com/news/51229-mia-revisits-criticism-of-ys-the-message-in-light-of-nsa-surveillance-revelations/\" target=\"_blank\" rel=\"noopener noreferrer\">she was right\u003c/a> about a lot.\u003c/p>\n\u003cp>She may well be difficult. But it’s also entirely possible that M.I.A. was just ahead of her time.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Emma Silvers is a writer living in San Francisco. Find her on Twitter \u003ca href=\"https://twitter.com/emmaruthless\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"title": "If M.I.A. is a 'Difficult' Pop Star, What Does That Make Bono? | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">Y\u003c/span>ou know that moment in a celebrity documentary when we meet our subject as a child? There she is, in grainy home video of a school play or a family reunion, looking nothing like a pop star. It helps us relate: she seems something like we all did, we imagine. Sweet, awkward, guileless.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13839927\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/EmmaSilvers.HeadshotwCap-160x193.jpg\" alt=\"\" width=\"160\" height=\"193\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/EmmaSilvers.HeadshotwCap-160x193.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/EmmaSilvers.HeadshotwCap.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>We do not get this moment from \u003cem>MATANGI / MAYA / M.I.A.\u003c/em>, the new documentary about the British pop star and Tamil rights activist whose 15-year career is marked by both chart-topping hits—at the very least you’d recognize “\u003ca href=\"https://www.youtube.com/watch?v=ewRjZoRtu0Y\" target=\"_blank\" rel=\"noopener noreferrer\">Paper Planes\u003c/a>,” with its Clash sample and gunshot chorus—and a reputation for being difficult and controversial. (A highlight reel: music videos depicting children being shot point-blank in the head; \u003ca href=\"https://www.theguardian.com/music/2009/feb/11/mia-sri-lanka-tamil-tigers\" target=\"_blank\" rel=\"noopener noreferrer\">being called a terrorist by the Sri Lankan government\u003c/a>; flipping the bird while sharing a stage with Madonna during the Super Bowl.)\u003c/p>\n\u003cp>Yes, there’s a tiny bit of footage in this doc of Mathangi “Maya” Arulpragasam as a small child. But the girl with whom we spend the most time is far from guileless: she’s a sharp and charismatic would-be filmmaker, a young woman equally at home behind and in front of the camera.\u003c/p>\n\u003cp>Director Steve Loveridge sorted through more than 700 hours of the artist’s own self-shot footage in order to make this documentary, and the result is a feeling of impressive foresight on M.I.A’s part. Eyes open, a teenager who loves Madonna and Public Enemy films herself in her family’s apartment in Tooting, south of London. She dances. She drinks. She addresses the camera, makes sure it’s picking up the things around her. She discusses being poor, being an immigrant and a refugee, interviews her siblings about resenting their absentee father (a founder of the militant Tamil revolution in the family’s native northern Sri Lanka). It’s relentless self-documentation, a full two decades before Instagram or reality TV or selfie culture—and years before she had an inkling anyone might care.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Of course, it helps that the camera loves her right back: she was stunning, even then. But the urgency is what pulls you in. This is a young woman who knows she has a story worth telling, and doesn’t trust anyone else to tell it.\u003c/p>\n\u003cp>Turns out, she had good reason.\u003c/p>\n\u003cfigure id=\"attachment_13843123\" class=\"wp-caption aligncenter\" style=\"max-width: 651px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13843123\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/MIA_PressImages_4.jpg\" alt=\"M.I.A. is the subject of a new documentary, 'MATANGI / MAYA / M.I.A.'\" width=\"651\" height=\"790\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIA_PressImages_4.jpg 651w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIA_PressImages_4-160x194.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIA_PressImages_4-240x291.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIA_PressImages_4-375x455.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIA_PressImages_4-520x631.jpg 520w\" sizes=\"(max-width: 651px) 100vw, 651px\">\u003cfigcaption class=\"wp-caption-text\">M.I.A. is the subject of a new documentary, ‘MATANGI / MAYA / M.I.A.’ \u003ccite>(Courtesy Abramorama)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>n a culture with the attention span of a gnat, it can be difficult, once an accepted narrative about a famous person has settled into place, to remember how it got there—let alone to question its plot points. (Witness America just \u003ca href=\"https://www.harpersbazaar.com/culture/politics/a21530030/monica-lewinsky-apology/\" target=\"_blank\" rel=\"noopener noreferrer\">beginning to reconsider the tale of Monica Lewinsky \u003c/a>a mere two decades later.) No, the easier thing is to form a sort of composite sketch about a person or event based on incomplete information, without even realizing you’re doing it: a particularly vivid rumor; a magazine interview you skimmed in the supermarket checkout line; a knee-jerk reaction based on your ex having liked their stuff.\u003c/p>\n\u003cp>Heading into this film \u003ca href=\"https://www.roxie.com/ai1ec_event/matangi-maya-m-i-a/\" target=\"_blank\" rel=\"noopener noreferrer\">at the Roxie this week\u003c/a>, I knew I loved some of M.I.A.’s songs—I was in college in 2005, when her trailblazing blend of hip-hop, pop, electroclash, punk and world music first stormed the charts in the shape of collaborations with then-boyfriend Diplo. (\u003ca href=\"https://www.billboard.com/articles/news/dance/7942273/mia-diplo-major-lazer-interview-2017\" target=\"_blank\" rel=\"noopener noreferrer\">Exactly who deserves credit for whose career here is a fight for another time.\u003c/a>) I knew she had an outspoken, combative public persona, and had cultivated a “bad girl” image (literally, her 2012 single is called “Bad Girls”). I knew she espoused revolutionary politics, and I \u003cem>kind of\u003c/em> knew she had been cut off on television while speaking about the plight of the Tamil people (which she’s said were victims of a “genocide” in northern Sri Lanka; the Sri Lankan government has basically said “you are mistaken, please stop talking”).\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/2uYs0gJD-LE'\n title='//www.youtube.com/embed/2uYs0gJD-LE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But I also believed M.I.A. to be something of a loose cannon—one whose ammo wasn’t exactly grounded in reality. In retrospect, this was mainly thanks to a \u003ca href=\"https://www.nytimes.com/2010/05/30/magazine/30mia-t.html\" target=\"_blank\" rel=\"noopener noreferrer\">brutal 2010 \u003cem>New York Times Magazine\u003c/em> profile\u003c/a> that portrayed the star like a pampered college freshman who just read Howard Zinn for the first time and ran out to buy a “Free Mumia” bumper sticker. At the time of the piece, she was engaged to Benjamin Bronfman (heir to the Seagrams fortune), regularly appeared at swank Hollywood parties, and had songs at the top of the pop charts. The juxtaposition, in the story, rendered her activism naïve at best, disingenuous at worst.\u003c/p>\n\u003cp>At the very least, she didn’t know to \u003cem>not\u003c/em> talk about her radical politics over cocktails and truffle fries at the Beverly Wilshire Hotel. From the \u003cem>New York Times\u003c/em> piece:\u003c/p>\n\u003cblockquote>\u003cp>“I kind of want to be an outsider,” she said, eating a truffle-flavored French fry. “I don’t want to make the same music, sing about the same stuff, talk about the same things. If that makes me a terrorist, then I’m a terrorist.”\u003c/p>\u003c/blockquote>\n\u003cp>The irony was just too delicious. For years, our collective conscious held onto that damn truffle fry.\u003c/p>\n\u003cfigure id=\"attachment_13805063\" class=\"wp-caption aligncenter\" style=\"max-width: 402px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13805063\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/IMG_4573.jpg\" alt=\"M.I.A. performing at Outside Lands in Golden Gate Park, 2009.\" width=\"402\" height=\"602\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_4573.jpg 402w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_4573-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_4573-240x359.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_4573-375x562.jpg 375w\" sizes=\"(max-width: 402px) 100vw, 402px\">\u003cfigcaption class=\"wp-caption-text\">M.I.A. performing at Outside Lands in Golden Gate Park, 2009. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To the degree that a documentary directed by the subject’s school friend can be described as a more reliable narrator, \u003cem>MATANGI / MAYA / M.I.A.\u003c/em> provides a corrective course. It suggests that the “M.I.A.” we in America have come to believe we know is a lazy caricature, and also that that’s far from accidental: it’s the result of sexism, racism, and censorship by a culture that has no idea what to do with an outspoken, brown-skinned female pop star. (Footage of talking heads on Fox News decrying her \u003ca href=\"https://www.rollingstone.com/music/music-news/nfl-sues-m-i-a-for-16-6-million-over-super-bowl-middle-finger-187835/\" target=\"_blank\" rel=\"noopener noreferrer\">costly Super Bowl stunt\u003c/a> and \u003ca href=\"https://www.mediaite.com/tv/dana-perino-is-outraged-that-m-i-a-not-even-an-american-performed-at-the-super-bowl/\" target=\"_blank\" rel=\"noopener noreferrer\">questioning why we can’t have some “American” in our football\u003c/a>, like Blake Shelton or Miranda Lambert, is a nice bit of supporting evidence.)\u003c/p>\n\u003cp>These are also the major underlying reasons, the film offers, that her career has sort of … slid sideways over the past decade. She continues to work, but the U.S. in particular seems to have moved on. Her most recent full-length, 2016’s \u003cem>AIM,\u003c/em> came with the announcement that it was\u003ca href=\"https://www.theguardian.com/music/2016/jul/15/mia-aim-last-album\" target=\"_blank\" rel=\"noopener noreferrer\"> her retirement record. \u003c/a>Then she said \u003ca href=\"https://www.theatlantic.com/entertainment/archive/2018/10/mia-maya-matangi-documentary-interview/571750/\" target=\"_blank\" rel=\"noopener noreferrer\">maybe never mind. \u003c/a>It was her first record not to crack Billboard’s Top 40 since her debut.\u003c/p>\n\u003cfigure id=\"attachment_13843124\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13843124\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/MIAHEADHSHOT-800x1044.jpg\" alt=\"M.I.A. is the subject of a new documentary, 'MATANGI / MAYA / M.I.A.'\" width=\"800\" height=\"1044\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIAHEADHSHOT-800x1044.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIAHEADHSHOT-160x209.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIAHEADHSHOT-768x1002.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIAHEADHSHOT-1020x1331.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIAHEADHSHOT-920x1200.jpg 920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIAHEADHSHOT-960x1252.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIAHEADHSHOT-240x313.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIAHEADHSHOT-375x489.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIAHEADHSHOT-520x678.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIAHEADHSHOT.jpg 1123w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">M.I.A. is the subject of a new documentary, ‘MATANGI / MAYA / M.I.A.’ \u003ccite>(Courtesy Abramorama)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span> left the theater on Monday night consumed by thoughts of Bono.\u003c/p>\n\u003cp>Because here’s the thing: M.I.A. may be more of a shapeshifter than most, but you can drive yourself crazy trying to get at the “real” or “authentic” version of \u003cem>any\u003c/em> celebrity. Direct celeb-to-fan contact via social media has provided a simulacrum, but in today’s landscape, we all know that a personal-seeming Instagram account is just one more required tentacle of a savvy #brand strategy.\u003c/p>\n\u003cp>Besides, what’s more interesting to me than authenticity is standards. Specifically: if we acknowledge that M.I.A.’s activism and lifestyle might not quite align—and I can—then can we also acknowledge that no white man working in entertainment has ever been held to the same standard she has in this department?\u003c/p>\n\u003cp>There’s a tidbit about Bono that’s stuck with me for years now—a “truffle fry” moment, if you will. I can’t help it. I think about it every time there’s a headline about his AIDS work in Africa, every time he participates in another \u003ca href=\"https://archives.sfweekly.com/shookdown/2014/11/17/breaking-do-they-know-its-christmas-is-still-a-misguided-patronizing-terrible-song\" target=\"_blank\" rel=\"noopener noreferrer\">patronizing Christmas song\u003c/a>, every time my friend who works at a fancy restaurant in the Ferry Building texts me to say Bono’s there spending a gazillion dollars in the private dining room with Apple’s Jony Ive after an iPod launch (okay, that only happened once). It’s this: \u003ca href=\"http://www.contactmusic.com/bono/news/bono-pays-.1.500-to-get-forgotten-hat\" target=\"_blank\" rel=\"noopener noreferrer\">Bono once paid $1,500 for a hat to fly first-class from England to Italy, so he could wear it during a charity concert\u003c/a>.\u003c/p>\n\u003cp>\u003cem>Do you know how many starving children $1,500 could feed?\u003c/em> is a question I have never seen in a \u003cem>New York Times Magazine\u003c/em> profile of Bono. \u003cem>Bono was wearing a $12,000 suit and drinking a $400 bottle of wine while talking about AIDS and poverty\u003c/em> is an irony I have never seen stick like rubber cement in the minds of a million Americans.\u003c/p>\n\u003cp>I’ve been trying, since I saw this documentary, to think of a white male pop star who’s been raked over the coals in a way that even remotely resembles what our culture has done with M.I.A., all for the hypocrisy of being a rich person—who lives like a rich person—while speaking about the plight of poor people. Or one who, in discussing their politics, has consistently been described by the press not as “controversial” or “bold” but as “naïve” or “a loose cannon.” So far I can’t think of one.\u003c/p>\n\u003cfigure id=\"attachment_13843122\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13843122\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/MIA_PressImages_3-800x1067.jpg\" alt=\"M.I.A. is the subject of a new documentary, 'MATANGI / MAYA / M.I.A.'\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIA_PressImages_3-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIA_PressImages_3-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIA_PressImages_3-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIA_PressImages_3-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIA_PressImages_3-900x1200.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIA_PressImages_3-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIA_PressImages_3-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIA_PressImages_3-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIA_PressImages_3-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIA_PressImages_3-520x693.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIA_PressImages_3.jpg 1536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">M.I.A. is the subject of a new documentary, ‘MATANGI / MAYA / M.I.A.’ \u003ccite>(Courtesy Abramorama)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>f I were the kind of person who felt sorry for celebrities, I would say I’ve felt sorry for celebrities over the past two years. After the 2016 election, conventional wisdom about how to use one’s platform for social causes went out the window. The ground has shifted; posting about Black Lives Matter is par for the white celebrity course; \u003ca href=\"https://noisey.vice.com/en_us/article/jpbwbp/when-did-katy-perry-become-woke-an-investigation\" target=\"_blank\" rel=\"noopener noreferrer\">even Katy Perry is “woke,” or something\u003c/a>. Everyone’s scrambling to learn the new playbook, all while the rules continue to change.\u003c/p>\n\u003cp>So when Taylor Swift—she of perfect blond waves and calculated, stubborn apoliticality—\u003ca href=\"https://www.npr.org/2018/10/08/655599374/taylor-swift-endorses-democratic-candidates-in-tennessee\" target=\"_blank\" rel=\"noopener noreferrer\">posted to Instagram last week in reasoned support of Democratic candidates in Tennessee (and impassioned support of voting in general)\u003c/a>, it was hard not to imagine the marketing meeting that preceded it.\u003c/p>\n\u003cp>“It’s time!” one of her publicists must have cried. “She’s out of step with the rest of America by \u003cem>not\u003c/em> weighing in.” Or maybe the team all gathered around someone’s computer, did some tallies on Quickbooks, realized she was worth more than \u003ca href=\"https://www.forbes.com/sites/zackomalleygreenburg/2018/07/11/taylor-swifts-net-worth-320-million-in-2018/#7467e197233f\" target=\"_blank\" rel=\"noopener noreferrer\">THREE HUNDRED AND TWENTY MILLION DOLLARS\u003c/a>, and shrugged. They hit “post.” \u003ca href=\"https://www.nytimes.com/2018/10/09/us/politics/taylor-swift-voter-registration.html\" target=\"_blank\" rel=\"noopener noreferrer\">Voter registration spiked\u003c/a>.\u003c/p>\n\u003cp>It’s interesting, in this context, to think about what M.I.A.’s career might have looked like if she was coming up right now, as opposed to 15 years ago. She might be more image-savvy. She might not give interviews like the one she did to the \u003cem>New York Times\u003c/em>. Even if she did, she might not \u003ca href=\"https://www.theguardian.com/music/2010/may/28/mia-tweets-phone-number-journalist\" target=\"_blank\" rel=\"noopener noreferrer\">launch a personal attack on the journalist\u003c/a> who conducted it. Or \u003ca href=\"https://www.huffingtonpost.com/2010/01/13/mia-f-new-york-times_n_422167.html\" target=\"_blank\" rel=\"noopener noreferrer\">tweet this\u003c/a>, uh, in general.\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/wcN1i6Qcjxg'\n title='//www.youtube.com/embed/wcN1i6Qcjxg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Why don’t I just shut up and get a hit?” is one of the first things we hear her say in this documentary, in a weary way that suggests she has fielded this question countless times. Her answer, and I believe her here, is that she can’t.\u003c/p>\n\u003cp>If she could “shut up” and follow a now-established political celebrity path, she might have teamed up earlier with more traditional activists—like folks from a nonprofit working on sexual violence against Tamil women, as we see her eventually do in this film. She might have an easier package to sell; she might have been more manageable. She might not be portrayed as difficult, or “crazy,” or “\u003ca href=\"https://www.theguardian.com/music/2016/sep/11/mia-is-the-musician-paranoid-or-is-everyone-out-to-get-her\" target=\"_blank\" rel=\"noopener noreferrer\">paranoid\u003c/a>” for saying that tech companies are tools for government surveillance. Commercially, at least, her career would certainly have been better for it.\u003c/p>\n\u003cp>But here’s where it’s tough not to go back to that first version of M.I.A., the teenager we meet early on this doc. Because that funny, intense young woman obsessively documenting herself—plotting films, fingerpainting with the sounds and attitudes of British punk and American hip-hop and Madonna through her headphones at night, sure in her belief that her little life will be one that makes people sit up and take notice? As it turns out, \u003ca href=\"https://pitchfork.com/news/51229-mia-revisits-criticism-of-ys-the-message-in-light-of-nsa-surveillance-revelations/\" target=\"_blank\" rel=\"noopener noreferrer\">she was right\u003c/a> about a lot.\u003c/p>\n\u003cp>She may well be difficult. But it’s also entirely possible that M.I.A. was just ahead of her time.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Emma Silvers is a writer living in San Francisco. Find her on Twitter \u003ca href=\"https://twitter.com/emmaruthless\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In Case You Were Wondering How Kanye's Visit to the White House Went",
"headTitle": "In Case You Were Wondering How Kanye’s Visit to the White House Went | KQED",
"content": "\u003cp>Get ready to run up your therapy bill, because (formerly?) beloved rap icon Kanye West—yes, the same one who bravely called out George W. Bush on national television in 2005—recently paid a visit to the White House, where he met with Donald Trump, supposedly to talk prison reform. In a bizarre rant that rivaled Trump’s most nonsensical diatribes, West talked a mile a minute about how his MAGA hat makes him feel “like Superman”; his bipolar disorder is a misdiagnosis and he’s really just sleep deprived; Trump should make Apple build an iPlane to replace Air Force One; and Trump is his “father figure.” [contextly_sidebar id=”S6EZzIcc6e90Z8TD8SwCl71OCJJ05YGN”]\u003c/p>\n\u003cp>As Kanye evinced on his recent album, \u003ca href=\"https://www.kqed.org/arts/13834093/is-ye-ok-on-kanyes-new-album-mental-health\" target=\"_blank\" rel=\"noopener\">\u003cem>ye\u003c/em>\u003c/a>, he (like many powerful men) is preoccupied with what he sees as the ebbing away of male power as women demand equality with the #MeToo movement. Throughout his Oval Office speech, he repeatedly referenced his having the “balls” to wear the inflammatory red Trump hat, and lamented that Hillary Clinton’s presidential campaign made him feel like less of a man.[contextly_sidebar id=”WfZmBLYHquq9kXknVgf4i4pMdrKVRKUN”]\u003c/p>\n\u003cp>“I love Hillary, but the campaign ‘I’m with her’ didn’t make me feel—as a guy that didn’t get to see my dad all the time—like a guy that could play catch with his son,” West said.\u003c/p>\n\u003cp>https://twitter.com/politico/status/1050452099056787458\u003c/p>\n\u003cp>As compassionate as we should be about whatever Kanye may be going through with his mental health, his fans—many of whom belong to the social groups Trump has maligned and sought to disenfranchise—are clearly at a loss. Here’s what confused observers had to say on Twitter:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/mustangkids/status/1050455566752071682\u003c/p>\n\u003cp>https://twitter.com/DerekSheen/status/1050449031359475712\u003c/p>\n\u003cp>https://twitter.com/jaboukie/status/1050449870715310080\u003c/p>\n\u003cp>https://twitter.com/Bro_Pair/status/1050454680415825920\u003c/p>\n\u003cp>https://twitter.com/SunSelfMade/status/1050454266790461441\u003c/p>\n\u003cp>https://twitter.com/shane_bauer/status/1050458368022736896\u003c/p>\n\u003cp>\u003c/p>\n\n",
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"content": "\u003cp>If you could focus on \u003cem>any\u003c/em> one thing—every day, for the foreseeable future—what would you choose?\u003c/p>\n\u003cp>Over a year ago, Australian movie critic and podcaster Blake Howard found himself doing just this—“goaded,” as he puts it, by a friend over beers, into choosing his next professional project. His answer, as he tells it today? “I just want to f-cking talk about \u003ci>Heat\u003c/i> every day.”\u003c/p>\n\u003cp>“And there was a laugh,” Howard remembers, “and he goes: ‘I’d listen to that.’” So \u003ca href=\"https://oneheatminute.com/\">\u003ci>One Heat Minute\u003c/i>\u003c/a>—the only podcast, at the time of writing, to dissect Michael Mann’s 1995 crime saga \u003ci>Heat\u003c/i> minute-by-minute—was born.\u003c/p>\n\u003cfigure id=\"attachment_13839994\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13839994 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/download-2.jpeg\" alt=\"\" width=\"500\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/download-2.jpeg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/download-2-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/download-2-240x240.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/download-2-375x375.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/download-2-32x32.jpeg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/download-2-50x50.jpeg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/download-2-64x64.jpeg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/download-2-96x96.jpeg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/download-2-128x128.jpeg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/download-2-150x150.jpeg 150w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">One Heat Minute host Blake Howard \u003ccite>(Courtesy Blake Howard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Heat\u003c/i> is probably best known, among casual viewers, for its \u003ca href=\"https://youtu.be/mZjraQagtTo\" target=\"_blank\" rel=\"noopener\">coffee-shop face-off\u003c/a> between stars Robert de Niro and Al Pacino, who until then had never shared an actual on-screen scene together. Over two decades after its release, it’s most frequently remembered as a classic of the cops-and-robbers genre, with Pacino’s driven detective pursuing de Niro’s equally focused thief across a gorgeously-rendered backdrop of LA loneliness.\u003c/p>\n\u003cp>Howard has been obsessed with \u003ci>Heat\u003c/i> since he was a teen, and now he talks to people on his lo-fi, minimally-edited podcast about \u003ci>Heat\u003c/i> (which he says has had “about 20,000 downloads” so far) most days.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Every one of these episodes, which range in length from 20 minutes to an hour, examines another minute of this 170-minute movie. In each, Howard is joined by a guest—including that “goading” buddy, the critic Stu Coote; \u003cem>New York Times\u003c/em> film writer Manohla Dargis; and, most recently, an anonymous investigator of organized crime in Australia—to pore over every shot, line and performance within a given 60 seconds. That time limit, by the way, is strict: The first episode deals only with the opening credits. Some minutes have zero dialogue.\u003c/p>\n\u003cp>If you’re not a superfan of \u003cem>Heat\u003c/em>, \u003ci>One Heat Minute\u003c/i> will alienate you in the way only hearing people rave about an obsession you don’t share can (despite Howard’s effusive and enthusiastic presence). There’s nothing so inclusive \u003cem>and\u003c/em> exclusionary as people talking about a shared obsession, depending on which side of the door you’re on.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ktSdle1Mwdg\u003c/p>\n\u003cp>But if you \u003cem>are\u003c/em> a superfan? You’ll probably find it fascinating. And here I must declare a personal interest: Though I don’t think anyone could love \u003ci>Heat\u003c/i> more than Blake Howard does, one of the people who might come closest… is me.\u003c/p>\n\u003cp>Thanks to a decadent-for-1990s-Yorkshire VHS setup in my childhood bedroom, and a predilection for overwrought Mann movies about tortured machismo, discovering \u003cem>Heat\u003c/em> in my most impressionable years has resulted in a lifelong connection with this film. Knowing all this, even I had to ask: Why \u003ci>Heat\u003c/i>?\u003c/p>\n\u003cp>“Sometimes you get this perfection, you know,” says Howard. “It’s like, it was \u003ci>made\u003c/i> to be examined. It was \u003ci>made\u003c/i> for me to have a conversation about.” As an exercise, he calls \u003ci>One Heat Minute\u003c/i> “the most endlessly rewarding thing I think I’ve ever done, as far as a creative exploration. But the movie just gets better and better.”\u003c/p>\n\u003cp>\u003cem>One Heat Minute\u003c/em> is by no means the only podcast to dissect a movie in minute chronological detail—\u003ca href=\"http://www.starwarsminute.com/\">\u003cem>Star Wars Minute\u003c/em>\u003c/a> and \u003ca href=\"http://goodfellasminute.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Goodfellas Minute\u003c/em>\u003c/a> started several years ago. Howard compares this kind of hyper-close, repetitive examination to Roger Ebert’s tradition of revisiting and re-reviewing a film after his first published pass. True classics of cinema, says Howard, “deserve more of your time than a casual review.”\u003c/p>\n\u003cfigure id=\"attachment_13839996\" class=\"wp-caption alignnone\" style=\"max-width: 1934px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13839996 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/heat-michael-mann-edition-2017-fox-master-4k-blu-ray-50.jpg\" alt=\"\" width=\"1934\" height=\"1088\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-michael-mann-edition-2017-fox-master-4k-blu-ray-50.jpg 1934w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-michael-mann-edition-2017-fox-master-4k-blu-ray-50-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-michael-mann-edition-2017-fox-master-4k-blu-ray-50-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-michael-mann-edition-2017-fox-master-4k-blu-ray-50-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-michael-mann-edition-2017-fox-master-4k-blu-ray-50-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-michael-mann-edition-2017-fox-master-4k-blu-ray-50-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-michael-mann-edition-2017-fox-master-4k-blu-ray-50-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-michael-mann-edition-2017-fox-master-4k-blu-ray-50-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-michael-mann-edition-2017-fox-master-4k-blu-ray-50-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-michael-mann-edition-2017-fox-master-4k-blu-ray-50-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-michael-mann-edition-2017-fox-master-4k-blu-ray-50-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-michael-mann-edition-2017-fox-master-4k-blu-ray-50-520x293.jpg 520w\" sizes=\"(max-width: 1934px) 100vw, 1934px\">\u003cfigcaption class=\"wp-caption-text\">The final moments of Heat — it’s been 23 years, this isn’t a spoiler. \u003ccite>(Courtesy Warner Bros.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>True to his word, Howard’s podcast subjects \u003cem>Heat\u003c/em> to the kind of analysis and vigilance some might think reserved for “arthouse” cinema. This has yielded truly interesting discoveries, from previously-unnoticed visual echoes to connections between characters that would pass by unseen on a casual viewing.\u003c/p>\n\u003cp>In the episode that dissects \u003cem>Heat\u003c/em>’s third minute, Howard and his guest stumble on an undeniable bit of foreshadowing, noticing how the camera lingers on a statue in a hospital’s grounds—stone figures in a pose that almost exactly mirrors the one De Niro and Pacino hold in the movie’s very last frame. This is the stuff film students write papers on—and with \u003ci>One Heat Minute\u003c/i>’s minimal editing, hearing the two critics realize the connection seemingly in real time is genuinely, well, exciting.\u003c/p>\n\u003cp>Can you truly subject something to examination and commentary if you are, by your own admission, utterly in love with it? If adoring a movie with your whole heart makes you far less of an impartial critic, Howard isn’t concerned—\u003cem>One Heat Minute\u003c/em> is where critical review meets unabashed fandom.\u003c/p>\n\u003cp>Even though podcasting isn’t quite the meritocracy some make it out to be—there’s still something of a technical and financial barrier to entry—the field of what’s considered “worthy” of a podcast is wide. Howard didn’t \u003cem>need\u003c/em> to convince an editor of the artistic merits of a synth-heavy action thriller starring Val Kilmer, versus, say, \u003cem>Citizen Kane\u003c/em>. He just began recording his conversations with fellow enthusiasts and releasing them on iTunes. Anyone who wants to chat with their buddies about their favorite movie—or period of history, or serial killer—can do the same. Whether they find their audience, of course, is another story.\u003c/p>\n\u003cfigure id=\"attachment_13840505\" class=\"wp-caption alignnone\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13840505\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/heat-20-755160.jpg\" alt=\"\" width=\"1024\" height=\"576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-20-755160.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-20-755160-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-20-755160-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-20-755160-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-20-755160-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-20-755160-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-20-755160-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-20-755160-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-20-755160-520x293.jpg 520w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Amy Brenneman and Robert De Niro in Heat \u003ccite>(Courtesy Warner Bros.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Listening to a film podcast can feel like the sonic equivalent of that post-screening digest (or depending on varying opinions, debate) in a bar with your movie buddies. As a medium for criticism, podcasting provides extended run time and the freedom to dwell as long as desired on a particular subject—or in \u003cem>One Heat Minute\u003c/em>’s case, a frame or a glance or a throwaway line.\u003c/p>\n\u003cp>Yet if podcasting, as a medium, didn’t exist, how might a devotee like Howard have scratched this particular itch? His answer: writing, perhaps even in chapter-by-chapter book form, about this movie. “I would’ve been writing about \u003ci>Heat\u003c/i> forever. Honestly.”\u003c/p>\n\u003cp>Writing out this passion might not have enabled Howard to connect so relentlessly with fellow obsessives—and to conduct extended conversations with them. Obsession loves community, something podcasts in particular have so deftly tapped into, convening conversations between invested parties and then drawing the listener in to create a second layer of belonging.\u003c/p>\n\u003cfigure id=\"attachment_13840506\" class=\"wp-caption alignnone\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13840506\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/Heat1.jpg\" alt=\"\" width=\"960\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Heat1.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Heat1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Heat1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Heat1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Heat1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Heat1-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Heat1-520x293.jpg 520w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Robert De Niro in Heat \u003ccite>(Courtesy Warner Bros.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Howard calls podcasts a “little nice little campfire to sort of get around, to find your people.” As much as he jokes about being “deeply selfish” in birthing \u003ci>One Heat Minute\u003c/i> as a way to talk about his favorite movie on a near-daily basis, it was that friend’s assertion that he’d actually enjoy \u003ci>hearing\u003c/i> it that turned the joke into an actual endeavor.\u003c/p>\n\u003cp>He never expected to attract a mass audience with his project, but the reaction to the series, now that he’s 75 episodes in, has surprised him. “I couldn’t have imagined, in a really positive way, how many people loved \u003cem>Heat\u003c/em>. And I’m so glad.”\u003c/p>\n\u003cp>In life, an obsession—with a movie, a song, a person—usually fades because another one’s taken its place. Yet as Howard acknowledges, he’ll be moving on not because his decades-long love affair with \u003cem>Heat\u003c/em> is over—but because his 170-episode podcast exercise is.\u003c/p>\n\u003cp>According to the current release schedule, \u003ci>One Heat Minute\u003c/i> will formally come to an end in July 2019—just under one year away. “I have no idea what it’s going to feel like,” says Howard. “To have done it—at 170 minutes, when this thing’s over.” He’s already got another movie in mind (a secret, for now) for his next minute-by-minute podcast.\u003c/p>\n\u003cp>How does Howard feel about becoming a professional obsessive focused on a movie that’s famously about characters who are professional obsessives? “That’s fine with me. I guess that’s what I was looking for,” he laughs. “I quite like being this obsessed. It hasn’t ruined me.”\u003c/p>\n\u003cp>And then he adds: “Yet.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you could focus on \u003cem>any\u003c/em> one thing—every day, for the foreseeable future—what would you choose?\u003c/p>\n\u003cp>Over a year ago, Australian movie critic and podcaster Blake Howard found himself doing just this—“goaded,” as he puts it, by a friend over beers, into choosing his next professional project. His answer, as he tells it today? “I just want to f-cking talk about \u003ci>Heat\u003c/i> every day.”\u003c/p>\n\u003cp>“And there was a laugh,” Howard remembers, “and he goes: ‘I’d listen to that.’” So \u003ca href=\"https://oneheatminute.com/\">\u003ci>One Heat Minute\u003c/i>\u003c/a>—the only podcast, at the time of writing, to dissect Michael Mann’s 1995 crime saga \u003ci>Heat\u003c/i> minute-by-minute—was born.\u003c/p>\n\u003cfigure id=\"attachment_13839994\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13839994 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/download-2.jpeg\" alt=\"\" width=\"500\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/download-2.jpeg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/download-2-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/download-2-240x240.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/download-2-375x375.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/download-2-32x32.jpeg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/download-2-50x50.jpeg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/download-2-64x64.jpeg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/download-2-96x96.jpeg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/download-2-128x128.jpeg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/download-2-150x150.jpeg 150w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">One Heat Minute host Blake Howard \u003ccite>(Courtesy Blake Howard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Heat\u003c/i> is probably best known, among casual viewers, for its \u003ca href=\"https://youtu.be/mZjraQagtTo\" target=\"_blank\" rel=\"noopener\">coffee-shop face-off\u003c/a> between stars Robert de Niro and Al Pacino, who until then had never shared an actual on-screen scene together. Over two decades after its release, it’s most frequently remembered as a classic of the cops-and-robbers genre, with Pacino’s driven detective pursuing de Niro’s equally focused thief across a gorgeously-rendered backdrop of LA loneliness.\u003c/p>\n\u003cp>Howard has been obsessed with \u003ci>Heat\u003c/i> since he was a teen, and now he talks to people on his lo-fi, minimally-edited podcast about \u003ci>Heat\u003c/i> (which he says has had “about 20,000 downloads” so far) most days.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Every one of these episodes, which range in length from 20 minutes to an hour, examines another minute of this 170-minute movie. In each, Howard is joined by a guest—including that “goading” buddy, the critic Stu Coote; \u003cem>New York Times\u003c/em> film writer Manohla Dargis; and, most recently, an anonymous investigator of organized crime in Australia—to pore over every shot, line and performance within a given 60 seconds. That time limit, by the way, is strict: The first episode deals only with the opening credits. Some minutes have zero dialogue.\u003c/p>\n\u003cp>If you’re not a superfan of \u003cem>Heat\u003c/em>, \u003ci>One Heat Minute\u003c/i> will alienate you in the way only hearing people rave about an obsession you don’t share can (despite Howard’s effusive and enthusiastic presence). There’s nothing so inclusive \u003cem>and\u003c/em> exclusionary as people talking about a shared obsession, depending on which side of the door you’re on.\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/ktSdle1Mwdg'\n title='//www.youtube.com/embed/ktSdle1Mwdg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But if you \u003cem>are\u003c/em> a superfan? You’ll probably find it fascinating. And here I must declare a personal interest: Though I don’t think anyone could love \u003ci>Heat\u003c/i> more than Blake Howard does, one of the people who might come closest… is me.\u003c/p>\n\u003cp>Thanks to a decadent-for-1990s-Yorkshire VHS setup in my childhood bedroom, and a predilection for overwrought Mann movies about tortured machismo, discovering \u003cem>Heat\u003c/em> in my most impressionable years has resulted in a lifelong connection with this film. Knowing all this, even I had to ask: Why \u003ci>Heat\u003c/i>?\u003c/p>\n\u003cp>“Sometimes you get this perfection, you know,” says Howard. “It’s like, it was \u003ci>made\u003c/i> to be examined. It was \u003ci>made\u003c/i> for me to have a conversation about.” As an exercise, he calls \u003ci>One Heat Minute\u003c/i> “the most endlessly rewarding thing I think I’ve ever done, as far as a creative exploration. But the movie just gets better and better.”\u003c/p>\n\u003cp>\u003cem>One Heat Minute\u003c/em> is by no means the only podcast to dissect a movie in minute chronological detail—\u003ca href=\"http://www.starwarsminute.com/\">\u003cem>Star Wars Minute\u003c/em>\u003c/a> and \u003ca href=\"http://goodfellasminute.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Goodfellas Minute\u003c/em>\u003c/a> started several years ago. Howard compares this kind of hyper-close, repetitive examination to Roger Ebert’s tradition of revisiting and re-reviewing a film after his first published pass. True classics of cinema, says Howard, “deserve more of your time than a casual review.”\u003c/p>\n\u003cfigure id=\"attachment_13839996\" class=\"wp-caption alignnone\" style=\"max-width: 1934px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13839996 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/heat-michael-mann-edition-2017-fox-master-4k-blu-ray-50.jpg\" alt=\"\" width=\"1934\" height=\"1088\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-michael-mann-edition-2017-fox-master-4k-blu-ray-50.jpg 1934w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-michael-mann-edition-2017-fox-master-4k-blu-ray-50-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-michael-mann-edition-2017-fox-master-4k-blu-ray-50-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-michael-mann-edition-2017-fox-master-4k-blu-ray-50-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-michael-mann-edition-2017-fox-master-4k-blu-ray-50-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-michael-mann-edition-2017-fox-master-4k-blu-ray-50-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-michael-mann-edition-2017-fox-master-4k-blu-ray-50-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-michael-mann-edition-2017-fox-master-4k-blu-ray-50-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-michael-mann-edition-2017-fox-master-4k-blu-ray-50-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-michael-mann-edition-2017-fox-master-4k-blu-ray-50-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-michael-mann-edition-2017-fox-master-4k-blu-ray-50-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-michael-mann-edition-2017-fox-master-4k-blu-ray-50-520x293.jpg 520w\" sizes=\"(max-width: 1934px) 100vw, 1934px\">\u003cfigcaption class=\"wp-caption-text\">The final moments of Heat — it’s been 23 years, this isn’t a spoiler. \u003ccite>(Courtesy Warner Bros.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>True to his word, Howard’s podcast subjects \u003cem>Heat\u003c/em> to the kind of analysis and vigilance some might think reserved for “arthouse” cinema. This has yielded truly interesting discoveries, from previously-unnoticed visual echoes to connections between characters that would pass by unseen on a casual viewing.\u003c/p>\n\u003cp>In the episode that dissects \u003cem>Heat\u003c/em>’s third minute, Howard and his guest stumble on an undeniable bit of foreshadowing, noticing how the camera lingers on a statue in a hospital’s grounds—stone figures in a pose that almost exactly mirrors the one De Niro and Pacino hold in the movie’s very last frame. This is the stuff film students write papers on—and with \u003ci>One Heat Minute\u003c/i>’s minimal editing, hearing the two critics realize the connection seemingly in real time is genuinely, well, exciting.\u003c/p>\n\u003cp>Can you truly subject something to examination and commentary if you are, by your own admission, utterly in love with it? If adoring a movie with your whole heart makes you far less of an impartial critic, Howard isn’t concerned—\u003cem>One Heat Minute\u003c/em> is where critical review meets unabashed fandom.\u003c/p>\n\u003cp>Even though podcasting isn’t quite the meritocracy some make it out to be—there’s still something of a technical and financial barrier to entry—the field of what’s considered “worthy” of a podcast is wide. Howard didn’t \u003cem>need\u003c/em> to convince an editor of the artistic merits of a synth-heavy action thriller starring Val Kilmer, versus, say, \u003cem>Citizen Kane\u003c/em>. He just began recording his conversations with fellow enthusiasts and releasing them on iTunes. Anyone who wants to chat with their buddies about their favorite movie—or period of history, or serial killer—can do the same. Whether they find their audience, of course, is another story.\u003c/p>\n\u003cfigure id=\"attachment_13840505\" class=\"wp-caption alignnone\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13840505\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/heat-20-755160.jpg\" alt=\"\" width=\"1024\" height=\"576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-20-755160.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-20-755160-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-20-755160-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-20-755160-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-20-755160-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-20-755160-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-20-755160-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-20-755160-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/heat-20-755160-520x293.jpg 520w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Amy Brenneman and Robert De Niro in Heat \u003ccite>(Courtesy Warner Bros.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Listening to a film podcast can feel like the sonic equivalent of that post-screening digest (or depending on varying opinions, debate) in a bar with your movie buddies. As a medium for criticism, podcasting provides extended run time and the freedom to dwell as long as desired on a particular subject—or in \u003cem>One Heat Minute\u003c/em>’s case, a frame or a glance or a throwaway line.\u003c/p>\n\u003cp>Yet if podcasting, as a medium, didn’t exist, how might a devotee like Howard have scratched this particular itch? His answer: writing, perhaps even in chapter-by-chapter book form, about this movie. “I would’ve been writing about \u003ci>Heat\u003c/i> forever. Honestly.”\u003c/p>\n\u003cp>Writing out this passion might not have enabled Howard to connect so relentlessly with fellow obsessives—and to conduct extended conversations with them. Obsession loves community, something podcasts in particular have so deftly tapped into, convening conversations between invested parties and then drawing the listener in to create a second layer of belonging.\u003c/p>\n\u003cfigure id=\"attachment_13840506\" class=\"wp-caption alignnone\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13840506\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/Heat1.jpg\" alt=\"\" width=\"960\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Heat1.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Heat1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Heat1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Heat1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Heat1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Heat1-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Heat1-520x293.jpg 520w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Robert De Niro in Heat \u003ccite>(Courtesy Warner Bros.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Howard calls podcasts a “little nice little campfire to sort of get around, to find your people.” As much as he jokes about being “deeply selfish” in birthing \u003ci>One Heat Minute\u003c/i> as a way to talk about his favorite movie on a near-daily basis, it was that friend’s assertion that he’d actually enjoy \u003ci>hearing\u003c/i> it that turned the joke into an actual endeavor.\u003c/p>\n\u003cp>He never expected to attract a mass audience with his project, but the reaction to the series, now that he’s 75 episodes in, has surprised him. “I couldn’t have imagined, in a really positive way, how many people loved \u003cem>Heat\u003c/em>. And I’m so glad.”\u003c/p>\n\u003cp>In life, an obsession—with a movie, a song, a person—usually fades because another one’s taken its place. Yet as Howard acknowledges, he’ll be moving on not because his decades-long love affair with \u003cem>Heat\u003c/em> is over—but because his 170-episode podcast exercise is.\u003c/p>\n\u003cp>According to the current release schedule, \u003ci>One Heat Minute\u003c/i> will formally come to an end in July 2019—just under one year away. “I have no idea what it’s going to feel like,” says Howard. “To have done it—at 170 minutes, when this thing’s over.” He’s already got another movie in mind (a secret, for now) for his next minute-by-minute podcast.\u003c/p>\n\u003cp>How does Howard feel about becoming a professional obsessive focused on a movie that’s famously about characters who are professional obsessives? “That’s fine with me. I guess that’s what I was looking for,” he laughs. “I quite like being this obsessed. It hasn’t ruined me.”\u003c/p>\n\u003cp>And then he adds: “Yet.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Actor Burt Reynolds, who played good ol’ boys and rugged action heroes in an acting career that spanned seven decades, has died. Reynolds died Thursday morning at a Florida hospital following a heart attack. He was 82.\u003c/p>\n\u003cp>Reynolds came to stardom in \u003cem>Deliverance\u003c/em> and \u003cem>Smokey and the Bandit\u003c/em> in the 1970s, and was still making movies more than 40 years later. In 1977’s \u003cem>Smokey and the Bandit\u003c/em>, Jackie Gleason was Smokey the sheriff, Burt Reynolds was Bandit, and the plot hinged on whether Bandit and a truck-driving pal could blow through Smokey’s roadblocks and make the run in 28 hours. The smile, the mustache, the twinkle in his eye … without them, would anyone have buckled up for that bootlegging run from Texarkana to Atlanta?\u003c/p>\n\u003cp>\u003cem>Smokey and the Bandit\u003c/em> opened the same year \u003cem>Star Wars\u003c/em> hit theaters. Reynolds had been offered the part of Han Solo, actually, and turned it down, just as he’d turned down the role of James Bond, and would later turn down \u003cem>Pretty Woman\u003c/em>. No one ever accused him of being smart about choosing film roles.\u003c/p>\n\u003cp>But smart in the films? No question.\u003c/p>\n\u003cp>\u003cem>Deliverance\u003c/em> was the one that made him famous. Years of bit parts on TV hadn’t prepared audiences for his scarily ripped outdoorsman, who led Jon Voight, Ronny Cox and Ned Beatty on what would end up being a harrowing canoe trip in the Georgia backwoods. There were dueling banjos, hillbilly rapists, and Reynolds using a bow and arrow to spear fish, and to meet nature on its own terms.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After \u003cem>Deliverance\u003c/em> put him on the map, Reynolds more or less owned the rest of that decade. He played football players in \u003cem>The Longest Yard\u003c/em> and \u003cem>Semi-Tough\u003c/em> — not a huge stretch for him, since he’d attended college on a football scholarship. The bootlegger thing kept coming back in \u003cem>White Lightning\u003c/em> and \u003cem>Lucky Lady\u003c/em>. And off-screen, he also cultivated an outlaw vibe — including \u003ca href=\"https://www.cosmopolitan.com/entertainment/news/a48108/burt-reynolds-cosmo-classic/\">posing nude\u003c/a> on a bearskin rug for \u003cem>Cosmopolitan.\u003c/em>\u003c/p>\n\u003cp>Perhaps unsurprisingly, his marriages didn’t last. Nor did a relationship with sometime co-star Sally Field, whom he later called the love of his life — to her evident surprise.\u003c/p>\n\u003cp>His mistakes on screen included singing in the musical comedy \u003cem>The Best Little Whorehouse in Texas\u003c/em>. “I can sing,” he admitted to interviewers, “as well as Fred Astaire can act.”\u003c/p>\n\u003cp>He had no quips to offer for his business acumen. Reynolds briefly owned a football team, a nightclub and a chain of restaurants before declaring bankruptcy. He also took 22 years to pay a divorce settlement to Loni Anderson.\u003c/p>\n\u003cp>And somehow, he kept coming back — most famously, perhaps, in the 1997 award winner \u003cem>Boogie Nights\u003c/em>, where he played a porn director who had dreams of making movies that were more than (just) porn. “This is the film I want them to remember me by,” his character says — and they did, with an Oscar nomination for best supporting actor.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Almost 20 years (and 60 roles) later, he \u003ca href=\"http://www.wbur.org/hereandnow/2016/10/17/memoir-burt-reynolds\">published a memoir\u003c/a> called \u003cem>But Enough About Me\u003c/em> — a jokey title for a bestseller that proved beyond a doubt, that audiences still weren’t tired of hearing about Burt Reynolds.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Burt+Reynolds%2C+Swaggering+Star+Actor%2C+Has+Died+At+82&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Actor Burt Reynolds, who played good ol’ boys and rugged action heroes in an acting career that spanned seven decades, has died. Reynolds died Thursday morning at a Florida hospital following a heart attack. He was 82.\u003c/p>\n\u003cp>Reynolds came to stardom in \u003cem>Deliverance\u003c/em> and \u003cem>Smokey and the Bandit\u003c/em> in the 1970s, and was still making movies more than 40 years later. In 1977’s \u003cem>Smokey and the Bandit\u003c/em>, Jackie Gleason was Smokey the sheriff, Burt Reynolds was Bandit, and the plot hinged on whether Bandit and a truck-driving pal could blow through Smokey’s roadblocks and make the run in 28 hours. The smile, the mustache, the twinkle in his eye … without them, would anyone have buckled up for that bootlegging run from Texarkana to Atlanta?\u003c/p>\n\u003cp>\u003cem>Smokey and the Bandit\u003c/em> opened the same year \u003cem>Star Wars\u003c/em> hit theaters. Reynolds had been offered the part of Han Solo, actually, and turned it down, just as he’d turned down the role of James Bond, and would later turn down \u003cem>Pretty Woman\u003c/em>. No one ever accused him of being smart about choosing film roles.\u003c/p>\n\u003cp>But smart in the films? No question.\u003c/p>\n\u003cp>\u003cem>Deliverance\u003c/em> was the one that made him famous. Years of bit parts on TV hadn’t prepared audiences for his scarily ripped outdoorsman, who led Jon Voight, Ronny Cox and Ned Beatty on what would end up being a harrowing canoe trip in the Georgia backwoods. There were dueling banjos, hillbilly rapists, and Reynolds using a bow and arrow to spear fish, and to meet nature on its own terms.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After \u003cem>Deliverance\u003c/em> put him on the map, Reynolds more or less owned the rest of that decade. He played football players in \u003cem>The Longest Yard\u003c/em> and \u003cem>Semi-Tough\u003c/em> — not a huge stretch for him, since he’d attended college on a football scholarship. The bootlegger thing kept coming back in \u003cem>White Lightning\u003c/em> and \u003cem>Lucky Lady\u003c/em>. And off-screen, he also cultivated an outlaw vibe — including \u003ca href=\"https://www.cosmopolitan.com/entertainment/news/a48108/burt-reynolds-cosmo-classic/\">posing nude\u003c/a> on a bearskin rug for \u003cem>Cosmopolitan.\u003c/em>\u003c/p>\n\u003cp>Perhaps unsurprisingly, his marriages didn’t last. Nor did a relationship with sometime co-star Sally Field, whom he later called the love of his life — to her evident surprise.\u003c/p>\n\u003cp>His mistakes on screen included singing in the musical comedy \u003cem>The Best Little Whorehouse in Texas\u003c/em>. “I can sing,” he admitted to interviewers, “as well as Fred Astaire can act.”\u003c/p>\n\u003cp>He had no quips to offer for his business acumen. Reynolds briefly owned a football team, a nightclub and a chain of restaurants before declaring bankruptcy. He also took 22 years to pay a divorce settlement to Loni Anderson.\u003c/p>\n\u003cp>And somehow, he kept coming back — most famously, perhaps, in the 1997 award winner \u003cem>Boogie Nights\u003c/em>, where he played a porn director who had dreams of making movies that were more than (just) porn. “This is the film I want them to remember me by,” his character says — and they did, with an Oscar nomination for best supporting actor.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Almost 20 years (and 60 roles) later, he \u003ca href=\"http://www.wbur.org/hereandnow/2016/10/17/memoir-burt-reynolds\">published a memoir\u003c/a> called \u003cem>But Enough About Me\u003c/em> — a jokey title for a bestseller that proved beyond a doubt, that audiences still weren’t tired of hearing about Burt Reynolds.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Burt+Reynolds%2C+Swaggering+Star+Actor%2C+Has+Died+At+82&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "At Outside Lands on Friday, LGBTQ Performers Steal the Show",
"headTitle": "At Outside Lands on Friday, LGBTQ Performers Steal the Show | KQED",
"content": "\u003cp>On the GastroMagic stage at Outside Lands on Friday, Aug. 10, drag performer Shangela of \u003cem>RuPaul’s Drag Race\u003c/em> fame marveled at the number of LGBTQ people who came to her cooking demonstration-turned-drag show.[contextly_sidebar id=”fvFDOVbB2fBk21rqpRjgzcfitzF3oRU6″]\u003c/p>\n\u003cp>“That’s why I love being home,” said San Francisco-raised chef Tiffani Faison, onstage teaching Shangela to make fried fish while the drag queen cracked cheeky, innuendo-filled one-liners.\u003c/p>\n\u003cp>“And I love being \u003cem>homo\u003c/em>,” Shangela retorted without missing a beat.\u003c/p>\n\u003cfigure id=\"attachment_13838695\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838695\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7424-800x533.jpg\" alt=\"Tiffani Faison and Shangela perform at the at Outside Lands in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7424.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7424-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7424-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7424-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7424-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7424-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tiffani Faison and Shangela perform at the Outside Lands in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Outside Lands’ \u003ca href=\"https://www.kqed.org/arts/13828348/janet-jackson-to-play-outside-lands-ending-10-year-run-of-no-female-headliners\" target=\"_blank\" rel=\"noopener\">first-time inclusion of female headliners\u003c/a> (with Florence + the Machine on Saturday and Janet Jackson on Sunday) has been a hot topic since the lineup was announced in April. But as the fest kicked off on Friday in Golden Gate Park, it became apparent that the many LGBTQ artists and performers at this year’s Outside Lands attracted a queerer, more diverse audience, changing the tone from the bro-y vibe of years past.\u003c/p>\n\u003cp>After Faison laid the fried fish onto an enormous, baking pan-sized biscuit for an impossibly huge sandwich, the DJ hit play on RuPaul’s vogue house tune, “Call Me Mother,” and Shangela stripped off her chef outfit, revealing a Beyoncé-esque gold beaded leotard that glistened in the afternoon sun. The audience erupted with cheers and shouts of “yaaasss” as Shangela lip synced, twirled, kicked and death-dropped to the floor.\u003c/p>\n\u003cfigure id=\"attachment_13838675\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838675\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7034-800x533.jpg\" alt=\"Perfume Genius performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7034.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7034-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7034-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7034-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7034-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7034-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Perfume Genius performs at the Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to Shangela’s second set at the Barbary, the festival’s comedy tent, Friday’s lineup also included a sultry performance by Perfume Genius, the queer electronic pop balladeer. Perfume Genius, clad in vintage dress pants and a loud, blue-and-white button-down, sauntered across the stage like a sexy cowboy to reverb-laden guitar that evoked a Quentin Tarantino soundtrack. As his band built up instrumental layers to a crescendo of synths, he popped his hips and writhed suggestively on the floor as the many gender non-conforming, creatively dressed audience members cheered.\u003c/p>\n\u003cfigure id=\"attachment_13838689\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838689\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7327-800x533.jpg\" alt=\"Carly Rae Jepsen performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7327.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7327-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7327-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7327-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7327-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7327-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carly Rae Jepsen performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Later in the afternoon, pop singer Carly Rae Jepsen, who has a massive, loyal following in the LGBTQ community, ignited an epic dance party consisting mostly of gay guys and their gal pals at the Twin Peaks stage. Groups of teenagers skipped and tossed their ponytails to “Boy Problems” and “Call Me Maybe.” Jepsen’s cotton-candy tunes, delivered with the bubbly attitude of a modern-day Cindy Lauper, elevated the mood with their uncomplicated expressions of infatuation and joy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/nananastia/status/1028085739580346370\u003c/p>\n\u003cp>To close out her set, a buff, shirtless go-go dancer with a rainbow cape joined Jepsen on stage. He pulled at least five technicolor wigs off his head one by one, the final wig exploding with gold glitter, as Jepsen and the audience watched in awe and delight.\u003c/p>\n\u003cp>Shangela, Perfume Genius and Carly Rae Jepsen centered queerness in a way I haven’t seen at previous editions of Outside Lands, which has only recently begun to meaningfully shift its focus from white- and male-dominated rock to more inclusive lineups. Judging by the smiling faces all around, the LGBTQ people in the audience were feeling the love.\u003c/p>\n\u003cfigure id=\"attachment_13838669\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838669\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_6904-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6904.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6904-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6904-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6904-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6904-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6904-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With \u003cem>Queer Eye\u003c/em>‘s Jonathan Van Ness doing a live podcast Saturday and Janelle Monae (who recently came out as pansexual) and R&B band The Internet (whose singer Syd openly sings about gay themes) performing on Sunday, this might just be the most LGTBQ-friendly Outside Lands yet. Let’s hope the trend continues.\u003c/p>\n\u003ch2>Other Highlights\u003c/h2>\n\u003cfigure id=\"attachment_13838708\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838708\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7586-800x533.jpg\" alt=\"The Weekend performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7586.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7586-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7586-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7586-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7586-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7586-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Weekend performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>The Weeknd’s Moody Hit Parade \u003c/strong>\u003c/p>\n\u003cp>Canadian chart-topper The Weeknd closed out Friday night at Outside Lands with a set that wove tracks from his debut mixtape, \u003cem>House of Balloons\u003c/em>, to his latest album, \u003cem>My Dear Melancholy\u003c/em>. While singing about feeling empty in the club on tracks like “Starboy,” “I Can’t Feel My Face” and “Low Life,” he sounded surprisingly soulful under cinematic, sunset-hued stage lights and heavy fog while the crowd never stopped moving their feet.\u003c/p>\n\u003cfigure id=\"attachment_13838677\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838677\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7076-800x533.jpg\" alt=\"Caleborate performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7076.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7076-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7076-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7076-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7076-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7076-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caleborate performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Caleborate’s Set Was a Win for the Home Team\u003c/strong>\u003c/p>\n\u003cp>It was only three years ago that Caleborate came onto the East Bay music scene with his endearingly confessional debut, \u003cem>Hella Good. \u003c/em>Now with three albums under his belt, the breakout artist has quickly ascended to headlining small clubs like The New Parish and lighting up the Panhandle stage at Outside Lands, where legions of hometown fans chanted “Caleb! Caleb!”\u003c/p>\n\u003cp>As he performed the danceable, house-inflected jam “SMH” and the hyped-up confessional “Bankrobber,” Caleborate danced on top of the speakers and ran through the photo pit to high-five the front row. His set felt like a triumph for the Bay Area’s underground rap scene.\u003c/p>\n\u003cp>\u003cstrong>See more photos from Friday at Outside Lands below.\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13838705\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838705\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7536-800x533.jpg\" alt=\"The Weekend performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7536.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7536-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7536-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7536-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7536-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7536-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Weekend performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838696\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838696\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7426-800x533.jpg\" alt=\"Tiffani Faison and Shangela perform at the at Outside Lands in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7426.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7426-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7426-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7426-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7426-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7426-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tiffani Faison and Shangela perform at Outside Lands in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838703\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838703\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7488-800x533.jpg\" alt=\"Mac DeMarco performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7488.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7488-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7488-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7488-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7488-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7488-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mac DeMarco performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838684\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838684\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7275-800x533.jpg\" alt=\"Chicano Batman performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7275.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7275-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7275-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7275-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7275-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7275-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chicano Batman performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838680\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838680\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7177-800x533.jpg\" alt=\"N.E.R.D performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7177.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7177-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7177-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7177-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7177-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7177-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">N.E.R.D performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838671\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838671\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_6946-800x533.jpg\" alt=\"Billie Eilish performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6946.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6946-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6946-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6946-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6946-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6946-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Billie Eilish performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838693\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838693\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7389-800x533.jpg\" alt=\"ODESZA performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7389.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7389-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7389-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7389-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7389-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7389-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">ODESZA performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838678\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838678\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7111-800x533.jpg\" alt=\"Caleborate performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7111.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7111-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7111-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7111-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7111-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7111-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caleborate performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838667\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838667\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_6894-800x533.jpg\" alt=\"Mikky Ekko at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6894.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6894-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6894-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6894-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6894-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6894-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mikky Ekko at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838702\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838702\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7471-800x533.jpg\" alt=\"Mac DeMarco performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7471.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7471-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7471-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7471-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7471-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7471-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mac DeMarco performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838701\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838701\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7454-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7454.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7454-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7454-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7454-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7454-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7454-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838698\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838698\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7440-800x533.jpg\" alt=\"The Growlers perform at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7440.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7440-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7440-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7440-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7440-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7440-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Growlers perform at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838700\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838700\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7452-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7452-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7452-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7452-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7452-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7452-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838697\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838697\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7432-800x533.jpg\" alt=\"Tiffani Faison and Shangela perform at the at Outside Lands in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7432.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7432-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7432-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7432-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7432-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7432-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tiffani Faison and Shangela perform at Outside Lands in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838694\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838694\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7409-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7409.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7409-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7409-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7409-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7409-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7409-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838691\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838691\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7358-800x533.jpg\" alt=\"ODESZA performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7358.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7358-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7358-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7358-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7358-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7358-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">ODESZA performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838688\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838688\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7302-800x533.jpg\" alt=\"Chicano Batman performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7302.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7302-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7302-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7302-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7302-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7302-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chicano Batman performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838683\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838683\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7252-800x533.jpg\" alt=\"N.E.R.D performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7252.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7252-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7252-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7252-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7252-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7252-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">N.E.R.D performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838687\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838687\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7297-800x533.jpg\" alt=\"Chicano Batman performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7297.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7297-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7297-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7297-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7297-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7297-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chicano Batman performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838681\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838681\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7203-800x533.jpg\" alt=\"N.E.R.D performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7203.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7203-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7203-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7203-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7203-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7203-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">N.E.R.D performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838673\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838673\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_6959-800x533.jpg\" alt=\"Billie Eilish performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6959.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6959-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6959-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6959-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6959-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6959-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Billie Eilish performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838668\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838668\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_6896-800x533.jpg\" alt=\"Mikky Ekko at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6896.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6896-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6896-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6896-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6896-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6896-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mikky Ekko at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838670\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838670\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_6912-800x533.jpg\" alt=\"Billie Eilish performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6912.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6912-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6912-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6912-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6912-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6912-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Billie Eilish performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838672\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838672\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_6951-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6951.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6951-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6951-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6951-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6951-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6951-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Outside Lands continues through Sunday, Aug. 12. For tips, guides, food and more, see \u003ca href=\"https://www.kqed.org/arts/tag/outside-lands\" target=\"_blank\" rel=\"noopener\">all of KQED’s Outside Lands coverage here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Carly Rae Jepsen, Perfume Genius and Shangela centered queerness on stage in a way Outside Lands has never seen. ",
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"description": "Carly Rae Jepsen, Perfume Genius and Shangela centered queerness on stage in a way Outside Lands has never seen. ",
"title": "At Outside Lands on Friday, LGBTQ Performers Steal the Show | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On the GastroMagic stage at Outside Lands on Friday, Aug. 10, drag performer Shangela of \u003cem>RuPaul’s Drag Race\u003c/em> fame marveled at the number of LGBTQ people who came to her cooking demonstration-turned-drag show.\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“That’s why I love being home,” said San Francisco-raised chef Tiffani Faison, onstage teaching Shangela to make fried fish while the drag queen cracked cheeky, innuendo-filled one-liners.\u003c/p>\n\u003cp>“And I love being \u003cem>homo\u003c/em>,” Shangela retorted without missing a beat.\u003c/p>\n\u003cfigure id=\"attachment_13838695\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838695\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7424-800x533.jpg\" alt=\"Tiffani Faison and Shangela perform at the at Outside Lands in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7424.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7424-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7424-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7424-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7424-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7424-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tiffani Faison and Shangela perform at the Outside Lands in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Outside Lands’ \u003ca href=\"https://www.kqed.org/arts/13828348/janet-jackson-to-play-outside-lands-ending-10-year-run-of-no-female-headliners\" target=\"_blank\" rel=\"noopener\">first-time inclusion of female headliners\u003c/a> (with Florence + the Machine on Saturday and Janet Jackson on Sunday) has been a hot topic since the lineup was announced in April. But as the fest kicked off on Friday in Golden Gate Park, it became apparent that the many LGBTQ artists and performers at this year’s Outside Lands attracted a queerer, more diverse audience, changing the tone from the bro-y vibe of years past.\u003c/p>\n\u003cp>After Faison laid the fried fish onto an enormous, baking pan-sized biscuit for an impossibly huge sandwich, the DJ hit play on RuPaul’s vogue house tune, “Call Me Mother,” and Shangela stripped off her chef outfit, revealing a Beyoncé-esque gold beaded leotard that glistened in the afternoon sun. The audience erupted with cheers and shouts of “yaaasss” as Shangela lip synced, twirled, kicked and death-dropped to the floor.\u003c/p>\n\u003cfigure id=\"attachment_13838675\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838675\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7034-800x533.jpg\" alt=\"Perfume Genius performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7034.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7034-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7034-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7034-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7034-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7034-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Perfume Genius performs at the Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to Shangela’s second set at the Barbary, the festival’s comedy tent, Friday’s lineup also included a sultry performance by Perfume Genius, the queer electronic pop balladeer. Perfume Genius, clad in vintage dress pants and a loud, blue-and-white button-down, sauntered across the stage like a sexy cowboy to reverb-laden guitar that evoked a Quentin Tarantino soundtrack. As his band built up instrumental layers to a crescendo of synths, he popped his hips and writhed suggestively on the floor as the many gender non-conforming, creatively dressed audience members cheered.\u003c/p>\n\u003cfigure id=\"attachment_13838689\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838689\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7327-800x533.jpg\" alt=\"Carly Rae Jepsen performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7327.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7327-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7327-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7327-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7327-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7327-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carly Rae Jepsen performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Later in the afternoon, pop singer Carly Rae Jepsen, who has a massive, loyal following in the LGBTQ community, ignited an epic dance party consisting mostly of gay guys and their gal pals at the Twin Peaks stage. Groups of teenagers skipped and tossed their ponytails to “Boy Problems” and “Call Me Maybe.” Jepsen’s cotton-candy tunes, delivered with the bubbly attitude of a modern-day Cindy Lauper, elevated the mood with their uncomplicated expressions of infatuation and joy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>To close out her set, a buff, shirtless go-go dancer with a rainbow cape joined Jepsen on stage. He pulled at least five technicolor wigs off his head one by one, the final wig exploding with gold glitter, as Jepsen and the audience watched in awe and delight.\u003c/p>\n\u003cp>Shangela, Perfume Genius and Carly Rae Jepsen centered queerness in a way I haven’t seen at previous editions of Outside Lands, which has only recently begun to meaningfully shift its focus from white- and male-dominated rock to more inclusive lineups. Judging by the smiling faces all around, the LGBTQ people in the audience were feeling the love.\u003c/p>\n\u003cfigure id=\"attachment_13838669\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838669\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_6904-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6904.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6904-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6904-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6904-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6904-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6904-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With \u003cem>Queer Eye\u003c/em>‘s Jonathan Van Ness doing a live podcast Saturday and Janelle Monae (who recently came out as pansexual) and R&B band The Internet (whose singer Syd openly sings about gay themes) performing on Sunday, this might just be the most LGTBQ-friendly Outside Lands yet. Let’s hope the trend continues.\u003c/p>\n\u003ch2>Other Highlights\u003c/h2>\n\u003cfigure id=\"attachment_13838708\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838708\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7586-800x533.jpg\" alt=\"The Weekend performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7586.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7586-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7586-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7586-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7586-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7586-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Weekend performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>The Weeknd’s Moody Hit Parade \u003c/strong>\u003c/p>\n\u003cp>Canadian chart-topper The Weeknd closed out Friday night at Outside Lands with a set that wove tracks from his debut mixtape, \u003cem>House of Balloons\u003c/em>, to his latest album, \u003cem>My Dear Melancholy\u003c/em>. While singing about feeling empty in the club on tracks like “Starboy,” “I Can’t Feel My Face” and “Low Life,” he sounded surprisingly soulful under cinematic, sunset-hued stage lights and heavy fog while the crowd never stopped moving their feet.\u003c/p>\n\u003cfigure id=\"attachment_13838677\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838677\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7076-800x533.jpg\" alt=\"Caleborate performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7076.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7076-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7076-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7076-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7076-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7076-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caleborate performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Caleborate’s Set Was a Win for the Home Team\u003c/strong>\u003c/p>\n\u003cp>It was only three years ago that Caleborate came onto the East Bay music scene with his endearingly confessional debut, \u003cem>Hella Good. \u003c/em>Now with three albums under his belt, the breakout artist has quickly ascended to headlining small clubs like The New Parish and lighting up the Panhandle stage at Outside Lands, where legions of hometown fans chanted “Caleb! Caleb!”\u003c/p>\n\u003cp>As he performed the danceable, house-inflected jam “SMH” and the hyped-up confessional “Bankrobber,” Caleborate danced on top of the speakers and ran through the photo pit to high-five the front row. His set felt like a triumph for the Bay Area’s underground rap scene.\u003c/p>\n\u003cp>\u003cstrong>See more photos from Friday at Outside Lands below.\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13838705\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838705\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7536-800x533.jpg\" alt=\"The Weekend performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7536.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7536-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7536-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7536-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7536-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7536-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Weekend performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838696\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838696\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7426-800x533.jpg\" alt=\"Tiffani Faison and Shangela perform at the at Outside Lands in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7426.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7426-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7426-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7426-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7426-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7426-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tiffani Faison and Shangela perform at Outside Lands in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838703\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838703\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7488-800x533.jpg\" alt=\"Mac DeMarco performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7488.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7488-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7488-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7488-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7488-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7488-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mac DeMarco performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838684\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838684\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7275-800x533.jpg\" alt=\"Chicano Batman performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7275.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7275-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7275-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7275-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7275-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7275-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chicano Batman performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838680\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838680\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7177-800x533.jpg\" alt=\"N.E.R.D performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7177.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7177-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7177-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7177-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7177-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7177-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">N.E.R.D performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838671\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838671\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_6946-800x533.jpg\" alt=\"Billie Eilish performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6946.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6946-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6946-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6946-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6946-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6946-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Billie Eilish performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838693\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838693\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7389-800x533.jpg\" alt=\"ODESZA performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7389.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7389-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7389-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7389-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7389-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7389-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">ODESZA performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838678\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838678\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7111-800x533.jpg\" alt=\"Caleborate performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7111.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7111-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7111-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7111-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7111-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7111-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Caleborate performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838667\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838667\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_6894-800x533.jpg\" alt=\"Mikky Ekko at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6894.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6894-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6894-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6894-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6894-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6894-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mikky Ekko at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838702\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838702\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7471-800x533.jpg\" alt=\"Mac DeMarco performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7471.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7471-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7471-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7471-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7471-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7471-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mac DeMarco performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838701\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838701\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7454-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7454.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7454-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7454-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7454-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7454-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7454-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838698\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838698\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7440-800x533.jpg\" alt=\"The Growlers perform at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7440.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7440-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7440-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7440-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7440-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7440-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Growlers perform at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838700\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838700\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7452-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7452-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7452-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7452-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7452-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7452-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838697\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838697\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7432-800x533.jpg\" alt=\"Tiffani Faison and Shangela perform at the at Outside Lands in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7432.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7432-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7432-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7432-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7432-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7432-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tiffani Faison and Shangela perform at Outside Lands in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838694\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838694\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7409-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7409.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7409-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7409-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7409-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7409-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7409-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838691\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838691\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7358-800x533.jpg\" alt=\"ODESZA performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7358.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7358-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7358-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7358-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7358-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7358-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">ODESZA performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838688\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838688\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7302-800x533.jpg\" alt=\"Chicano Batman performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7302.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7302-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7302-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7302-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7302-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7302-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chicano Batman performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838683\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838683\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7252-800x533.jpg\" alt=\"N.E.R.D performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7252.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7252-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7252-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7252-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7252-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7252-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">N.E.R.D performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838687\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838687\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7297-800x533.jpg\" alt=\"Chicano Batman performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7297.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7297-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7297-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7297-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7297-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7297-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chicano Batman performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838681\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838681\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7203-800x533.jpg\" alt=\"N.E.R.D performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7203.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7203-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7203-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7203-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7203-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7203-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">N.E.R.D performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838673\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838673\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_6959-800x533.jpg\" alt=\"Billie Eilish performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6959.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6959-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6959-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6959-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6959-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6959-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Billie Eilish performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838668\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838668\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_6896-800x533.jpg\" alt=\"Mikky Ekko at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6896.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6896-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6896-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6896-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6896-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6896-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mikky Ekko at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838670\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838670\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_6912-800x533.jpg\" alt=\"Billie Eilish performs at the at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6912.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6912-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6912-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6912-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6912-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6912-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Billie Eilish performs at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838672\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838672\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_6951-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6951.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6951-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6951-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6951-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6951-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6951-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Outside Lands continues through Sunday, Aug. 12. For tips, guides, food and more, see \u003ca href=\"https://www.kqed.org/arts/tag/outside-lands\" target=\"_blank\" rel=\"noopener\">all of KQED’s Outside Lands coverage here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Demi Lovato: Addiction Is 'Not Something That Disappears'",
"headTitle": "Demi Lovato: Addiction Is ‘Not Something That Disappears’ | KQED",
"content": "\u003cp>\u003ca href=\"https://www.npr.org/artists/554475953/demi-lovato\">Demi Lovato\u003c/a>, who was hospitalized in late July following an unspecified overdose, has issued a statement addressing her ongoing struggles with addiction.\u003c/p>\n\u003cp>“I have always been transparent about my journey with addiction,” Lovato wrote in a statement \u003ca href=\"https://www.instagram.com/p/BmHH69KlY3L/\">posted to Instagram\u003c/a> on Aug. 5. “What I’ve learned is that this illness is not something that disappears or fades with time. It is something I must continue to overcome and have not done yet.\u003c/p>\n\u003cp>“I want to thank my family, my team, and the staff at Cedars-Sinai who have been by my side the entire time,” Lovato continues. “Without them I wouldn’t be here writing this letter to all of you. I now need time to heal and focus on my sobriety and road to recovery. The love you have all shown me will never be forgotten and I look forward to the day where I can say I came out on the other side.”\u003c/p>\n\u003cp>https://www.instagram.com/p/BmHH69KlY3L/\u003c/p>\n\u003cp>In late June, Lovato released a new single, “\u003ca href=\"https://www.youtube.com/watch?v=vORIohoI4m0\">Sober\u003c/a>,” in which she admitted to breaking the six years of sobriety she marked \u003ca href=\"https://www.billboard.com/articles/columns/pop/8249297/demi-lovato-celebrates-6-years-sober-brooklyn-show-speech-video\">on March 15\u003c/a>. “Momma, I’m so sorry, I’m not sober anymore,” the chorus of “Sober” begins. Later in the song, she apologizes to letting down her fans: “I’m sorry for the fans I lost who watched me fall again / I wanna be a role model, but I’m only human.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/vORIohoI4m0\u003c/p>\n\u003cp>After TMZ broke the story of Lovato’s hospitalization, \u003ca href=\"http://www.tmz.com/2018/07/24/demi-lovato-heroin-overdose/\">claiming\u003c/a> it was due to an overdose of heroin, a statement from her representative on behalf of her family, \u003ca href=\"https://twitter.com/alloveranthony/status/1021922230354292738?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1021922230354292738&ref_url=http%3A%2F%2Fwww.thefader.com%2F2018%2F07%2F24%2Fdemi-lovato-overdose-family-statement\">issued July 24\u003c/a>, appeared to contradict that initial report. “Some of the information being reported is incorrect and [Lovato’s family] respectfully ask for privacy and not speculation as her health and recovery is the most important thing right now.”\u003c/p>\n\u003cp>Lovato was first admitted to treatment after \u003ca href=\"https://abcnews.go.com/Entertainment/actress-singer-demi-lovato-treatment-emotional-physical-issues/story?id=12038895\">dropping out\u003c/a> of a Jonas Brothers tour in 2010, when she was 18 years old. After completing treatment, Lovato admitted to hiding her drug use from those around her. “I went on a bender of like, two months,” Lovato admitted in the 2017 documentary \u003cem>Demi Lovato: Simply Complicated\u003c/em>. “There was one night where I used a bunch of coke and I popped a few Xanax bars and I started to choke a little bit, and my heart started racing. And I remember thinking ‘Oh my God, I might be overdosing right now.’ ”\u003c/p>\n\u003cp>“I remember we were in New York, and she clearly was on something — and she was on-air promoting this new way of life, and I was like ‘You’re so full of it,’ ” Lovato’s manager at the time, Phil McIntyre, said in \u003cem>Simply Complicated\u003c/em>. “I wasn’t equipped to be able to handle that situation — and so I got a list of several recommendations of people that specialize in this. And I ended up connected and speaking with [life coach] Mike Bayer.”\u003c/p>\n\u003cp>“It’s embarrassing to look back at the person that I was,” Lovato said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In early July, reports claimed Lovato had split with both\u003cstrong> \u003c/strong>McIntyre — who had accepted a role as Roc Nation’s president of management \u003ca href=\"https://variety.com/2018/music/news/roc-nation-phil-mcintyre-demi-lovato-manager-1202785732/\">in April\u003c/a> — and \u003ca href=\"https://people.com/music/demi-lovato-shade-life-coach-cryptic-tweet/\">Bayer\u003c/a>. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Demi+Lovato%3A+Addiction+Is+%27Not+Something+That+Disappears%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "In her first public statement since being hospitalized, Lovato addressed her struggles with addiction and thanked her fans in an Instagram post.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.npr.org/artists/554475953/demi-lovato\">Demi Lovato\u003c/a>, who was hospitalized in late July following an unspecified overdose, has issued a statement addressing her ongoing struggles with addiction.\u003c/p>\n\u003cp>“I have always been transparent about my journey with addiction,” Lovato wrote in a statement \u003ca href=\"https://www.instagram.com/p/BmHH69KlY3L/\">posted to Instagram\u003c/a> on Aug. 5. “What I’ve learned is that this illness is not something that disappears or fades with time. It is something I must continue to overcome and have not done yet.\u003c/p>\n\u003cp>“I want to thank my family, my team, and the staff at Cedars-Sinai who have been by my side the entire time,” Lovato continues. “Without them I wouldn’t be here writing this letter to all of you. I now need time to heal and focus on my sobriety and road to recovery. The love you have all shown me will never be forgotten and I look forward to the day where I can say I came out on the other side.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In late June, Lovato released a new single, “\u003ca href=\"https://www.youtube.com/watch?v=vORIohoI4m0\">Sober\u003c/a>,” in which she admitted to breaking the six years of sobriety she marked \u003ca href=\"https://www.billboard.com/articles/columns/pop/8249297/demi-lovato-celebrates-6-years-sober-brooklyn-show-speech-video\">on March 15\u003c/a>. “Momma, I’m so sorry, I’m not sober anymore,” the chorus of “Sober” begins. Later in the song, she apologizes to letting down her fans: “I’m sorry for the fans I lost who watched me fall again / I wanna be a role model, but I’m only human.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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/vORIohoI4m0'\n title='//www.youtube.com/embed/vORIohoI4m0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>After TMZ broke the story of Lovato’s hospitalization, \u003ca href=\"http://www.tmz.com/2018/07/24/demi-lovato-heroin-overdose/\">claiming\u003c/a> it was due to an overdose of heroin, a statement from her representative on behalf of her family, \u003ca href=\"https://twitter.com/alloveranthony/status/1021922230354292738?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1021922230354292738&ref_url=http%3A%2F%2Fwww.thefader.com%2F2018%2F07%2F24%2Fdemi-lovato-overdose-family-statement\">issued July 24\u003c/a>, appeared to contradict that initial report. “Some of the information being reported is incorrect and [Lovato’s family] respectfully ask for privacy and not speculation as her health and recovery is the most important thing right now.”\u003c/p>\n\u003cp>Lovato was first admitted to treatment after \u003ca href=\"https://abcnews.go.com/Entertainment/actress-singer-demi-lovato-treatment-emotional-physical-issues/story?id=12038895\">dropping out\u003c/a> of a Jonas Brothers tour in 2010, when she was 18 years old. After completing treatment, Lovato admitted to hiding her drug use from those around her. “I went on a bender of like, two months,” Lovato admitted in the 2017 documentary \u003cem>Demi Lovato: Simply Complicated\u003c/em>. “There was one night where I used a bunch of coke and I popped a few Xanax bars and I started to choke a little bit, and my heart started racing. And I remember thinking ‘Oh my God, I might be overdosing right now.’ ”\u003c/p>\n\u003cp>“I remember we were in New York, and she clearly was on something — and she was on-air promoting this new way of life, and I was like ‘You’re so full of it,’ ” Lovato’s manager at the time, Phil McIntyre, said in \u003cem>Simply Complicated\u003c/em>. “I wasn’t equipped to be able to handle that situation — and so I got a list of several recommendations of people that specialize in this. And I ended up connected and speaking with [life coach] Mike Bayer.”\u003c/p>\n\u003cp>“It’s embarrassing to look back at the person that I was,” Lovato said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In early July, reports claimed Lovato had split with both\u003cstrong> \u003c/strong>McIntyre — who had accepted a role as Roc Nation’s president of management \u003ca href=\"https://variety.com/2018/music/news/roc-nation-phil-mcintyre-demi-lovato-manager-1202785732/\">in April\u003c/a> — and \u003ca href=\"https://people.com/music/demi-lovato-shade-life-coach-cryptic-tweet/\">Bayer\u003c/a>. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Demi+Lovato%3A+Addiction+Is+%27Not+Something+That+Disappears%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Generation Wealth' Offers Scattershot Glimpses Of Cultural Decadence",
"headTitle": "‘Generation Wealth’ Offers Scattershot Glimpses Of Cultural Decadence | KQED",
"content": "\u003cp>In the wake of the 2008 financial crisis, director Lauren Greenfield had the counterintuitive idea of understanding the recession through the declining fortunes of Florida billionaires. The result was \u003cem>The Queen of Versailles\u003c/em>, a hugely entertaining documentary about David and Jackie Siegel, a nouveau riche Orlando couple who were in middle of building a 90,000-square-foot estate, modeled after the Palace of Versailles, when the housing market collapsed. As hard as the indefatigable Jackie tried to keep things together, the Siegels were overextended and living beyond their means, and forced austerity halted the project and turned their mansion into a poop-smeared hoarder house.\u003c/p>\n\u003cp>For her follow-up, \u003cem>Generation Wealth\u003c/em>, Greenfield zooms the camera out and takes a much broader look at the excesses of American culture and how they signal an empire in its death throes. In the shift from the gaudy portraiture of \u003cem>The Queen of Versailles\u003c/em> to the essayistic sweep of \u003cem>Generation Wealth\u003c/em>, Greenfield inevitably sacrifices observational detail for a grim diagnosis of society in decline. The trade-off isn’t worth it: The Siegels’ story implies so much about unchecked greed and vanity, and the debased values that can seep into a family. By offering multiple case studies, as she does here, in support of an argument on late-capitalist decadence, the idolization of obscene wealth, the commodification of the body, and other related issues, Greenfield winds up spoon-feeding the audience some awfully thin gruel.\u003c/p>\n\u003cp>“Societies accrue their greatest wealth at the moment that they face death,” says Chris Hedges, a former \u003cem>New York Times\u003c/em> journalist, by way of introduction. And Greenfield dutifully cuts from the Great Pyramid of Giza to the tacky facsimile of the Luxor in Las Vegas, the epicenter of American indulgence. Stepping out in front of the camera herself, Greenfield reflects on her career in photography and documentary filmmaking, which has focused on the anthropological study of the ultra-wealthy. Greenfield is shown poring through half a million photos in her archives, all in an effort to assemble a new book about the peacocking of money worldwide, from debutante balls for oligarch’s daughters in Russia to status-obsessed teenagers in Beverly Hills. (The completed book, also called \u003cem>Generation Wealth\u003c/em>, lists for $75.)\u003c/p>\n\u003cp>Greenfield has an eye for the absurd, like a course where newly rich Chinese women pay $16,000 to learn how to pronounce brand names and cut bananas with a knife and a fork. But she eventually settles on a handful of subjects: Florian Homm, a former hedge-fund rogue who accumulated nearly a billion dollars before landing on the FBI’s Most Wanted list for fraud; Kacey Jordan, a retired porn star who found the wrong kind of fame through her association with Charlie Sheen; Cathy, a single mother who flew to Brazil for plastic surgeries she couldn’t afford and paid a terrible personal cost; Suzanne, another rapacious hedge-funder who put off having kids until 40; Eden Wood, a child beauty pageant contestant from \u003cem>Toddlers & Tiaras\u003c/em>; and several of the now-grown kids from Greenfield’s 1997 book \u003cem>Fast Forward\u003c/em>, about L.A. youth culture.\u003c/p>\n\u003cp>Any one of these stories suggest their own documentary, but their sum plays against Greenfield’s strengths for composition and storytelling. Her thumbnail history of the American dream, from a country that produces to a country that borrows and consumes, feels mostly persuasive, as do her assertions about the ruinous desire for exclusivity and status. But there’s not much of an organizational principle guiding \u003cem>Generation Wealth\u003c/em>, which picks through ideas like Greenfield picks through her old photos, choosing the ones she likes without necessarily figuring out how they go together. Talking heads like Hedges or Bret Easton Ellis, the author of \u003cem>Less Than Zero\u003c/em> and other fictions of money and spiritual vacancy, are there to patch the pieces like crude gobs of Elmer’s glue.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The best moments in \u003cem>Generation Wealth\u003c/em> are incidental or anecdotal, like a shot of a tired Robin Leach, former host of \u003cem>Lifestyles of the Rich and Famous\u003c/em>, getting bottle service at a Vegas cabana or Homm’s son telling the story of how his father paid to have him deflowered by a prostitute in Amsterdam at 14. But Greenfield takes too heavy a hand in connecting all these stories, especially in a hopeful conclusion that airbrushes her subjects en masse and undermines her own doom-laden end-of-empire prognostications. She can’t describe a cancer that’s metastasized in the first reel and have it disappear in the last.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Generation+Wealth%27+Offers+Scattershot+Glimpses+Of+Cultural+Decadence+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the wake of the 2008 financial crisis, director Lauren Greenfield had the counterintuitive idea of understanding the recession through the declining fortunes of Florida billionaires. The result was \u003cem>The Queen of Versailles\u003c/em>, a hugely entertaining documentary about David and Jackie Siegel, a nouveau riche Orlando couple who were in middle of building a 90,000-square-foot estate, modeled after the Palace of Versailles, when the housing market collapsed. As hard as the indefatigable Jackie tried to keep things together, the Siegels were overextended and living beyond their means, and forced austerity halted the project and turned their mansion into a poop-smeared hoarder house.\u003c/p>\n\u003cp>For her follow-up, \u003cem>Generation Wealth\u003c/em>, Greenfield zooms the camera out and takes a much broader look at the excesses of American culture and how they signal an empire in its death throes. In the shift from the gaudy portraiture of \u003cem>The Queen of Versailles\u003c/em> to the essayistic sweep of \u003cem>Generation Wealth\u003c/em>, Greenfield inevitably sacrifices observational detail for a grim diagnosis of society in decline. The trade-off isn’t worth it: The Siegels’ story implies so much about unchecked greed and vanity, and the debased values that can seep into a family. By offering multiple case studies, as she does here, in support of an argument on late-capitalist decadence, the idolization of obscene wealth, the commodification of the body, and other related issues, Greenfield winds up spoon-feeding the audience some awfully thin gruel.\u003c/p>\n\u003cp>“Societies accrue their greatest wealth at the moment that they face death,” says Chris Hedges, a former \u003cem>New York Times\u003c/em> journalist, by way of introduction. And Greenfield dutifully cuts from the Great Pyramid of Giza to the tacky facsimile of the Luxor in Las Vegas, the epicenter of American indulgence. Stepping out in front of the camera herself, Greenfield reflects on her career in photography and documentary filmmaking, which has focused on the anthropological study of the ultra-wealthy. Greenfield is shown poring through half a million photos in her archives, all in an effort to assemble a new book about the peacocking of money worldwide, from debutante balls for oligarch’s daughters in Russia to status-obsessed teenagers in Beverly Hills. (The completed book, also called \u003cem>Generation Wealth\u003c/em>, lists for $75.)\u003c/p>\n\u003cp>Greenfield has an eye for the absurd, like a course where newly rich Chinese women pay $16,000 to learn how to pronounce brand names and cut bananas with a knife and a fork. But she eventually settles on a handful of subjects: Florian Homm, a former hedge-fund rogue who accumulated nearly a billion dollars before landing on the FBI’s Most Wanted list for fraud; Kacey Jordan, a retired porn star who found the wrong kind of fame through her association with Charlie Sheen; Cathy, a single mother who flew to Brazil for plastic surgeries she couldn’t afford and paid a terrible personal cost; Suzanne, another rapacious hedge-funder who put off having kids until 40; Eden Wood, a child beauty pageant contestant from \u003cem>Toddlers & Tiaras\u003c/em>; and several of the now-grown kids from Greenfield’s 1997 book \u003cem>Fast Forward\u003c/em>, about L.A. youth culture.\u003c/p>\n\u003cp>Any one of these stories suggest their own documentary, but their sum plays against Greenfield’s strengths for composition and storytelling. Her thumbnail history of the American dream, from a country that produces to a country that borrows and consumes, feels mostly persuasive, as do her assertions about the ruinous desire for exclusivity and status. But there’s not much of an organizational principle guiding \u003cem>Generation Wealth\u003c/em>, which picks through ideas like Greenfield picks through her old photos, choosing the ones she likes without necessarily figuring out how they go together. Talking heads like Hedges or Bret Easton Ellis, the author of \u003cem>Less Than Zero\u003c/em> and other fictions of money and spiritual vacancy, are there to patch the pieces like crude gobs of Elmer’s glue.\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>The best moments in \u003cem>Generation Wealth\u003c/em> are incidental or anecdotal, like a shot of a tired Robin Leach, former host of \u003cem>Lifestyles of the Rich and Famous\u003c/em>, getting bottle service at a Vegas cabana or Homm’s son telling the story of how his father paid to have him deflowered by a prostitute in Amsterdam at 14. But Greenfield takes too heavy a hand in connecting all these stories, especially in a hopeful conclusion that airbrushes her subjects en masse and undermines her own doom-laden end-of-empire prognostications. She can’t describe a cancer that’s metastasized in the first reel and have it disappear in the last.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Generation+Wealth%27+Offers+Scattershot+Glimpses+Of+Cultural+Decadence+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Even if you don’t watch soccer, you’ve probably heard it referred to at some point as “the beautiful game.” While the exact origin of the phrase is in some dispute (like “beatnik,” there are a few claimants), it’s become one of the default phrases employed to describe the sport as a whole. And while beauty is very much in the eye of the beholder, one need only watch a replay of the \u003ca href=\"https://www.youtube.com/watch?v=XLa9wP-BVzQ\" target=\"_blank\" rel=\"noopener noreferrer\">first goal scored\u003c/a> in the England-Croatia World Cup semifinal match by English defender Kieran Trippier—a swooping arc flying first over the heads of Croatia’s defensive “wall,” then soaring above goalkeeper Danijel Subašić to smash into the back of the net—to get a sense of the game’s \u003cem>potential\u003c/em> for beautiful moments.\u003c/p>\n\u003cp>In fact, there’s so much potential for beauty in soccer, especially at the World Cup level, that it can move an arts journalist such as myself to spend the better part of a month lurking in dark bars at 7am. As the games have progressed from knockout rounds, to the final sixteen, the final eight, the quarterfinals, and the best of the best (or sometimes just the luckiest) inching their way to this weekend’s finals, I find I can hardly resist the very theatre-like qualities of the World Cup and, particularly in large outdoor public screenings, its fans.\u003c/p>\n\u003cfigure id=\"attachment_13836997\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836997\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/IMG_8531-800x533.jpg\" alt=\"Warren Jackson roots for England at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8531-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8531-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8531-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8531-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8531-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Warren Jackson roots for England at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Soccer has so much happening that it could be said to encompass a wide variety of art forms within its sweaty bosom. The almost balletic precision of Spain’s “tiki-taka” passing game as contrasted with the spontaneous improv of a lucky header such as that of Belgium’s Jan Vertonghen against Japan, a literal long shot turned unexpected goal. The physical beauty of athletic bodies in motion, without giant helmets or baggy trousers to mar the view. The high drama of high stakes leading to shoving matches and shouted epithets on the pitch (to say nothing of the stands), some inspired by fresh insults, some by deep-seated rivalries stretching back generations. The low humor of a ball planted squarely in England defender Kyle Walker’s \u003cem>bollocks\u003c/em> and the unabashed emotion on the faces of the Croatian team after cementing their winning goal in the 109th minute of play, particularly \u003ca href=\"https://petapixel.com/2018/07/12/photographer-gets-dog-piled-at-world-cup-and-keeps-on-shooting/\">as captured by Salvadoran photojournalist Yuri Cortez\u003c/a>, who was buried in the middle of their celebratory dogpile.\u003c/p>\n\u003cfigure id=\"attachment_13836996\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836996\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/IMG_8528-800x533.jpg\" alt=\"The crowd at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8528.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8528-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8528-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8528-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8528-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8528-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At Sue Bierman Park, a grassy knoll sandwiched between Drumm and the Embarcadero, a crowd gathered Wednesday to watch an outdoor screening of the World Cup semi-final match between England and Croatia, a courtesy provided by San Francisco Parks and Recreation (the final will be screened at the Civic Center on Sunday, July 15). Unlike many of the bars that show World Cup games in San Francisco, these outdoor screenings have a way of drawing supporters of both teams, and yet none (that I’ve been to) have had any serious altercations. We are civil “football” fans in SF, it seems, but that doesn’t stop the pageantry, people wrapped in flags, facepaint, team colors, or the palpable tension and anticipation that rises with each unpredictable twist in plot. Folks from all walks of life come to represent and be represented. For them, as well as for the players looming on the giant screen above us, a World Cup soccer game can be emotionally challenging, physically demanding, and potentially transcendent.\u003c/p>\n\u003cfigure id=\"attachment_13837003\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837003\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/IMG_8558-800x533.jpg\" alt=\"The crowd at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8558-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8558-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8558-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8558-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8558-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Although at first glance, and second count, supporters of England appeared to outnumber those of Croatia at the screening, as the game progressed and Croatia’s chances improved, those few appeared to swell in number, or at least in appreciative vocalization. And while it might be inappropriate to make such sounds at a particularly stirring Symphony performance, it would certainly not be out of place after a beautifully improvised jazz solo or a fan favorite rock anthem played third on the set list at the Independent. The groans and “come ooooooon”’s of fan frustration might just as easily (though not as publicly) come out of a stage-builder’s mouth at a wayward flat or a misplaced drill bit.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>And what other high-stakes sporting event in San Francisco could bring groups of friends (such as SF Hibernian teammates Carly Andler and Bethany Barker, supporting Croatia and England respectively), and even families (such as that of the Takhars, England supporters, save for grandmother Dori Jafarieh, holding out for Croatia), out in force to sit together while supporting different teams, yet still maintain conviviality and an appreciation not just for results, but for the experience of the game as performance?\u003c/p>\n\u003cfigure id=\"attachment_13836986\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836986\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/IMG_8483-800x533.jpg\" alt=\"Dori Jafarieh attends the World Cup Semi-final Viewing Party with her grandson Rohan Takhar on Wednesday, July 11 at Sue Bierman Park in San Francisco.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8483.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8483-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8483-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8483-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8483-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8483-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dori Jafarieh attends the World Cup Semi-final Viewing Party with her grandson Rohan Takhar on Wednesday, July 11 at Sue Bierman Park in San Francisco. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>England-born Napa resident Nicky Robert might have come out ostensibly to support Gareth Southgate’s scrappy underdogs, but really, she was just glad for a day in the sun watching them go as far as they could in enthusiastic company. As for Croatian-born Ivana Zubonja however, nothing but a Croatian win would do. Her pride for her team radiated from her checkerboard jersey, and her cheers could be heard from halfway across the park when they equalized. And do any of them find beauty in the “beautiful game”? Not everyone seemed too sure about that, but England supporter Paul Griffith, “old enough to remember when the phrase applied to the Brazilian attacking game,” certainly did.\u003c/p>\n\u003cp>“I know it’s really physics, and all that. But watching the ball curve (into the goal) seems magical.”\u003c/p>\n\u003cfigure id=\"attachment_13836992\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836992\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/IMG_8504-800x533.jpg\" alt=\"The crowd at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8504.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8504-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8504-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8504-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8504-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8504-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And what a performance it was. With England up a point the entire first half, it felt like Croatia was having to chip away at their strength with Sisyphean struggle, one step forward, two steps back. But their practiced slog yielded the intended result in the 68th minute, as Croatian Ivan Perišić landed a controversial goal that fired up not just the patient Croatian supporters at Sue Bierman park, but the National team, who seemed in the moment to shake off any lingering dejection to dominate the rest of the game. England’s goalkeeper Jordan Pickford often seeming like the only player really standing between Croatia and the ball, as England’s defense appeared uncertain how to stop Croatia from shooting at a goal—save for that aforementioned Kyle Walker bollock-block, a sacrifice soon forgotten as Mario Mandžukić drove in a second goal for Croatia three minutes later at the 109th minute of play. A moment that seems to burden the English team with an extra 10 years’ worth of haggard lines (though the younger team by far), just as it washed the fraught exhaustion from Croatia’s faces as they mobbed each other, and Yuri Gomez, in their beatific joy.\u003c/p>\n\u003cfigure id=\"attachment_13837006\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837006\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/IMG_8570-800x533.jpg\" alt=\"Ivana Zubonja, Julia Wu and friends celebrate Croatia's win at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8570.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8570-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8570-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8570-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8570-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8570-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ivana Zubonja, Julia Wu and friends celebrate Croatia’s win at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And then, like any performance, it was over. And the assembled audience, with all of our assorted reasons for being there, fair-weather fans and diehard supporters alike, rose almost as one, and began to file out of the outdoor theater of the park. Back to home or offices or Napa or whatever other obligations awaited our afternoon. On my way out, I ran into Ivana Zubonja and her friends again, and we exchanged high fives. “See you at the final,” she confirmed, as we dispersed our separate ways.\u003c/p>\n\u003cp>Definitely.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Catch the public screening of the World Cup final at the Civic Center on Sunday, July 15, at 8am. \u003ca href=\"https://www.worldcupsf.com/\">Details here.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"title": "The Art of the Game: the Aesthetics of World Cup Soccer in San Francisco | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Even if you don’t watch soccer, you’ve probably heard it referred to at some point as “the beautiful game.” While the exact origin of the phrase is in some dispute (like “beatnik,” there are a few claimants), it’s become one of the default phrases employed to describe the sport as a whole. And while beauty is very much in the eye of the beholder, one need only watch a replay of the \u003ca href=\"https://www.youtube.com/watch?v=XLa9wP-BVzQ\" target=\"_blank\" rel=\"noopener noreferrer\">first goal scored\u003c/a> in the England-Croatia World Cup semifinal match by English defender Kieran Trippier—a swooping arc flying first over the heads of Croatia’s defensive “wall,” then soaring above goalkeeper Danijel Subašić to smash into the back of the net—to get a sense of the game’s \u003cem>potential\u003c/em> for beautiful moments.\u003c/p>\n\u003cp>In fact, there’s so much potential for beauty in soccer, especially at the World Cup level, that it can move an arts journalist such as myself to spend the better part of a month lurking in dark bars at 7am. As the games have progressed from knockout rounds, to the final sixteen, the final eight, the quarterfinals, and the best of the best (or sometimes just the luckiest) inching their way to this weekend’s finals, I find I can hardly resist the very theatre-like qualities of the World Cup and, particularly in large outdoor public screenings, its fans.\u003c/p>\n\u003cfigure id=\"attachment_13836997\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836997\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/IMG_8531-800x533.jpg\" alt=\"Warren Jackson roots for England at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8531-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8531-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8531-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8531-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8531-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Warren Jackson roots for England at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Soccer has so much happening that it could be said to encompass a wide variety of art forms within its sweaty bosom. The almost balletic precision of Spain’s “tiki-taka” passing game as contrasted with the spontaneous improv of a lucky header such as that of Belgium’s Jan Vertonghen against Japan, a literal long shot turned unexpected goal. The physical beauty of athletic bodies in motion, without giant helmets or baggy trousers to mar the view. The high drama of high stakes leading to shoving matches and shouted epithets on the pitch (to say nothing of the stands), some inspired by fresh insults, some by deep-seated rivalries stretching back generations. The low humor of a ball planted squarely in England defender Kyle Walker’s \u003cem>bollocks\u003c/em> and the unabashed emotion on the faces of the Croatian team after cementing their winning goal in the 109th minute of play, particularly \u003ca href=\"https://petapixel.com/2018/07/12/photographer-gets-dog-piled-at-world-cup-and-keeps-on-shooting/\">as captured by Salvadoran photojournalist Yuri Cortez\u003c/a>, who was buried in the middle of their celebratory dogpile.\u003c/p>\n\u003cfigure id=\"attachment_13836996\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836996\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/IMG_8528-800x533.jpg\" alt=\"The crowd at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8528.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8528-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8528-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8528-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8528-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8528-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At Sue Bierman Park, a grassy knoll sandwiched between Drumm and the Embarcadero, a crowd gathered Wednesday to watch an outdoor screening of the World Cup semi-final match between England and Croatia, a courtesy provided by San Francisco Parks and Recreation (the final will be screened at the Civic Center on Sunday, July 15). Unlike many of the bars that show World Cup games in San Francisco, these outdoor screenings have a way of drawing supporters of both teams, and yet none (that I’ve been to) have had any serious altercations. We are civil “football” fans in SF, it seems, but that doesn’t stop the pageantry, people wrapped in flags, facepaint, team colors, or the palpable tension and anticipation that rises with each unpredictable twist in plot. Folks from all walks of life come to represent and be represented. For them, as well as for the players looming on the giant screen above us, a World Cup soccer game can be emotionally challenging, physically demanding, and potentially transcendent.\u003c/p>\n\u003cfigure id=\"attachment_13837003\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837003\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/IMG_8558-800x533.jpg\" alt=\"The crowd at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8558-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8558-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8558-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8558-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8558-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Although at first glance, and second count, supporters of England appeared to outnumber those of Croatia at the screening, as the game progressed and Croatia’s chances improved, those few appeared to swell in number, or at least in appreciative vocalization. And while it might be inappropriate to make such sounds at a particularly stirring Symphony performance, it would certainly not be out of place after a beautifully improvised jazz solo or a fan favorite rock anthem played third on the set list at the Independent. The groans and “come ooooooon”’s of fan frustration might just as easily (though not as publicly) come out of a stage-builder’s mouth at a wayward flat or a misplaced drill bit.\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>And what other high-stakes sporting event in San Francisco could bring groups of friends (such as SF Hibernian teammates Carly Andler and Bethany Barker, supporting Croatia and England respectively), and even families (such as that of the Takhars, England supporters, save for grandmother Dori Jafarieh, holding out for Croatia), out in force to sit together while supporting different teams, yet still maintain conviviality and an appreciation not just for results, but for the experience of the game as performance?\u003c/p>\n\u003cfigure id=\"attachment_13836986\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836986\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/IMG_8483-800x533.jpg\" alt=\"Dori Jafarieh attends the World Cup Semi-final Viewing Party with her grandson Rohan Takhar on Wednesday, July 11 at Sue Bierman Park in San Francisco.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8483.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8483-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8483-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8483-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8483-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8483-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dori Jafarieh attends the World Cup Semi-final Viewing Party with her grandson Rohan Takhar on Wednesday, July 11 at Sue Bierman Park in San Francisco. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>England-born Napa resident Nicky Robert might have come out ostensibly to support Gareth Southgate’s scrappy underdogs, but really, she was just glad for a day in the sun watching them go as far as they could in enthusiastic company. As for Croatian-born Ivana Zubonja however, nothing but a Croatian win would do. Her pride for her team radiated from her checkerboard jersey, and her cheers could be heard from halfway across the park when they equalized. And do any of them find beauty in the “beautiful game”? Not everyone seemed too sure about that, but England supporter Paul Griffith, “old enough to remember when the phrase applied to the Brazilian attacking game,” certainly did.\u003c/p>\n\u003cp>“I know it’s really physics, and all that. But watching the ball curve (into the goal) seems magical.”\u003c/p>\n\u003cfigure id=\"attachment_13836992\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836992\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/IMG_8504-800x533.jpg\" alt=\"The crowd at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8504.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8504-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8504-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8504-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8504-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8504-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And what a performance it was. With England up a point the entire first half, it felt like Croatia was having to chip away at their strength with Sisyphean struggle, one step forward, two steps back. But their practiced slog yielded the intended result in the 68th minute, as Croatian Ivan Perišić landed a controversial goal that fired up not just the patient Croatian supporters at Sue Bierman park, but the National team, who seemed in the moment to shake off any lingering dejection to dominate the rest of the game. England’s goalkeeper Jordan Pickford often seeming like the only player really standing between Croatia and the ball, as England’s defense appeared uncertain how to stop Croatia from shooting at a goal—save for that aforementioned Kyle Walker bollock-block, a sacrifice soon forgotten as Mario Mandžukić drove in a second goal for Croatia three minutes later at the 109th minute of play. A moment that seems to burden the English team with an extra 10 years’ worth of haggard lines (though the younger team by far), just as it washed the fraught exhaustion from Croatia’s faces as they mobbed each other, and Yuri Gomez, in their beatific joy.\u003c/p>\n\u003cfigure id=\"attachment_13837006\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837006\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/IMG_8570-800x533.jpg\" alt=\"Ivana Zubonja, Julia Wu and friends celebrate Croatia's win at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8570.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8570-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8570-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8570-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8570-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8570-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ivana Zubonja, Julia Wu and friends celebrate Croatia’s win at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And then, like any performance, it was over. And the assembled audience, with all of our assorted reasons for being there, fair-weather fans and diehard supporters alike, rose almost as one, and began to file out of the outdoor theater of the park. Back to home or offices or Napa or whatever other obligations awaited our afternoon. On my way out, I ran into Ivana Zubonja and her friends again, and we exchanged high fives. “See you at the final,” she confirmed, as we dispersed our separate ways.\u003c/p>\n\u003cp>Definitely.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Catch the public screening of the World Cup final at the Civic Center on Sunday, July 15, at 8am. \u003ca href=\"https://www.worldcupsf.com/\">Details here.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Somewhere at Donald Glover HQ, decked out in Gucci formals and the comfiest of loafers, I can imagine one of the busiest entertainers in America musing, “I got \u003cem>Atlanta\u003c/em>. Lando Calrissian was the best thing about \u003cem>Solo\u003c/em> (don’t @ me). ‘This Is America,’ a noisy \u003ca href=\"https://www.npr.org/2018/05/07/609150167/donald-glovers-this-is-america-holds-ugly-truths-to-be-self-evident\">barrage of symbolism and chaos\u003c/a>, is an unlikely (but truly bangin’) contender for the song of the summer. What else can I give the people to make this summer just a little bit more ‘Donald Glover’?”\u003c/p>\n\u003cp>How about two new \u003ca href=\"https://www.npr.org/artists/250255694/childish-gambino\">Childish Gambino\u003c/a> songs? If you have any doubt of the vibe intended, it’s literally in the titles: “Summertime Magic” and “Feels Like Summer.” Co-written and co-produced by Childish Gambino and Ludwig Goransson, the same folks behind “This Is America,” both tracks have that far-away, steamy gaze — soft bops that simmer in steel drums, synths pads and the most gentle of guitar strums.\u003c/p>\n\u003cp>The bigger question now: Is this \u003ca href=\"https://www.npr.org/sections/allsongs/611745187/ros-wave-your-summer-soundtrack\">roséwave\u003c/a>?\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Childish Gambino - Summertime Magic (Audio)\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/diLp6hUqvVk?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Childish Gambino - Feels Like Summer (Audio)\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/ieL7BHjiyd8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Childish+Gambino+Wants+To+Dominate+This+Summer+And+Who+Are+We+To+Deny%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Somewhere at Donald Glover HQ, decked out in Gucci formals and the comfiest of loafers, I can imagine one of the busiest entertainers in America musing, “I got \u003cem>Atlanta\u003c/em>. Lando Calrissian was the best thing about \u003cem>Solo\u003c/em> (don’t @ me). ‘This Is America,’ a noisy \u003ca href=\"https://www.npr.org/2018/05/07/609150167/donald-glovers-this-is-america-holds-ugly-truths-to-be-self-evident\">barrage of symbolism and chaos\u003c/a>, is an unlikely (but truly bangin’) contender for the song of the summer. What else can I give the people to make this summer just a little bit more ‘Donald Glover’?”\u003c/p>\n\u003cp>How about two new \u003ca href=\"https://www.npr.org/artists/250255694/childish-gambino\">Childish Gambino\u003c/a> songs? If you have any doubt of the vibe intended, it’s literally in the titles: “Summertime Magic” and “Feels Like Summer.” Co-written and co-produced by Childish Gambino and Ludwig Goransson, the same folks behind “This Is America,” both tracks have that far-away, steamy gaze — soft bops that simmer in steel drums, synths pads and the most gentle of guitar strums.\u003c/p>\n\u003cp>The bigger question now: Is this \u003ca href=\"https://www.npr.org/sections/allsongs/611745187/ros-wave-your-summer-soundtrack\">roséwave\u003c/a>?\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Childish Gambino - Summertime Magic (Audio)\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/diLp6hUqvVk?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Childish Gambino - Feels Like Summer (Audio)\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/ieL7BHjiyd8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Childish+Gambino+Wants+To+Dominate+This+Summer+And+Who+Are+We+To+Deny%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "San Rafael's Telltale Games Working on 'Stranger Things' Video Game",
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"content": "\u003cp>\u003ca href=\"https://telltale.com/\" rel=\"noopener\" target=\"_blank\">Telltale Games\u003c/a>, an independent game developer based in San Rafael, announced Wednesday that it has made a deal with Netflix to produce a video game based on the hit show, \u003ci>Stranger Things.\u003c/i>\u003c/p>\n\u003cp>Telltale Games revealed few details about the game, announcing the news while also announcing that Netflix would be streaming an interactive version of Telltale’s game \u003ci>Minecraft: Story Mode.\u003c/i> Telltale had little to say about either project.\u003c/p>\n\u003cp>“Our partnership with Netflix is something we’re incredibly proud of, and while we don’t have anything more to share right now, we’re excited to reveal details on these projects later in the year,” Telltale \u003ca href=\"https://twitter.com/telltalegames/status/1006996305082630144\" rel=\"noopener\" target=\"_blank\">posted on Twitter \u003c/a>Wednesday.\u003c/p>\n\u003cp>Three former LucasArts employees — Dan Connors, Kevin Bruner and Troy Molander — founded Telltale in 2004, following LucasArts’s cancellation of a game they worked on together called \u003ci>Sam & Max Hit the Road.\u003c/i> The company went on to create games for movies such as \u003cem>Back to the Future\u003c/em> and \u003cem>Jurassic Park\u003c/em>. But Telltale saw its first big success with the episodic game it created based on \u003ci>The Walking Dead\u003c/i> comic and television series. Upon its release in 2012, the game sold a million copies in 20 days. Telltale went on to develop four more games in the series.\u003c/p>\n\u003cfigure id=\"attachment_13835104\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Minecraft-screenshot-800x450.jpg\" alt=\"Screenshot from 'Minecraft: Story Mode'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13835104\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Minecraft-screenshot-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Minecraft-screenshot-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Minecraft-screenshot-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Minecraft-screenshot-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Minecraft-screenshot.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Minecraft-screenshot-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Minecraft-screenshot-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Minecraft-screenshot-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Minecraft-screenshot-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Minecraft-screenshot-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Screenshot from ‘Minecraft: Story Mode.’ \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Building on its cinematic, episodic style developed for the \u003ci>The Walking Dead\u003c/i> games, it then produced games for notable properties such as \u003ci>Game of Thrones\u003c/i> and \u003ci>Guardians of the Galaxy.\u003c/i> Continuing successes led the company to grow to 400 employees, but the company couldn’t sustain the staffing level and it \u003ca href=\"https://www.usgamer.net/articles/exclusive-how-a-culture-of-crunch-brought-telltale-from-critical-darlings-to-layoffs\" rel=\"noopener\" target=\"_blank\">laid off 90 employees\u003c/a> — 25 percent of its staff — last year.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The deal Telltale inked with Netflix means two different products for the two licensed properties, \u003ci> Minecraft\u003c/i> and \u003ci>Stranger Things.\u003c/i>\u003ca href=\"https://www.techradar.com/news/netflix-to-add-games-to-its-service-including-stranger-things-and-minecraft\" rel=\"noopener\" target=\"_blank\"> TechRadar reports\u003c/a> that \u003cem>Minecraft: Story Mode\u003c/em> is a five-part interactive story series similar to other Netflix properties. \u003c/p>\n\u003cp>“It’s an extension of our other interactive stories we have on our service like \u003cem>Stretch Armstrong: The Breakout\u003c/em>, \u003cem>Puss in Book: Trapped in an Epic Tale\u003c/em> and \u003cem>Buddy Thunderstruck: The Maybe Pile\u003c/em>,” a Netflix representative \u003ca href=\"https://www.polygon.com/tv/2018/6/13/17460834/netflix-telltale-minecraft-story-mode-stranger-things-game\" rel=\"noopener\" target=\"_blank\">told Polygon\u003c/a>. \u003c/p>\n\u003cp>However, the \u003ci>Stranger Things\u003c/i> game will not be available for streaming on Netflix, as it is just a part of the streaming service’s marketing strategy.\u003c/p>\n\u003cp>“We don’t have any plans to get into gaming,” Netflix told TechRadar. “There’s a broad spectrum of entertainment available today. Games have become increasingly cinematic, but we view this as interactive narrative storytelling on our service.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Stranger Things,\u003c/i> a sci-fi horror series steeped in ’80s nostalgia, premiered on Netflix in 2016, becoming a sensation practically overnight. The third season of the show is currently in production.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://telltale.com/\" rel=\"noopener\" target=\"_blank\">Telltale Games\u003c/a>, an independent game developer based in San Rafael, announced Wednesday that it has made a deal with Netflix to produce a video game based on the hit show, \u003ci>Stranger Things.\u003c/i>\u003c/p>\n\u003cp>Telltale Games revealed few details about the game, announcing the news while also announcing that Netflix would be streaming an interactive version of Telltale’s game \u003ci>Minecraft: Story Mode.\u003c/i> Telltale had little to say about either project.\u003c/p>\n\u003cp>“Our partnership with Netflix is something we’re incredibly proud of, and while we don’t have anything more to share right now, we’re excited to reveal details on these projects later in the year,” Telltale \u003ca href=\"https://twitter.com/telltalegames/status/1006996305082630144\" rel=\"noopener\" target=\"_blank\">posted on Twitter \u003c/a>Wednesday.\u003c/p>\n\u003cp>Three former LucasArts employees — Dan Connors, Kevin Bruner and Troy Molander — founded Telltale in 2004, following LucasArts’s cancellation of a game they worked on together called \u003ci>Sam & Max Hit the Road.\u003c/i> The company went on to create games for movies such as \u003cem>Back to the Future\u003c/em> and \u003cem>Jurassic Park\u003c/em>. But Telltale saw its first big success with the episodic game it created based on \u003ci>The Walking Dead\u003c/i> comic and television series. Upon its release in 2012, the game sold a million copies in 20 days. Telltale went on to develop four more games in the series.\u003c/p>\n\u003cfigure id=\"attachment_13835104\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Minecraft-screenshot-800x450.jpg\" alt=\"Screenshot from 'Minecraft: Story Mode'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13835104\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Minecraft-screenshot-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Minecraft-screenshot-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Minecraft-screenshot-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Minecraft-screenshot-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Minecraft-screenshot.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Minecraft-screenshot-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Minecraft-screenshot-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Minecraft-screenshot-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Minecraft-screenshot-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Minecraft-screenshot-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Screenshot from ‘Minecraft: Story Mode.’ \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Building on its cinematic, episodic style developed for the \u003ci>The Walking Dead\u003c/i> games, it then produced games for notable properties such as \u003ci>Game of Thrones\u003c/i> and \u003ci>Guardians of the Galaxy.\u003c/i> Continuing successes led the company to grow to 400 employees, but the company couldn’t sustain the staffing level and it \u003ca href=\"https://www.usgamer.net/articles/exclusive-how-a-culture-of-crunch-brought-telltale-from-critical-darlings-to-layoffs\" rel=\"noopener\" target=\"_blank\">laid off 90 employees\u003c/a> — 25 percent of its staff — last year.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The deal Telltale inked with Netflix means two different products for the two licensed properties, \u003ci> Minecraft\u003c/i> and \u003ci>Stranger Things.\u003c/i>\u003ca href=\"https://www.techradar.com/news/netflix-to-add-games-to-its-service-including-stranger-things-and-minecraft\" rel=\"noopener\" target=\"_blank\"> TechRadar reports\u003c/a> that \u003cem>Minecraft: Story Mode\u003c/em> is a five-part interactive story series similar to other Netflix properties. \u003c/p>\n\u003cp>“It’s an extension of our other interactive stories we have on our service like \u003cem>Stretch Armstrong: The Breakout\u003c/em>, \u003cem>Puss in Book: Trapped in an Epic Tale\u003c/em> and \u003cem>Buddy Thunderstruck: The Maybe Pile\u003c/em>,” a Netflix representative \u003ca href=\"https://www.polygon.com/tv/2018/6/13/17460834/netflix-telltale-minecraft-story-mode-stranger-things-game\" rel=\"noopener\" target=\"_blank\">told Polygon\u003c/a>. \u003c/p>\n\u003cp>However, the \u003ci>Stranger Things\u003c/i> game will not be available for streaming on Netflix, as it is just a part of the streaming service’s marketing strategy.\u003c/p>\n\u003cp>“We don’t have any plans to get into gaming,” Netflix told TechRadar. “There’s a broad spectrum of entertainment available today. Games have become increasingly cinematic, but we view this as interactive narrative storytelling on our service.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Stranger Things,\u003c/i> a sci-fi horror series steeped in ’80s nostalgia, premiered on Netflix in 2016, becoming a sensation practically overnight. The third season of the show is currently in production.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Eight-year-old Yoyoka Soma’s favorite drummer is John Bonham, so for her entry into the 2018 \u003ca href=\"https://hitlikeagirlcontest.com/\" target=\"_blank\" rel=\"noopener\">Hit Like A Girl\u003c/a> drum contest, she covered Bonham’s part on \u003ca href=\"https://www.npr.org/artists/15396553/led-zeppelin\">Led Zeppelin’s\u003c/a> “Good Times Bad Times.”\u003c/p>\n\u003cp>The video, \u003ca href=\"https://vimeo.com/263985244?ref=fb-share&1\" target=\"_blank\" rel=\"noopener\">which features Soma playing along to the 1969 hit\u003c/a>, earned her a spot in the international competition’s final round. She didn’t take home the gold, but she did win our hearts.\u003c/p>\n\u003cp>She absolutely smashes through the song with three foot pedals and polka dot socks putting in bass work. She’s even got the facials and head banging down. And the dampening of the cymbal is a detail only a tenured drummer like herself could add.\u003c/p>\n\u003cp>Soma has been playing drums since the tender age of 2. At 4, she started performing at concerts, and now she’s been on over 100 stages. She’s a member of her family band, Kaneaiyoyoka, where she contributes keyboard and vocals in addition to drums. She even composes her own lyrics and music.\u003c/p>\n\u003cp>“I want to be an artist who can do anything: playing all instruments, recording music, mixing the sound and designing the CD album jackets,” she said in a statement accompanying her entry.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>She’s even studying English, knowing that future world-wide tours will take her from Japan to all parts of the globe.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“My dream is to be the best drummer in the world,” she said.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Watch+This+8-Year-Old+Girl+Crush+Led+Zeppelin%27s+%27Good+Times+Bad+Times%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Eight-year-old Yoyoka Soma’s favorite drummer is John Bonham, so for her entry into the 2018 \u003ca href=\"https://hitlikeagirlcontest.com/\" target=\"_blank\" rel=\"noopener\">Hit Like A Girl\u003c/a> drum contest, she covered Bonham’s part on \u003ca href=\"https://www.npr.org/artists/15396553/led-zeppelin\">Led Zeppelin’s\u003c/a> “Good Times Bad Times.”\u003c/p>\n\u003cp>The video, \u003ca href=\"https://vimeo.com/263985244?ref=fb-share&1\" target=\"_blank\" rel=\"noopener\">which features Soma playing along to the 1969 hit\u003c/a>, earned her a spot in the international competition’s final round. She didn’t take home the gold, but she did win our hearts.\u003c/p>\n\u003cp>She absolutely smashes through the song with three foot pedals and polka dot socks putting in bass work. She’s even got the facials and head banging down. And the dampening of the cymbal is a detail only a tenured drummer like herself could add.\u003c/p>\n\u003cp>Soma has been playing drums since the tender age of 2. At 4, she started performing at concerts, and now she’s been on over 100 stages. She’s a member of her family band, Kaneaiyoyoka, where she contributes keyboard and vocals in addition to drums. She even composes her own lyrics and music.\u003c/p>\n\u003cp>“I want to be an artist who can do anything: playing all instruments, recording music, mixing the sound and designing the CD album jackets,” she said in a statement accompanying her entry.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>She’s even studying English, knowing that future world-wide tours will take her from Japan to all parts of the globe.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“My dream is to be the best drummer in the world,” she said.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Watch+This+8-Year-Old+Girl+Crush+Led+Zeppelin%27s+%27Good+Times+Bad+Times%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"800\" height=\"450\" src=\"https://www.npr.org/templates/event/embeddedVideo.php?storyId=615752582&mediaId=615791546\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Black Thought rarely unmasks.\u003c/p>\n\u003cp>Not even in our in-depth interview, which lasted more than an hour, did he remove the shades that enable him to observe the world — and reflect a bit of its pain – while concealing his own. Yet the story he shared of personal trauma and transcendence reveals so much more.\u003c/p>\n\u003cp>His moniker, Black Thought, has always been a double-entendre that felt like it belonged to all of us for the way it communicates a collective angst and rage, darkness and genius. For the South Philly-bred co-founder of The Roots, born Tariq Trotter, that nuance is equally reflected in his life and rhymes. It’s lent him a depth and duality rare in this age. To find his equal, one almost must look beyond the confines of rap.\u003c/p>\n\u003cp>Onstage at Washington D.C.’s Kennedy Center in April at a dramatic stage reading of Ta-Nehisi Coates’ book \u003cem>Between the World and Me\u003c/em>, Black Thought delivered a gripping remix of his \u003ca href=\"https://www.youtube.com/watch?v=M8DxO-66jrA\">Harvard University freestyle\u003c/a> at the climactic high point of the performance:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Black as oblivion\u003c/em>\u003cbr>\n\u003cem>Black as obsidian\u003c/em>\u003cbr>\n\u003cem>Black as the sky at midnight ante meridian\u003c/em>\u003cbr>\n\u003cem>I am black as a portrait with Diddy, 2Pac and Biggie in\u003c/em>\u003cbr>\n\u003cem>Black as the influence on the culture we living in\u003c/em>\u003c/p>\n\u003cp>When Coates took the stage near the program’s conclusion, the celebrated chronicler of contemporary black American life paused first to pay respect to his literary peer. Looking over at the bearded and brimmed Black Thought, Coates nodded and told the crowd, “I wish I wrote them Thought verses. I’d trade this whole book for that, man.”\u003c/p>\n\u003cp>It was a huge accolade from one clear-eyed realist to another.\u003c/p>\n\u003cp>Black Thought’s been basking in overdue props lately. The viral \u003ca href=\"https://www.npr.org/sections/therecord/2017/12/15/571088054/heres-why-black-thoughts-10-minute-freestyle-is-so-remarkable\">Hot 97 freestyle\u003c/a> that sent the Internet into a tizzy six months ago made him something of an anomaly — a hip-hop vet, 30 years into his career, finally recognized for being at the top of his game.\u003c/p>\n\u003cp>Now, with the release of his first side project, \u003cem>Streams of Thought Vol. 1\u003c/em> (produced by 9th Wonder and The Soul Council), he’s further emerging from the shadows. It’s a new reckoning for an artful dodger who’s always excelled at drawing complex illustrations while disappearing into his own canvas, but he stops short of calling \u003cem>Streams of Thought\u003c/em> a solo project. For Black Thought, the appeal of a collaborative series featuring a rotating cast of producers is less about hogging the spotlight than delivering stream-of-consciousness flows without the meticulous plotting associated with The Roots’ high-concept approach.\u003c/p>\n\u003cp>But there’s a bigger reveal behind Black Thought’s album release, and it drove our conversation, which took place in Manhattan in April. By 16, he’d lost both parents and found his life’s calling. It became his saving grace. At 46, he’s beginning to unmask in music and life. And it feels like the self-professed introvert is honing in on another growth spurt, 30 years later.\u003c/p>\n\u003cp>There’s a line from \u003cem>Between the World and Me\u003c/em> in which Coates writes to his son, “Part of me thinks that your very vulnerability brings you closer to the meaning of life.” After a career spent processing all our angst and pain, Black Thought is finding comfort with baring open to the world his whole soul.\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview Highlights\u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>Black Thought on Ta-Nehisi Coates saying he’d trade \u003c/strong>\u003cstrong>\u003cem>Between the World and Me\u003c/em>\u003c/strong>\u003cstrong> for Black Thought’s verses\u003c/strong>\u003c/p>\n\u003cp>For me it lent a certain sort of validity to what I’m doing, what I’ve been doing. We communicate via social media and had been doing so for the past couple of years. But we met in person earlier in the week at the same sort of event at the Apollo, and it was there that he kind of revealed to me that during that time in his life when he was still trying to become a writer and trying to be a writer, that my style of writing on a particular record — I think it was the \u003cem>Things Fall Apart\u003c/em> album — was what he was kind of modeling his style of writing after. He was trying to capture a similar voice. So I was super-impressed by that and I just felt like it was a moment in which things had sort of come full circle. Because I’ve definitely been inspired by the book and by his writing. So, to come to the realization that my work inspired the work that, in turn, re-inspired — it was just a dope sort of revelation.\u003c/p>\n\u003cp>\u003cstrong>On learning later in life of his father’s connections to the Philly Black Mafia\u003c/strong>\u003c/p>\n\u003cp>I was, I want to say, 6 or 7 or so when I really began to realize my father was murdered. But as far back as I can remember I’d always known that he had passed away. Even now, I continue to just acquire little tidbits of information. I might run into somebody on the street who’s like, “I’m a big fan. By the way, I was a good friend of your father’s.” And they’ll give me some information, something that I may not have ever known about my father in the way he was. Just because it was the ’70s at the time that I lost my father — there wasn’t as much documentation. There were a couple stories, like newspaper clippings, that were around the time that his body was found. But this is the era of microfiche as opposed to just being able to Google what had taken place. There have been some books that have come out over the years about the Philly Black Mafia, or an organization called Black Brothers, Inc. And just information that has come out in more recent years about a particular mosque in Philly, Mosque No. 12 in the Philadelphia Islamic community at that time, that has shed a little bit more light on my father and what his sort of dealings were — one side of what his dealings were. But there’s still very much that remains a mystery to me, even to this day.\u003c/p>\n\u003cp>\u003cstrong>On the harsh reality of losing his mother as a teenager\u003c/strong>\u003c/p>\n\u003cp>Knowing that she was a fighter, I know that she put up as much of a fight as she could. But we lost her. No one had heard from her for about three or four days, which seemed strange. She would go on binges; she would disappear sometimes for 24 hours, maybe 48 hours at a time. But when you start hitting three days, four days, it’s like, what’s up. And the sad part about growing up where I did and when I did is, when you haven’t heard from someone for a couple of days, the first thing we do instinctively is start the search. We start with the hospitals and then we start with the jails and then we start, you know, beyond that it’s the morgue, you know what I mean. So as we expanded our search, my mother was found to have been in the morgue. And it was it was crazy. Our gut told us that we had found her, but she wasn’t identifiable. We had to identify her by some old dental records. So it was crazy, it was messy, and we couldn’t have an open-casket funeral. The worst that you could expect is the end that she met.”\u003c/p>\n\u003cp>\u003cstrong>On using art to heal personal tragedy\u003c/strong>\u003c/p>\n\u003cp>For me, the arts has always been sort of my saving grace. The moments in life that I cherish most were those brief moments when I would get to escape: either like mentally I would get to escape, because I would be deep in the creative process, or physically — I would leave the neighborhood for a little bit to go to art class on Saturday mornings, or in the summertime my mom would sign me up for art camp, and that took place out in the middle of Fairmount Park in Philly. So just those little small pockets of getting away from the neighborhood gave me just a different perspective when I returned. Yeah, it’s always been, for me, about the arts.\u003c/p>\n\u003cp>\u003cstrong>On overcoming his early doubts about The Roots\u003c/strong>\u003c/p>\n\u003cp>We had reached a point during that time where it was like, ahh, maybe this isn’t the best idea. Maybe live instrumentation with me rapping over it wasn’t the best plan. There weren’t very many other artists who were doing that at the time and, I don’t know, sometimes you second-guess yourself. You, know you think, “Well, I think I should just get a DJ, because that would be a better format within which to showcase my skills.” I felt like the band at the time, like just how cumbersome the instruments were — a huge upright bass and then Questlove, you know, a big dude on the drums — I felt like that was all taking away, sort of, from the focus on me. That being said, we took it to the streets sort of as a last resort — like, “Well, let’s just go and see if this works out.”\u003c/p>\n\u003cp>\u003cstrong>On the overwhelming response to his Hot 97 freestyle\u003c/strong>\u003c/p>\n\u003cp>The art of lyricism is now in its greatest decline. That’s why it’s like, somebody comes out and you drop some bars of substance, it’s like it’s amazing. It’s like a unicorn. But, you know, I come from a school. People who have known me for years, they were less than impressed. Like, “I’ve seen you do better.” You know what I mean? They pick out little mistakes: “Oh, you faltered here. This syllable came out weird.” And that’s cool, you know what I’m saying — because that’s how they know me. But I feel like the standard, like the bar right now, is particularly low. So I’m continually trying to raise the bar.”\u003c/p>\n\u003cp>\u003cstrong>On putting off solo pursuits for years out of obligation to The Roots as a collective\u003c/strong>\u003c/p>\n\u003cp>It’s always been about the greater good of our organization for me. All those solo efforts that I’ve announced, it breathes new life into the awareness of me as an artist. The Roots brand always has to be maintained, and we’re just at a place now where prime-time TV affords us a different sort of visibility and I’m able to kind of take a step back and focus on some of the other creative energy that I still need to get out. None of this is my solo album. It’s just a chance to see me in a different light doing a different thing.\u003c/p>\n\u003cp>\u003cstrong>On whether his rap moniker, Black Thought, is too black for TV\u003c/strong>\u003c/p>\n\u003cp>It has presented \u003cem>some\u003c/em> internal conflict, and the way I address it is just maintaining that separatism. The fact that Jimmy refers to me only as Tariq on prime-time television is right on par with me making a conscious effort to be more vulnerable and show more vulnerability and to be more human and to be more accessible to my audience. In the beginning, I stopped wearing sunglasses and everything. When we started the show, that was short-lived. But yeah, I was trying to just be more transparent in that way. I feel like Black Thought is a name that has so much meaning and depth, not only to me but to my fans, that it’s something that I wanted to hold onto a little bit tighter. At the onset of late night with Jimmy Fallon when it was like, “What are we going to refer to you guys as?” I don’t know, I chose to [be] Tariq.\u003c/p>\n\u003cp>\u003cstrong>On frequently being mistaken for Rick Ross\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Something that is funny, that I use sometimes if I’m doing comedy, is the fact that I’m now often mistaken for the rapper Rick Ross. And I don’t know that I’ve ever corrected anyone — like I’ve never said, “No no, I’m not Rick Ross, I’m Black Thought from The Roots.” Sometimes little kids come up to me shaking: “You mind if I take a picture?” And I’ll take a picture and I’ll hear one whisper to the other: ‘I \u003cem>love \u003c/em>Rick Ross.” Or someone will come up to me on the street, you know, and say “bawse.” Just a couple weeks ago I went to Puerto Rico to do a benefit concert down there. I arrived at the hotel, the doorman came and opened the car door and I stepped out, and dude was talking and I just heard him — in broken English because he had, like, a Spanish accent — I heard him, just, “\u003cem>Welcome, Mr. Ross\u003c/em>.” I’d rather not correct them. I let people have that moment, because for them it’s just as special. I don’t say, “No, no. It’s me, the dude from The Roots.” But sometimes I’ve had people come in [and] talk to me for you know five, seven, 10 minutes about how I’ve impacted their lives and, you know, how important my music has been. And I might start to assume that they recognize me. And then they’ll get to the end and it’s like, you know, ‘Thank you, Rick.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Between+The+World+And+Black+Thought&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"800\" height=\"450\" src=\"https://www.npr.org/templates/event/embeddedVideo.php?storyId=615752582&mediaId=615791546\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Black Thought rarely unmasks.\u003c/p>\n\u003cp>Not even in our in-depth interview, which lasted more than an hour, did he remove the shades that enable him to observe the world — and reflect a bit of its pain – while concealing his own. Yet the story he shared of personal trauma and transcendence reveals so much more.\u003c/p>\n\u003cp>His moniker, Black Thought, has always been a double-entendre that felt like it belonged to all of us for the way it communicates a collective angst and rage, darkness and genius. For the South Philly-bred co-founder of The Roots, born Tariq Trotter, that nuance is equally reflected in his life and rhymes. It’s lent him a depth and duality rare in this age. To find his equal, one almost must look beyond the confines of rap.\u003c/p>\n\u003cp>Onstage at Washington D.C.’s Kennedy Center in April at a dramatic stage reading of Ta-Nehisi Coates’ book \u003cem>Between the World and Me\u003c/em>, Black Thought delivered a gripping remix of his \u003ca href=\"https://www.youtube.com/watch?v=M8DxO-66jrA\">Harvard University freestyle\u003c/a> at the climactic high point of the performance:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Black as oblivion\u003c/em>\u003cbr>\n\u003cem>Black as obsidian\u003c/em>\u003cbr>\n\u003cem>Black as the sky at midnight ante meridian\u003c/em>\u003cbr>\n\u003cem>I am black as a portrait with Diddy, 2Pac and Biggie in\u003c/em>\u003cbr>\n\u003cem>Black as the influence on the culture we living in\u003c/em>\u003c/p>\n\u003cp>When Coates took the stage near the program’s conclusion, the celebrated chronicler of contemporary black American life paused first to pay respect to his literary peer. Looking over at the bearded and brimmed Black Thought, Coates nodded and told the crowd, “I wish I wrote them Thought verses. I’d trade this whole book for that, man.”\u003c/p>\n\u003cp>It was a huge accolade from one clear-eyed realist to another.\u003c/p>\n\u003cp>Black Thought’s been basking in overdue props lately. The viral \u003ca href=\"https://www.npr.org/sections/therecord/2017/12/15/571088054/heres-why-black-thoughts-10-minute-freestyle-is-so-remarkable\">Hot 97 freestyle\u003c/a> that sent the Internet into a tizzy six months ago made him something of an anomaly — a hip-hop vet, 30 years into his career, finally recognized for being at the top of his game.\u003c/p>\n\u003cp>Now, with the release of his first side project, \u003cem>Streams of Thought Vol. 1\u003c/em> (produced by 9th Wonder and The Soul Council), he’s further emerging from the shadows. It’s a new reckoning for an artful dodger who’s always excelled at drawing complex illustrations while disappearing into his own canvas, but he stops short of calling \u003cem>Streams of Thought\u003c/em> a solo project. For Black Thought, the appeal of a collaborative series featuring a rotating cast of producers is less about hogging the spotlight than delivering stream-of-consciousness flows without the meticulous plotting associated with The Roots’ high-concept approach.\u003c/p>\n\u003cp>But there’s a bigger reveal behind Black Thought’s album release, and it drove our conversation, which took place in Manhattan in April. By 16, he’d lost both parents and found his life’s calling. It became his saving grace. At 46, he’s beginning to unmask in music and life. And it feels like the self-professed introvert is honing in on another growth spurt, 30 years later.\u003c/p>\n\u003cp>There’s a line from \u003cem>Between the World and Me\u003c/em> in which Coates writes to his son, “Part of me thinks that your very vulnerability brings you closer to the meaning of life.” After a career spent processing all our angst and pain, Black Thought is finding comfort with baring open to the world his whole soul.\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview Highlights\u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>Black Thought on Ta-Nehisi Coates saying he’d trade \u003c/strong>\u003cstrong>\u003cem>Between the World and Me\u003c/em>\u003c/strong>\u003cstrong> for Black Thought’s verses\u003c/strong>\u003c/p>\n\u003cp>For me it lent a certain sort of validity to what I’m doing, what I’ve been doing. We communicate via social media and had been doing so for the past couple of years. But we met in person earlier in the week at the same sort of event at the Apollo, and it was there that he kind of revealed to me that during that time in his life when he was still trying to become a writer and trying to be a writer, that my style of writing on a particular record — I think it was the \u003cem>Things Fall Apart\u003c/em> album — was what he was kind of modeling his style of writing after. He was trying to capture a similar voice. So I was super-impressed by that and I just felt like it was a moment in which things had sort of come full circle. Because I’ve definitely been inspired by the book and by his writing. So, to come to the realization that my work inspired the work that, in turn, re-inspired — it was just a dope sort of revelation.\u003c/p>\n\u003cp>\u003cstrong>On learning later in life of his father’s connections to the Philly Black Mafia\u003c/strong>\u003c/p>\n\u003cp>I was, I want to say, 6 or 7 or so when I really began to realize my father was murdered. But as far back as I can remember I’d always known that he had passed away. Even now, I continue to just acquire little tidbits of information. I might run into somebody on the street who’s like, “I’m a big fan. By the way, I was a good friend of your father’s.” And they’ll give me some information, something that I may not have ever known about my father in the way he was. Just because it was the ’70s at the time that I lost my father — there wasn’t as much documentation. There were a couple stories, like newspaper clippings, that were around the time that his body was found. But this is the era of microfiche as opposed to just being able to Google what had taken place. There have been some books that have come out over the years about the Philly Black Mafia, or an organization called Black Brothers, Inc. And just information that has come out in more recent years about a particular mosque in Philly, Mosque No. 12 in the Philadelphia Islamic community at that time, that has shed a little bit more light on my father and what his sort of dealings were — one side of what his dealings were. But there’s still very much that remains a mystery to me, even to this day.\u003c/p>\n\u003cp>\u003cstrong>On the harsh reality of losing his mother as a teenager\u003c/strong>\u003c/p>\n\u003cp>Knowing that she was a fighter, I know that she put up as much of a fight as she could. But we lost her. No one had heard from her for about three or four days, which seemed strange. She would go on binges; she would disappear sometimes for 24 hours, maybe 48 hours at a time. But when you start hitting three days, four days, it’s like, what’s up. And the sad part about growing up where I did and when I did is, when you haven’t heard from someone for a couple of days, the first thing we do instinctively is start the search. We start with the hospitals and then we start with the jails and then we start, you know, beyond that it’s the morgue, you know what I mean. So as we expanded our search, my mother was found to have been in the morgue. And it was it was crazy. Our gut told us that we had found her, but she wasn’t identifiable. We had to identify her by some old dental records. So it was crazy, it was messy, and we couldn’t have an open-casket funeral. The worst that you could expect is the end that she met.”\u003c/p>\n\u003cp>\u003cstrong>On using art to heal personal tragedy\u003c/strong>\u003c/p>\n\u003cp>For me, the arts has always been sort of my saving grace. The moments in life that I cherish most were those brief moments when I would get to escape: either like mentally I would get to escape, because I would be deep in the creative process, or physically — I would leave the neighborhood for a little bit to go to art class on Saturday mornings, or in the summertime my mom would sign me up for art camp, and that took place out in the middle of Fairmount Park in Philly. So just those little small pockets of getting away from the neighborhood gave me just a different perspective when I returned. Yeah, it’s always been, for me, about the arts.\u003c/p>\n\u003cp>\u003cstrong>On overcoming his early doubts about The Roots\u003c/strong>\u003c/p>\n\u003cp>We had reached a point during that time where it was like, ahh, maybe this isn’t the best idea. Maybe live instrumentation with me rapping over it wasn’t the best plan. There weren’t very many other artists who were doing that at the time and, I don’t know, sometimes you second-guess yourself. You, know you think, “Well, I think I should just get a DJ, because that would be a better format within which to showcase my skills.” I felt like the band at the time, like just how cumbersome the instruments were — a huge upright bass and then Questlove, you know, a big dude on the drums — I felt like that was all taking away, sort of, from the focus on me. That being said, we took it to the streets sort of as a last resort — like, “Well, let’s just go and see if this works out.”\u003c/p>\n\u003cp>\u003cstrong>On the overwhelming response to his Hot 97 freestyle\u003c/strong>\u003c/p>\n\u003cp>The art of lyricism is now in its greatest decline. That’s why it’s like, somebody comes out and you drop some bars of substance, it’s like it’s amazing. It’s like a unicorn. But, you know, I come from a school. People who have known me for years, they were less than impressed. Like, “I’ve seen you do better.” You know what I mean? They pick out little mistakes: “Oh, you faltered here. This syllable came out weird.” And that’s cool, you know what I’m saying — because that’s how they know me. But I feel like the standard, like the bar right now, is particularly low. So I’m continually trying to raise the bar.”\u003c/p>\n\u003cp>\u003cstrong>On putting off solo pursuits for years out of obligation to The Roots as a collective\u003c/strong>\u003c/p>\n\u003cp>It’s always been about the greater good of our organization for me. All those solo efforts that I’ve announced, it breathes new life into the awareness of me as an artist. The Roots brand always has to be maintained, and we’re just at a place now where prime-time TV affords us a different sort of visibility and I’m able to kind of take a step back and focus on some of the other creative energy that I still need to get out. None of this is my solo album. It’s just a chance to see me in a different light doing a different thing.\u003c/p>\n\u003cp>\u003cstrong>On whether his rap moniker, Black Thought, is too black for TV\u003c/strong>\u003c/p>\n\u003cp>It has presented \u003cem>some\u003c/em> internal conflict, and the way I address it is just maintaining that separatism. The fact that Jimmy refers to me only as Tariq on prime-time television is right on par with me making a conscious effort to be more vulnerable and show more vulnerability and to be more human and to be more accessible to my audience. In the beginning, I stopped wearing sunglasses and everything. When we started the show, that was short-lived. But yeah, I was trying to just be more transparent in that way. I feel like Black Thought is a name that has so much meaning and depth, not only to me but to my fans, that it’s something that I wanted to hold onto a little bit tighter. At the onset of late night with Jimmy Fallon when it was like, “What are we going to refer to you guys as?” I don’t know, I chose to [be] Tariq.\u003c/p>\n\u003cp>\u003cstrong>On frequently being mistaken for Rick Ross\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Something that is funny, that I use sometimes if I’m doing comedy, is the fact that I’m now often mistaken for the rapper Rick Ross. And I don’t know that I’ve ever corrected anyone — like I’ve never said, “No no, I’m not Rick Ross, I’m Black Thought from The Roots.” Sometimes little kids come up to me shaking: “You mind if I take a picture?” And I’ll take a picture and I’ll hear one whisper to the other: ‘I \u003cem>love \u003c/em>Rick Ross.” Or someone will come up to me on the street, you know, and say “bawse.” Just a couple weeks ago I went to Puerto Rico to do a benefit concert down there. I arrived at the hotel, the doorman came and opened the car door and I stepped out, and dude was talking and I just heard him — in broken English because he had, like, a Spanish accent — I heard him, just, “\u003cem>Welcome, Mr. Ross\u003c/em>.” I’d rather not correct them. I let people have that moment, because for them it’s just as special. I don’t say, “No, no. It’s me, the dude from The Roots.” But sometimes I’ve had people come in [and] talk to me for you know five, seven, 10 minutes about how I’ve impacted their lives and, you know, how important my music has been. And I might start to assume that they recognize me. And then they’ll get to the end and it’s like, you know, ‘Thank you, Rick.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Between+The+World+And+Black+Thought&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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},
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"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
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},
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},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
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"order": 10
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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},
"closealltabs": {
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"order": 1
},
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
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"freakonomics-radio": {
"id": "freakonomics-radio",
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"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"meta": {
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"source": "NPR"
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"order": 15
},
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"order": 18
},
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
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