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"content": "\u003cp>Amid all the Internet is capable of — instant news updates, ranking everything from \u003ca href=\"https://www.npr.org/series/534681404/best-music-of-2018\">albums \u003c/a>to \u003ca href=\"https://www.npr.org/2018/11/20/668372321/turning-the-tables-your-list-of-the-21st-centurys-most-influential-women-musicia\">influential artists\u003c/a>, \u003ca href=\"https://www.npr.org/2017/05/02/526514168/why-social-media-isnt-always-very-social\">exacerbating our FOMO\u003c/a> — a pure-hearted collaboration occasionally arises to remind us why we’re all still here, clicking around. \u003ca href=\"https://www.npr.org/artists/90283085/queen\">Queen\u003c/a>‘s “Bohemian Rhapsody,” performed by 28 trombonists, is the Internet content you didn’t know you needed today.\u003c/p>\n\u003cp>[contextly_sidebar id=”xhFw1hWbN6SJGMUW5E0yJQYd1TVToFAy”]\u003c/p>\n\u003cp>“Bohemian Rhapsody” covers are plentiful enough that choosing only a few to highlight would be impossible, although \u003ca href=\"https://www.youtube.com/watch?v=eOU6UAjmVIk\">this toddler\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=cZnBNuqqz5g\">this Green Day concert\u003c/a> come to mind. Recorded during the 2018 \u003ca href=\"https://trombonefestival.net/\">International Trombone Festival\u003c/a>, this brass choir elevates the cover game. The mournful slide of the trombone — a highlight during the ballad-like verses — and the brassy, anthemic crescendo after the head-banging bridge creates a unexpectedly heartening rendition of the rocking original.\u003c/p>\n\u003cp>[contextly_sidebar id=”D3dkZcvZ9fVL9a3KKZGoY8RKdppLFLie”]\u003c/p>\n\u003cp>The video was produced by \u003ca href=\"https://classicaltrombone.com/about/\">Christopher Bill\u003c/a>, a trombonist and \u003ca href=\"https://www.youtube.com/channel/UCr-U9BPniu4AQA16baIPHYQ\">prolific YouTuber\u003c/a>, to draw attention to next year’s International Trombone Festival. How effective is this video as a call to enroll? Let’s just say the organizers might find a few beginners in the mix this summer, newly inspired to take up the instrument.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=28+Trombonists+Play+%27Bohemian+Rhapsody%2C%27+Will+Send+Shivers+Down+Your+Spine&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>Stephen Hillenburg, who created SpongeBob SquarePants and the absurd undersea world he inhabited, has died at age 57, Nickelodeon announced Tuesday. Hillenburg died Monday of Lou Gehrig’s disease, also known as ALS, the cable network said in a statement. He was 57.\u003c/p>\n\u003cp>Hillenburg had announced he had the disease in March 2017. His death comes just weeks after the passing of another cartoon hero in Marvel creator Stan Lee.\u003c/p>\n\u003cp>An Oklahoma native with a love of both drawing and marine biology, Hillenburg conceived, wrote, produced and directed the animated series that began in 1999 and went on to spawn hundreds of episodes, movies and a Broadway show.\u003c/p>\n\u003cp>“He was a beloved friend and long-time creative partner to everyone at Nickelodeon, and our hearts go out to his entire family,” Nickelodeon’s statement said. “Steve imbued ‘SpongeBob SquarePants’ with a unique sense of humor and innocence that has brought joy to generations of kids and families everywhere. His utterly original characters and the world of Bikini Bottom will long stand as a reminder of the value of optimism, friendship and the limitless power of imagination.”\u003c/p>\n\u003cp>The absurdly jolly SpongeBob, his starfish sidekick Patrick, and a vast cast of oceanic creatures quickly appealed to college kids and parents as much as it did kids.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The fact that it’s undersea and isolated from our world helps the characters maintain their own culture,” Hillenburg told The Associated Press in 2001. “The essence of the show is that SpongeBob is an innocent in a world of jaded characters. The rest is absurd packaging.”\u003c/p>\n\u003cp>Born at his father’s army post in Lawton, Oklahoma, Hillenburg graduated from Humboldt State University in California in 1984 with a degree in natural resource planning with an emphasis on marine resources, and went on to teach marine biology at the Orange County Marine Institute.\u003c/p>\n\u003cp>He shifted to drawing and earned a master of fine arts degree in animation from the California Institute of the Arts in 1992.\u003c/p>\n\u003cp>That same year he created an animated short called “Wormholes” that won festival plaudits and helped land him a job on the Nickelodeon show “Rocko’s Modern Life,” where he worked from 1993 to 1996 before he began to build SpongeBob’s undersea world of Bikini Bottom, which showed off his knowledge of marine life and willingness to throw all the details out the window.\u003c/p>\n\u003cp>“We know that fish don’t walk,” he told the AP, “and that there is no organized community with roads, where cars are really boats. And if you know much about sponges, you know that living sponges aren’t square.”\u003c/p>\n\u003cp>The show was an immediate hit that has lost no momentum in the nearly 20 years since its creation. Its nearly 250 episodes have won four Emmys and 15 Kids Choice Awards, and led to an endless line of merchandise to rival any other pop cultural phenomenon of the 2000s.\u003c/p>\n\u003cp>In 2004, the show shifted to the big screen with “The SpongeBob SquarePants Movie” and a 2015 sequel, “The SpongeBob Movie: Sponge Out of Water.”\u003c/p>\n\u003cp>A musical stage adaptation bowed on Broadway in 2017, with music from such stars as Steven Tyler, Sara Bareilles and John Legend. It earned 12 Tony Award nominations, including one for best performance by a leading actor for Ethan Slater.\u003c/p>\n\u003cp>“I am heartbroken to hear of the passing of Stephen Hillenburg,” Slater said in an email Tuesday. “Through working on ‘SpongeBob,’ I got to know him not only as a creative genius, but as a truly generous and kind person. He warmly embraced us on Broadway as the newest members of his wonderful ‘SpongeBob’ family, and made it so clear from the get-go why he is so beloved: genuine kindness.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Hillenburg is survived by his wife of 20 years Karen Hillenburg, son Clay, mother Nancy Hillenburg, and a brother, Brian Kelly Hillenburg.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Stephen Hillenburg, who created SpongeBob SquarePants and the absurd undersea world he inhabited, has died at age 57, Nickelodeon announced Tuesday. Hillenburg died Monday of Lou Gehrig’s disease, also known as ALS, the cable network said in a statement. He was 57.\u003c/p>\n\u003cp>Hillenburg had announced he had the disease in March 2017. His death comes just weeks after the passing of another cartoon hero in Marvel creator Stan Lee.\u003c/p>\n\u003cp>An Oklahoma native with a love of both drawing and marine biology, Hillenburg conceived, wrote, produced and directed the animated series that began in 1999 and went on to spawn hundreds of episodes, movies and a Broadway show.\u003c/p>\n\u003cp>“He was a beloved friend and long-time creative partner to everyone at Nickelodeon, and our hearts go out to his entire family,” Nickelodeon’s statement said. “Steve imbued ‘SpongeBob SquarePants’ with a unique sense of humor and innocence that has brought joy to generations of kids and families everywhere. His utterly original characters and the world of Bikini Bottom will long stand as a reminder of the value of optimism, friendship and the limitless power of imagination.”\u003c/p>\n\u003cp>The absurdly jolly SpongeBob, his starfish sidekick Patrick, and a vast cast of oceanic creatures quickly appealed to college kids and parents as much as it did kids.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The fact that it’s undersea and isolated from our world helps the characters maintain their own culture,” Hillenburg told The Associated Press in 2001. “The essence of the show is that SpongeBob is an innocent in a world of jaded characters. The rest is absurd packaging.”\u003c/p>\n\u003cp>Born at his father’s army post in Lawton, Oklahoma, Hillenburg graduated from Humboldt State University in California in 1984 with a degree in natural resource planning with an emphasis on marine resources, and went on to teach marine biology at the Orange County Marine Institute.\u003c/p>\n\u003cp>He shifted to drawing and earned a master of fine arts degree in animation from the California Institute of the Arts in 1992.\u003c/p>\n\u003cp>That same year he created an animated short called “Wormholes” that won festival plaudits and helped land him a job on the Nickelodeon show “Rocko’s Modern Life,” where he worked from 1993 to 1996 before he began to build SpongeBob’s undersea world of Bikini Bottom, which showed off his knowledge of marine life and willingness to throw all the details out the window.\u003c/p>\n\u003cp>“We know that fish don’t walk,” he told the AP, “and that there is no organized community with roads, where cars are really boats. And if you know much about sponges, you know that living sponges aren’t square.”\u003c/p>\n\u003cp>The show was an immediate hit that has lost no momentum in the nearly 20 years since its creation. Its nearly 250 episodes have won four Emmys and 15 Kids Choice Awards, and led to an endless line of merchandise to rival any other pop cultural phenomenon of the 2000s.\u003c/p>\n\u003cp>In 2004, the show shifted to the big screen with “The SpongeBob SquarePants Movie” and a 2015 sequel, “The SpongeBob Movie: Sponge Out of Water.”\u003c/p>\n\u003cp>A musical stage adaptation bowed on Broadway in 2017, with music from such stars as Steven Tyler, Sara Bareilles and John Legend. It earned 12 Tony Award nominations, including one for best performance by a leading actor for Ethan Slater.\u003c/p>\n\u003cp>“I am heartbroken to hear of the passing of Stephen Hillenburg,” Slater said in an email Tuesday. “Through working on ‘SpongeBob,’ I got to know him not only as a creative genius, but as a truly generous and kind person. He warmly embraced us on Broadway as the newest members of his wonderful ‘SpongeBob’ family, and made it so clear from the get-go why he is so beloved: genuine kindness.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Hillenburg is survived by his wife of 20 years Karen Hillenburg, son Clay, mother Nancy Hillenburg, and a brother, Brian Kelly Hillenburg.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Stan Lee, the creative dynamo who revolutionized the comic book and helped make billions for Hollywood by introducing human frailties in superheroes such as Spider-Man, the Fantastic Four and the Incredible Hulk, died Monday. He was 95.\u003c/p>\n\u003cp>Lee was declared dead at Cedars-Sinai Medical Center in Los Angeles, according to Kirk Schenck, an attorney for Lee’s daughter, J.C. Lee.\u003c/p>\n\u003cp>As the top writer at Marvel Comics and later as its publisher, Lee was widely considered the architect of the contemporary comic book. He revived the industry in the 1960s by offering the costumes and action craved by younger readers while insisting on sophisticated plots, college-level dialogue, satire, science fiction, even philosophy.\u003c/p>\n\u003cp>Millions responded to the unlikely mix of realistic fantasy, and many of his characters, including Spider-Man, the Hulk and X-Men went on to become stars of blockbuster films. Recent projects he helped make possible range from the films \u003cem>Black Panther\u003c/em> and \u003cem>Doctor Strange\u003c/em> to such TV series as \u003cem>Agents of S.H.I.E.L.D\u003c/em> and \u003cem>Guardians of the Galaxy\u003c/em>.\u003c/p>\n\u003cp>“I think everybody loves things that are bigger than life. … I think of them as fairy tales for grown-ups,” he told The Associated Press in a 2006 interview. “We all grew up with giants and ogres and witches. Well, you get a little bit older and you’re too old to read fairy tales. But I don’t think you ever outgrow your love for those kind of things, things that are bigger than life and magical and very imaginative.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Lee considered the comic-book medium an art form and he was prolific: By some accounts, he came up with a new comic book every day for 10 years.\u003c/p>\n\u003cp>“I wrote so many I don’t even know. I wrote either hundreds or thousands of them,” he told the AP in 2006.\u003c/p>\n\u003cp>He hit his stride in the 1960s when he brought the Fantastic Four, the Hulk, Spider-Man, Iron Man and numerous others to life.\u003c/p>\n\u003cp>“It was like there was something in the air. I couldn’t do anything wrong,” he recalled.\u003c/p>\n\u003cp>His heroes, meanwhile, were a far cry from virtuous do-gooders such as rival DC Comics’ Superman.\u003c/p>\n\u003cp>The Fantastic Four fought with each other. Spider-Man was goaded into superhero work by his alter ego, Peter Parker, who suffered from unrequited crushes, money problems and dandruff. The Silver Surfer, an alien doomed to wander Earth’s atmosphere, waxed about the woeful nature of man. The Hulk was marked by self-loathing. Daredevil was blind and Iron Man had a weak heart.\u003c/p>\n\u003cp>“The beauty of Stan Lee’s characters is that they were characters first and superheroes next,” Jeff Kline, executive producer of the \u003cem>Men in Black\u003c/em> animated television series, told The Blade of Toledo, Ohio, in 1998.\u003c/p>\n\u003cp>Some of Lee’s creations became symbols of social change — the inner turmoil of Spider-Man represented ’60s America, for example, while The Black Panther and The Savage She-Hulk mirrored the travails of minorities and women.\u003c/p>\n\u003cp>Lee scripted most of Marvel’s superhero comics himself during the ’60s, including \u003cem>The Avengers\u003c/em> and the \u003cem>X-Men\u003c/em>, two of the most enduring. In 1972, he became Marvel’s publisher and editorial director; four years later, 72 million copies of \u003cem>Spider-Man\u003c/em> were sold.\u003c/p>\n\u003cp>“He’s become our Mickey Mouse,” he once said of the masked, web-crawling crusader.\u003c/p>\n\u003cp>Lee also published several books, including \u003cem>The Superhero Women\u003c/em> in 1977 and \u003cem>How to Draw Comics the Marvel Way\u003c/em> the following year, when he was named publisher of the year by the Periodical and Book Association of America.\u003c/p>\n\u003cp>CBS turned the Hulk into a successful TV series, with Bill Bixby and Lou Ferrigno portraying the doomed scientist from 1978-82. A Spider-Man series ran briefly in 1978. Both characters were featured in animated TV series as well.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The first big-budget movie based on Lee’s characters, \u003cem>X-Men\u003c/em>, was a smash in 2000, earning more than $130 million at North American theaters. \u003cem>Spider-Man\u003c/em> did even better, taking in more than $400 million in 2002.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Stan Lee, the creative dynamo who revolutionized the comic book and helped make billions for Hollywood by introducing human frailties in superheroes such as Spider-Man, the Fantastic Four and the Incredible Hulk, died Monday. He was 95.\u003c/p>\n\u003cp>Lee was declared dead at Cedars-Sinai Medical Center in Los Angeles, according to Kirk Schenck, an attorney for Lee’s daughter, J.C. Lee.\u003c/p>\n\u003cp>As the top writer at Marvel Comics and later as its publisher, Lee was widely considered the architect of the contemporary comic book. He revived the industry in the 1960s by offering the costumes and action craved by younger readers while insisting on sophisticated plots, college-level dialogue, satire, science fiction, even philosophy.\u003c/p>\n\u003cp>Millions responded to the unlikely mix of realistic fantasy, and many of his characters, including Spider-Man, the Hulk and X-Men went on to become stars of blockbuster films. Recent projects he helped make possible range from the films \u003cem>Black Panther\u003c/em> and \u003cem>Doctor Strange\u003c/em> to such TV series as \u003cem>Agents of S.H.I.E.L.D\u003c/em> and \u003cem>Guardians of the Galaxy\u003c/em>.\u003c/p>\n\u003cp>“I think everybody loves things that are bigger than life. … I think of them as fairy tales for grown-ups,” he told The Associated Press in a 2006 interview. “We all grew up with giants and ogres and witches. Well, you get a little bit older and you’re too old to read fairy tales. But I don’t think you ever outgrow your love for those kind of things, things that are bigger than life and magical and very imaginative.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Lee considered the comic-book medium an art form and he was prolific: By some accounts, he came up with a new comic book every day for 10 years.\u003c/p>\n\u003cp>“I wrote so many I don’t even know. I wrote either hundreds or thousands of them,” he told the AP in 2006.\u003c/p>\n\u003cp>He hit his stride in the 1960s when he brought the Fantastic Four, the Hulk, Spider-Man, Iron Man and numerous others to life.\u003c/p>\n\u003cp>“It was like there was something in the air. I couldn’t do anything wrong,” he recalled.\u003c/p>\n\u003cp>His heroes, meanwhile, were a far cry from virtuous do-gooders such as rival DC Comics’ Superman.\u003c/p>\n\u003cp>The Fantastic Four fought with each other. Spider-Man was goaded into superhero work by his alter ego, Peter Parker, who suffered from unrequited crushes, money problems and dandruff. The Silver Surfer, an alien doomed to wander Earth’s atmosphere, waxed about the woeful nature of man. The Hulk was marked by self-loathing. Daredevil was blind and Iron Man had a weak heart.\u003c/p>\n\u003cp>“The beauty of Stan Lee’s characters is that they were characters first and superheroes next,” Jeff Kline, executive producer of the \u003cem>Men in Black\u003c/em> animated television series, told The Blade of Toledo, Ohio, in 1998.\u003c/p>\n\u003cp>Some of Lee’s creations became symbols of social change — the inner turmoil of Spider-Man represented ’60s America, for example, while The Black Panther and The Savage She-Hulk mirrored the travails of minorities and women.\u003c/p>\n\u003cp>Lee scripted most of Marvel’s superhero comics himself during the ’60s, including \u003cem>The Avengers\u003c/em> and the \u003cem>X-Men\u003c/em>, two of the most enduring. In 1972, he became Marvel’s publisher and editorial director; four years later, 72 million copies of \u003cem>Spider-Man\u003c/em> were sold.\u003c/p>\n\u003cp>“He’s become our Mickey Mouse,” he once said of the masked, web-crawling crusader.\u003c/p>\n\u003cp>Lee also published several books, including \u003cem>The Superhero Women\u003c/em> in 1977 and \u003cem>How to Draw Comics the Marvel Way\u003c/em> the following year, when he was named publisher of the year by the Periodical and Book Association of America.\u003c/p>\n\u003cp>CBS turned the Hulk into a successful TV series, with Bill Bixby and Lou Ferrigno portraying the doomed scientist from 1978-82. A Spider-Man series ran briefly in 1978. Both characters were featured in animated TV series as well.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The first big-budget movie based on Lee’s characters, \u003cem>X-Men\u003c/em>, was a smash in 2000, earning more than $130 million at North American theaters. \u003cem>Spider-Man\u003c/em> did even better, taking in more than $400 million in 2002.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>What if, instead of \u003ca href=\"https://www.kqed.org/news/11685634/in-oakland-more-data-hasnt-meant-less-racial-disparity-during-police-stops\" target=\"_blank\" rel=\"noopener\">arresting disproportionate numbers of people of color\u003c/a>, police handed out compliments and trophies?\u003c/p>\n\u003cp>Enter the Fashion Force, the brainchild of Oakland creative collective \u003ca href=\"http://levanguard.org/\" target=\"_blank\" rel=\"noopener\">Le Vanguard\u003c/a>. The crew of party promoters, visual artists, writers, musicians and skateboarders recently wrapped up filming for the their forthcoming sketch comedy show, \u003cem>Variety Planet\u003c/em>. Today, Le Vanguard shared a hilarious teaser for their “Fashion Force” sketch from the series pilot, where Commander-in-Chic (played by executive producer and Le Vanguard leader Vanessa “Besame” Nguyen) and Sargeant Style (writer-director Xiomara Blanco) ambush random passersby with positive feedback on their outfits.\u003c/p>\n\u003cp>https://youtu.be/LJIxCxHD-UQ\u003c/p>\n\u003cp>Those complimented by the Fashion Force don’t necessarily look like runway models or fashion bloggers with a million Instagram followers. They’re regular people who simply took the time to add a personal element or creative twist to their look.\u003c/p>\n\u003cp>“We just want to say we like your outfit, we like what you’re doing with your life right now,” Blanco says to a guy in camouflage pants and matching hat with Warriors pins, before handing him an award. “Thank you for being alive, you’re doing a great job.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I caught up with Blanco and Nguyen over the phone to get more info on the Fashion Force’s philosophy. “As two women of color, we’re all about about uplifting each other and redefining beauty standards,” Blanco told me. “That’s what I love about the Bay—people aren’t afraid to stand out, be a little weird, be a little bold.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Nguyen and Blanco are currently shopping \u003cem>Variety Planet\u003c/em> to networks, and have a public screening in the works.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What if, instead of \u003ca href=\"https://www.kqed.org/news/11685634/in-oakland-more-data-hasnt-meant-less-racial-disparity-during-police-stops\" target=\"_blank\" rel=\"noopener\">arresting disproportionate numbers of people of color\u003c/a>, police handed out compliments and trophies?\u003c/p>\n\u003cp>Enter the Fashion Force, the brainchild of Oakland creative collective \u003ca href=\"http://levanguard.org/\" target=\"_blank\" rel=\"noopener\">Le Vanguard\u003c/a>. The crew of party promoters, visual artists, writers, musicians and skateboarders recently wrapped up filming for the their forthcoming sketch comedy show, \u003cem>Variety Planet\u003c/em>. Today, Le Vanguard shared a hilarious teaser for their “Fashion Force” sketch from the series pilot, where Commander-in-Chic (played by executive producer and Le Vanguard leader Vanessa “Besame” Nguyen) and Sargeant Style (writer-director Xiomara Blanco) ambush random passersby with positive feedback on their outfits.\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/LJIxCxHD-UQ'\n title='//www.youtube.com/embed/LJIxCxHD-UQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Those complimented by the Fashion Force don’t necessarily look like runway models or fashion bloggers with a million Instagram followers. They’re regular people who simply took the time to add a personal element or creative twist to their look.\u003c/p>\n\u003cp>“We just want to say we like your outfit, we like what you’re doing with your life right now,” Blanco says to a guy in camouflage pants and matching hat with Warriors pins, before handing him an award. “Thank you for being alive, you’re doing a great job.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I caught up with Blanco and Nguyen over the phone to get more info on the Fashion Force’s philosophy. “As two women of color, we’re all about about uplifting each other and redefining beauty standards,” Blanco told me. “That’s what I love about the Bay—people aren’t afraid to stand out, be a little weird, be a little bold.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Nguyen and Blanco are currently shopping \u003cem>Variety Planet\u003c/em> to networks, and have a public screening in the works.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "m-i-a-is-a-difficult-pop-star-so-what-does-that-make-bono",
"title": "If M.I.A. is a 'Difficult' Pop Star, What Does That Make Bono?",
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"headTitle": "If M.I.A. is a ‘Difficult’ Pop Star, What Does That Make Bono? | KQED",
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"content": "\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>[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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"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": "\u003cdiv class=\"post-body\">\u003cp>\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.” \u003c/p>\u003cp>\u003c/p>\u003cp>\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.\u003c/p>\u003cp>\u003c/p>\u003cp>\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>\u003c/p>\u003c/div>",
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"slug": "a-movie-minutely-examined-how-an-obsession-made-an-unusual-podcast",
"title": "A Movie, Minutely Examined: How an Obsession Made an (Unusual) Podcast",
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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>\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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"headline": "At Outside Lands on Friday, LGBTQ Performers Steal the Show",
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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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"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
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},
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
},
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},
"link": "https://www.cityarts.net",
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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.",
"airtime": "THU 10pm, FRI 1am",
"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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}
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"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.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"id": "fresh-air",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"jerrybrown": {
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
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},
"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": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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