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"content": "\u003cfigure id=\"attachment_13979219\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979219\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-10-KQED.jpg\" alt=\"A man in his 50s wearing a polo shirt and beige shorts sits at a cluttered desk, his arm leaned upon a vintage analog tape machine\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-10-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-10-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-10-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-10-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shayne Stacy, founder of the Sacramento Music Archive, works among his collection of analog recordings of concert videos and cassettes in Orangevale, Calif. on July 24, 2025. Stacy has spent years digitizing underground music from Sacramento, the Bay Area and across Northern California, making rare recordings freely accessible online. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a suburban backyard outside of \u003ca href=\"https://www.kqed.org/arts/tag/sacramento\">Sacramento\u003c/a>, I open the door to a giant shed, step inside and get smacked in the face by floor-to-ceiling shelves of music history.\u003c/p>\n\u003cp>VHS tapes. Cassette tapes. Reel-to-reels. DATs. Other formats I don’t recognize, and can’t pronounce. Nearly 20,000 of them, all filled with live shows, demo recordings and concert footage.\u003c/p>\n\u003cp>Down a narrow path through this obsolete physical media, I turn a corner to find Shayne Stacy, 57, sitting at a desk with three monitors and occasionally fiddling with a nearby U-matic machine, an out-of-date piece of video hardware used by TV stations. On the screen, viewed for the first time in 40 years, is a 1980s new wave band performing on a long-lost cable access show from the Central Valley.\u003c/p>\n\u003cp>On any given day, this is where you’ll find Stacy, the founder of the nonprofit \u003ca href=\"https://sacramentomusicarchive.com/\">Sacramento Music Archive\u003c/a>. Just a half-hour’s drive from Sutter’s Mill and its famous California discovery, Stacy tends methodically to his own goldmine: a mass of underground music from Sacramento, the Bay Area and beyond that he’s gradually digitizing and sharing with the world, including rare \u003ca href=\"https://sacramentomusicarchive.com/1990/02/12/nirvana-cattle-club-sacramento-ca-02-12-1990-2-cam-mix/\">early footage of Nirvana\u003c/a>, \u003ca href=\"https://sacramentomusicarchive.com/1994/07/23/metallica-cal-expo-amphitheatre-sacramento-ca-7-23-94-xfer-from-master-tape-enhanced-live/\">Metallica\u003c/a> and \u003ca href=\"https://sacramentomusicarchive.com/1991/10/03/green-day-berkeley-square-10-3-91-xfer-from-master-vhs-tape-complete-show-enhanced/\">Green Day\u003c/a>.\u003c/p>\n\u003cp>“You’d think it’s like this big rock and roll party in here. It’s like this. It’s very quiet, with me working at a keyboard,” Stacy says with a laugh.\u003c/p>\n\u003cfigure id=\"attachment_13979226\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979226\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SacramentoMusicArchive-18_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SacramentoMusicArchive-18_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SacramentoMusicArchive-18_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SacramentoMusicArchive-18_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SacramentoMusicArchive-18_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Sacramento Music Archive began with Shayne Stacy’s own concert recordings of Nirvana, Yo La Tengo, Green Day, Christ on Parade and more, as pictured in Orangevale, Calif. on July 24, 2025. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I first became aware of Stacy’s work during the pandemic, when I noticed people posting video footage of punk shows held 30 years ago that I’d attended, or, even more irresistible, that I’d heard about but been too young to see. I soon found that for those of a certain age and musical bent, scrolling the Sacramento Music Archive was like watching one’s life flash before their eyes: a young \u003ca href=\"https://sacramentomusicarchive.com/1993/05/28/rancid-berkeley-square-berkeley-ca-5-28-93-xfer-from-vhs-c-master-punk-partial-set/\">Rancid finding their footing at Berkeley Square\u003c/a>, \u003ca href=\"https://youtu.be/NxQGByCjPdI?feature=shared&t=484\">Mr. Bungle covering Top 40 radio hits from 1989\u003c/a> in Guerneville, or \u003cem>Maximum Rocknroll\u003c/em> founder \u003ca href=\"https://youtu.be/Pb5X2LrTpjs?feature=shared&t=385\">Tim Yohannon throwing pies at Screeching Weasel\u003c/a> at 924 Gilman.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As for shows that had been uploaded before, like \u003ca href=\"https://sacramentomusicarchive.com/1989/05/28/operation-ivy-924-gilman-berkeley-ca-5-28-89-multicam-w-sony-d6-audio/\">Operation Ivy’s final show\u003c/a>? Stacy consistently seemed to have the best sources, and sometimes from multiple camera angles, too. What’s more, he had over 5,000 shows from all over Northern California from the past 50 years, by punk, metal, modern rock, funk, thrash and indie bands — famous names and obscure footnotes alike. And, remarkably, it was evident he still went out to shows, and filmed new bands.\u003c/p>\n\u003cp>Who was this one-man Library of Congress for West Coast Gen Xers? I had to find out.\u003c/p>\n\u003ch2>Preserving punk history\u003c/h2>\n\u003cp>Born in Auburn in 1967, Stacy had a typical 1970s childhood of watching \u003cem>Scooby Doo\u003c/em> and collecting sports cards. When he was 15, he went by himself to see Iron Maiden and the Scorpions at the Sacramento Memorial Stadium, in 1982, and he still remembers its impact. “As soon as I felt that sound pressure hitting my chest, I’m like, ‘This is the best thing I’ve ever seen,’” he says.\u003c/p>\n\u003cfigure id=\"attachment_13979223\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979223\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-24-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-24-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-24-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-24-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-24-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The boxes of VHS tapes, reel-to-reels and cassettes at the Sacramento Music Archive may seem haphazardly organized, but Shayne Stacy keeps a reliable mental inventory of each tapes’ location. Particularly valuable masters are kept in a 1,000-lb. fire-resistant safe. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Bay Area was a cradle of \u003ca href=\"https://www.kqed.org/arts/10834160/five-of-the-bay-areas-raddest-metal-bands-from-the-80s\">thrash metal\u003c/a> at the time, with bands like Exodus, Possessed and Metallica just starting out. Soon, Stacy was bringing cheap tape recorders to shows, and sharing the results with other fans who traded tapes through the classifieds in the backs of fan magazines. In 1987, after witnessing the El Sobrante punk band Isocracy, who routinely threw heaps of garbage all over the crowd, Stacy had an epiphany.\u003c/p>\n\u003cp>“There’s paper all over the floor, and it’s just a chaotic environment, and I said to myself, ‘I have to buy a video camera to document this stuff,’” Stacy remembers. “I stopped all of my excess expenditures, making five bucks an hour, and saved for four months to buy my own video camera.”\u003c/p>\n\u003cp>Between 1988 and 1992, Stacy estimates, he filmed 240 shows, driving to venues in Sacramento or the Bay Area every weekend. Trading with others through the mail, he amassed even more tapes. But there was a downside: he began seeing his own footage, of shows by \u003ca href=\"https://sacramentomusicarchive.com/1989/08/26/primus-cattle-club-sacramento-ca-8-26-89-xfer-from-8mm-master-live-enhanced/\">Primus\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=KVvJQfgRl7o\">Nirvana\u003c/a> playing at the Cattle Club in Sacramento, bootlegged and sold by others for profit.\u003c/p>\n\u003cp>“It was like, no fun anymore,” Stacy says. “This was supposed to be a hobby I enjoyed, and it turned into this point of frustration. And so I quit. I quit for 10 years.”\u003c/p>\n\u003cfigure id=\"attachment_13979222\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979222\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-22-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-22-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-22-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-22-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-22-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shayne Stacy started out recording metal bands, and once lost a valuable tape of him and a friend hanging out with Slayer backstage in 1988 at The Stone in San Francisco. Miraculously, thanks to the tape-trading circuit, he \u003ca href=\"https://sacramentomusicarchive.com/1988/08/12/slayer-backstage-the-stone-san-francisco-ca-8-12-88/\">got his hands on a copy of it again\u003c/a>. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>YouTube brought him back. Stacy says it “liberated” everything: the fans didn’t have to pay $30 for a grainy VHS tape anymore, the copyright holders got paid — not enough, but something — and he got to enjoy his hobby again. He rushed out and bought the best cassette decks and VCRs he could find, and got to work.\u003c/p>\n\u003cp>One person who noticed the quality of Stacy’s work early on is Wayne Vanderkuil. “I work at Stanford in visual preservation, reformatting, and he had similar equipment to what we have here,” Vanderkuil says. “I was incredibly impressed.”\u003c/p>\n\u003cp>During the tape-trading days, Vanderkuil amassed his own collection of metal bands playing at Ruthie’s Inn, Wolfgang’s or the On Broadway. They sat in storage for 25 years, untouched, he says. “I thought, ‘No one’s ever gonna hear these. I’ll drop dead tomorrow, and there goes history.’”\u003c/p>\n\u003cp>Instead, he donated his tapes to Stacy. Vanderkuil is now president of the board of the Sacramento Music Archive, newly incorporated as a nonprofit, which will allow Stacy — who worked at Intel for 27 years and recently accepted an “incredibly generous” buyout offer — to \u003ca href=\"https://www.patreon.com/c/sacramentomusicarchive/membership\">take donations\u003c/a> and apply for grants. Most importantly, it’ll set up his life’s work to continue into the future. As it stands, only about 5% of the tapes in the archive have been preserved digitally so far.\u003c/p>\n\u003cp>“This is clearly becoming a bigger project than I’ve got time left,” says Stacy.\u003c/p>\n\u003cfigure id=\"attachment_13979220\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979220\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-11-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-11-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-11-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-11-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-11-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shayne Stacy, founder of the Sacramento Music Archive, futzes with a vintage U-matic player in order to get a stubborn TV station cartridge of a Sacramento band to play correctly. ‘Sometimes you get to see me fight with this thing and curse a lot,’ he jokes. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘He really is the go-to’\u003c/h2>\n\u003cp>Publicity and word-of-mouth creates another problem: the piles are growing. Everyone, it seems, has old tapes they want to donate. Waiting to be digitized in the archive are 500 cassettes of free jazz, reel-to-reels of D.R.I. rehearsals at \u003ca href=\"https://www.sfgate.com/sf-culture/article/strangest-200-dollar-apartments-sf-history-20381556.php\">The Vats\u003c/a> and hundreds of videos and soundboard recordings from 924 Gilman. Stacy now has \u003ca href=\"https://sacramentomusicarchive.com/collections/\">over 25 different collections\u003c/a> from DJs, sound engineers, record store owners, zine editors, promoters, cable access hosts and fans.\u003c/p>\n\u003cp>One of them is Arica Pelino, who recently traveled from three states away to Stacy’s archive with a suitcase full of tapes. Pelino toured with Green Day in 1991, and filmed many of their early shows, along with dozens of other bands from the East Bay like Econochrist and Lungbutter. Her tapes sat in storage for more than 20 years, unseen.\u003c/p>\n\u003cp>“If I didn’t meet Shayne, it would still be sitting in boxes,” she says.\u003c/p>\n\u003cp>[aside postID=arts_13968840 hero='https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_03.jpg']She and Stacy spent two days going through her collection, including 22 early Green Day shows that no one had ever seen before, she says, along with \u003ca href=\"https://sacramentomusicarchive.com/1991/09/28/green-day-phoenix-theater-petaluma-ca-9-28-91-uncirculated-preshow-clip-xfer-f-vhs-master-enhanced/\">backstage footage\u003c/a> and \u003ca href=\"https://sacramentomusicarchive.com/1990/01/01/sweet-children-green-day-billie-joes-tape-to-arica-demo-and-7-sessions-tape-complete/\">early demos\u003c/a>.\u003c/p>\n\u003cp>“Shayne really is the owner and the keeper for all of us,” Pelino says. “There’s no one I’d rather do it with. He does a great job, he’s extremely detail-oriented and he puts his all into cleaning up the audio and video. He really is the go-to archive for Northern California, and has captured a significant part of the music scene.”\u003c/p>\n\u003cp>Another donor, Rick Sylvain, who in his 12 years working at Berkeley radio station KALX helped start the long-running \u003cem>KALX Live!\u003c/em> show, with bands playing in the cramped studio.\u003c/p>\n\u003cp>“It was kind of stinky sometimes — they spilled a lot of beer in there — but it was fun, and I taped everything,” he says. “Some of these little bands, it was their one big moment in the sun, and I wanted them to feel like they were stars.”\u003c/p>\n\u003cp>One little band that fulfilled that promise of stardom was AFI, who would go on to headline arenas. Thanks to the Sacramento Music Archive, Sylvain’s cassette of \u003ca href=\"https://sacramentomusicarchive.com/1994/10/07/afi-kalx-live-in-studio-berkeley-ca-10-7-94-xfer-from-pre-fm-master-cassette-a-fire-inside-a-f-i/\">AFI’s 1994 visit to KALX\u003c/a> is now the band’s earliest live recording on YouTube.\u003c/p>\n\u003cfigure id=\"attachment_13979224\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979224\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-28-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-28-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-28-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-28-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-28-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shayne Stacy uploads videos twice a day from his growing collection in a cluttered, air-conditioned shed. ‘I promised my wife that I would digitize this stuff and then get rid of the tapes,’ he says, ‘and I’m having trouble doing that, to be quite frank.’ \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Large companies and record labels have taken notice, and Stacy’s provided them with material for a Nirvana box set, a Pavement film, and various documentaries. He talks just as enthusiastically, however, about forgotten bands like \u003ca href=\"https://sacramentomusicarchive.com/2000/04/12/donner-party-slims-sf-4-12-00-sam-coomes-from-quasis-early-band/\">The Donner Party\u003c/a> or the \u003ca href=\"https://sacramentomusicarchive.com/1987/04/11/slambodians-sproul-plaza-berkeley-ca-4-11-87-xfer-from-master-vhs-tape-east-bay-punk/\">Slambodians\u003c/a>. He’s especially excited about a recent estate sale find of reel-to-reels from a member of Red Asphalt, the early punk band, who lived in Sacramento.\u003c/p>\n\u003cp>And that brings him back to the original purpose of the archive, one it’s clearly outgrown: to legitimize and honor Sacramento as its own distinct music scene. He accepts that “Sacramento Music Archive” is a bit of a misnomer for a massive collection covering the the Bay Area and Northern California.\u003c/p>\n\u003cp>But he likes the name.\u003c/p>\n\u003cp>“I’ve always felt like Sacramento has always been the red-headed stepchild of California,” he says. “The Lakers make fun of the Kings, Southern California makes fun of Sacramento. It’s a cow town, right? So having something that’s culturally enriching, that has the Sacramento label on it, I’m fine with it.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The Sacramento Music Archive can be found at its \u003ca href=\"https://sacramentomusicarchive.com/\">official website\u003c/a> and \u003ca href=\"https://www.youtube.com/@sacramentomusicarchive/videos\">YouTube channel\u003c/a>. Subscribers can \u003ca href=\"https://www.patreon.com/SacramentoMusicArchive\">join the archive’s Patreon\u003c/a> to vote which shows in the archive will get digitized or posted next, or to arrange filming a concert from scratch. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13979219\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979219\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-10-KQED.jpg\" alt=\"A man in his 50s wearing a polo shirt and beige shorts sits at a cluttered desk, his arm leaned upon a vintage analog tape machine\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-10-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-10-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-10-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-10-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shayne Stacy, founder of the Sacramento Music Archive, works among his collection of analog recordings of concert videos and cassettes in Orangevale, Calif. on July 24, 2025. Stacy has spent years digitizing underground music from Sacramento, the Bay Area and across Northern California, making rare recordings freely accessible online. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a suburban backyard outside of \u003ca href=\"https://www.kqed.org/arts/tag/sacramento\">Sacramento\u003c/a>, I open the door to a giant shed, step inside and get smacked in the face by floor-to-ceiling shelves of music history.\u003c/p>\n\u003cp>VHS tapes. Cassette tapes. Reel-to-reels. DATs. Other formats I don’t recognize, and can’t pronounce. Nearly 20,000 of them, all filled with live shows, demo recordings and concert footage.\u003c/p>\n\u003cp>Down a narrow path through this obsolete physical media, I turn a corner to find Shayne Stacy, 57, sitting at a desk with three monitors and occasionally fiddling with a nearby U-matic machine, an out-of-date piece of video hardware used by TV stations. On the screen, viewed for the first time in 40 years, is a 1980s new wave band performing on a long-lost cable access show from the Central Valley.\u003c/p>\n\u003cp>On any given day, this is where you’ll find Stacy, the founder of the nonprofit \u003ca href=\"https://sacramentomusicarchive.com/\">Sacramento Music Archive\u003c/a>. Just a half-hour’s drive from Sutter’s Mill and its famous California discovery, Stacy tends methodically to his own goldmine: a mass of underground music from Sacramento, the Bay Area and beyond that he’s gradually digitizing and sharing with the world, including rare \u003ca href=\"https://sacramentomusicarchive.com/1990/02/12/nirvana-cattle-club-sacramento-ca-02-12-1990-2-cam-mix/\">early footage of Nirvana\u003c/a>, \u003ca href=\"https://sacramentomusicarchive.com/1994/07/23/metallica-cal-expo-amphitheatre-sacramento-ca-7-23-94-xfer-from-master-tape-enhanced-live/\">Metallica\u003c/a> and \u003ca href=\"https://sacramentomusicarchive.com/1991/10/03/green-day-berkeley-square-10-3-91-xfer-from-master-vhs-tape-complete-show-enhanced/\">Green Day\u003c/a>.\u003c/p>\n\u003cp>“You’d think it’s like this big rock and roll party in here. It’s like this. It’s very quiet, with me working at a keyboard,” Stacy says with a laugh.\u003c/p>\n\u003cfigure id=\"attachment_13979226\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979226\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SacramentoMusicArchive-18_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SacramentoMusicArchive-18_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SacramentoMusicArchive-18_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SacramentoMusicArchive-18_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SacramentoMusicArchive-18_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Sacramento Music Archive began with Shayne Stacy’s own concert recordings of Nirvana, Yo La Tengo, Green Day, Christ on Parade and more, as pictured in Orangevale, Calif. on July 24, 2025. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I first became aware of Stacy’s work during the pandemic, when I noticed people posting video footage of punk shows held 30 years ago that I’d attended, or, even more irresistible, that I’d heard about but been too young to see. I soon found that for those of a certain age and musical bent, scrolling the Sacramento Music Archive was like watching one’s life flash before their eyes: a young \u003ca href=\"https://sacramentomusicarchive.com/1993/05/28/rancid-berkeley-square-berkeley-ca-5-28-93-xfer-from-vhs-c-master-punk-partial-set/\">Rancid finding their footing at Berkeley Square\u003c/a>, \u003ca href=\"https://youtu.be/NxQGByCjPdI?feature=shared&t=484\">Mr. Bungle covering Top 40 radio hits from 1989\u003c/a> in Guerneville, or \u003cem>Maximum Rocknroll\u003c/em> founder \u003ca href=\"https://youtu.be/Pb5X2LrTpjs?feature=shared&t=385\">Tim Yohannon throwing pies at Screeching Weasel\u003c/a> at 924 Gilman.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As for shows that had been uploaded before, like \u003ca href=\"https://sacramentomusicarchive.com/1989/05/28/operation-ivy-924-gilman-berkeley-ca-5-28-89-multicam-w-sony-d6-audio/\">Operation Ivy’s final show\u003c/a>? Stacy consistently seemed to have the best sources, and sometimes from multiple camera angles, too. What’s more, he had over 5,000 shows from all over Northern California from the past 50 years, by punk, metal, modern rock, funk, thrash and indie bands — famous names and obscure footnotes alike. And, remarkably, it was evident he still went out to shows, and filmed new bands.\u003c/p>\n\u003cp>Who was this one-man Library of Congress for West Coast Gen Xers? I had to find out.\u003c/p>\n\u003ch2>Preserving punk history\u003c/h2>\n\u003cp>Born in Auburn in 1967, Stacy had a typical 1970s childhood of watching \u003cem>Scooby Doo\u003c/em> and collecting sports cards. When he was 15, he went by himself to see Iron Maiden and the Scorpions at the Sacramento Memorial Stadium, in 1982, and he still remembers its impact. “As soon as I felt that sound pressure hitting my chest, I’m like, ‘This is the best thing I’ve ever seen,’” he says.\u003c/p>\n\u003cfigure id=\"attachment_13979223\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979223\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-24-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-24-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-24-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-24-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-24-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The boxes of VHS tapes, reel-to-reels and cassettes at the Sacramento Music Archive may seem haphazardly organized, but Shayne Stacy keeps a reliable mental inventory of each tapes’ location. Particularly valuable masters are kept in a 1,000-lb. fire-resistant safe. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Bay Area was a cradle of \u003ca href=\"https://www.kqed.org/arts/10834160/five-of-the-bay-areas-raddest-metal-bands-from-the-80s\">thrash metal\u003c/a> at the time, with bands like Exodus, Possessed and Metallica just starting out. Soon, Stacy was bringing cheap tape recorders to shows, and sharing the results with other fans who traded tapes through the classifieds in the backs of fan magazines. In 1987, after witnessing the El Sobrante punk band Isocracy, who routinely threw heaps of garbage all over the crowd, Stacy had an epiphany.\u003c/p>\n\u003cp>“There’s paper all over the floor, and it’s just a chaotic environment, and I said to myself, ‘I have to buy a video camera to document this stuff,’” Stacy remembers. “I stopped all of my excess expenditures, making five bucks an hour, and saved for four months to buy my own video camera.”\u003c/p>\n\u003cp>Between 1988 and 1992, Stacy estimates, he filmed 240 shows, driving to venues in Sacramento or the Bay Area every weekend. Trading with others through the mail, he amassed even more tapes. But there was a downside: he began seeing his own footage, of shows by \u003ca href=\"https://sacramentomusicarchive.com/1989/08/26/primus-cattle-club-sacramento-ca-8-26-89-xfer-from-8mm-master-live-enhanced/\">Primus\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=KVvJQfgRl7o\">Nirvana\u003c/a> playing at the Cattle Club in Sacramento, bootlegged and sold by others for profit.\u003c/p>\n\u003cp>“It was like, no fun anymore,” Stacy says. “This was supposed to be a hobby I enjoyed, and it turned into this point of frustration. And so I quit. I quit for 10 years.”\u003c/p>\n\u003cfigure id=\"attachment_13979222\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979222\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-22-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-22-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-22-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-22-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-22-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shayne Stacy started out recording metal bands, and once lost a valuable tape of him and a friend hanging out with Slayer backstage in 1988 at The Stone in San Francisco. Miraculously, thanks to the tape-trading circuit, he \u003ca href=\"https://sacramentomusicarchive.com/1988/08/12/slayer-backstage-the-stone-san-francisco-ca-8-12-88/\">got his hands on a copy of it again\u003c/a>. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>YouTube brought him back. Stacy says it “liberated” everything: the fans didn’t have to pay $30 for a grainy VHS tape anymore, the copyright holders got paid — not enough, but something — and he got to enjoy his hobby again. He rushed out and bought the best cassette decks and VCRs he could find, and got to work.\u003c/p>\n\u003cp>One person who noticed the quality of Stacy’s work early on is Wayne Vanderkuil. “I work at Stanford in visual preservation, reformatting, and he had similar equipment to what we have here,” Vanderkuil says. “I was incredibly impressed.”\u003c/p>\n\u003cp>During the tape-trading days, Vanderkuil amassed his own collection of metal bands playing at Ruthie’s Inn, Wolfgang’s or the On Broadway. They sat in storage for 25 years, untouched, he says. “I thought, ‘No one’s ever gonna hear these. I’ll drop dead tomorrow, and there goes history.’”\u003c/p>\n\u003cp>Instead, he donated his tapes to Stacy. Vanderkuil is now president of the board of the Sacramento Music Archive, newly incorporated as a nonprofit, which will allow Stacy — who worked at Intel for 27 years and recently accepted an “incredibly generous” buyout offer — to \u003ca href=\"https://www.patreon.com/c/sacramentomusicarchive/membership\">take donations\u003c/a> and apply for grants. Most importantly, it’ll set up his life’s work to continue into the future. As it stands, only about 5% of the tapes in the archive have been preserved digitally so far.\u003c/p>\n\u003cp>“This is clearly becoming a bigger project than I’ve got time left,” says Stacy.\u003c/p>\n\u003cfigure id=\"attachment_13979220\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979220\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-11-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-11-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-11-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-11-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-11-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shayne Stacy, founder of the Sacramento Music Archive, futzes with a vintage U-matic player in order to get a stubborn TV station cartridge of a Sacramento band to play correctly. ‘Sometimes you get to see me fight with this thing and curse a lot,’ he jokes. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘He really is the go-to’\u003c/h2>\n\u003cp>Publicity and word-of-mouth creates another problem: the piles are growing. Everyone, it seems, has old tapes they want to donate. Waiting to be digitized in the archive are 500 cassettes of free jazz, reel-to-reels of D.R.I. rehearsals at \u003ca href=\"https://www.sfgate.com/sf-culture/article/strangest-200-dollar-apartments-sf-history-20381556.php\">The Vats\u003c/a> and hundreds of videos and soundboard recordings from 924 Gilman. Stacy now has \u003ca href=\"https://sacramentomusicarchive.com/collections/\">over 25 different collections\u003c/a> from DJs, sound engineers, record store owners, zine editors, promoters, cable access hosts and fans.\u003c/p>\n\u003cp>One of them is Arica Pelino, who recently traveled from three states away to Stacy’s archive with a suitcase full of tapes. Pelino toured with Green Day in 1991, and filmed many of their early shows, along with dozens of other bands from the East Bay like Econochrist and Lungbutter. Her tapes sat in storage for more than 20 years, unseen.\u003c/p>\n\u003cp>“If I didn’t meet Shayne, it would still be sitting in boxes,” she says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>She and Stacy spent two days going through her collection, including 22 early Green Day shows that no one had ever seen before, she says, along with \u003ca href=\"https://sacramentomusicarchive.com/1991/09/28/green-day-phoenix-theater-petaluma-ca-9-28-91-uncirculated-preshow-clip-xfer-f-vhs-master-enhanced/\">backstage footage\u003c/a> and \u003ca href=\"https://sacramentomusicarchive.com/1990/01/01/sweet-children-green-day-billie-joes-tape-to-arica-demo-and-7-sessions-tape-complete/\">early demos\u003c/a>.\u003c/p>\n\u003cp>“Shayne really is the owner and the keeper for all of us,” Pelino says. “There’s no one I’d rather do it with. He does a great job, he’s extremely detail-oriented and he puts his all into cleaning up the audio and video. He really is the go-to archive for Northern California, and has captured a significant part of the music scene.”\u003c/p>\n\u003cp>Another donor, Rick Sylvain, who in his 12 years working at Berkeley radio station KALX helped start the long-running \u003cem>KALX Live!\u003c/em> show, with bands playing in the cramped studio.\u003c/p>\n\u003cp>“It was kind of stinky sometimes — they spilled a lot of beer in there — but it was fun, and I taped everything,” he says. “Some of these little bands, it was their one big moment in the sun, and I wanted them to feel like they were stars.”\u003c/p>\n\u003cp>One little band that fulfilled that promise of stardom was AFI, who would go on to headline arenas. Thanks to the Sacramento Music Archive, Sylvain’s cassette of \u003ca href=\"https://sacramentomusicarchive.com/1994/10/07/afi-kalx-live-in-studio-berkeley-ca-10-7-94-xfer-from-pre-fm-master-cassette-a-fire-inside-a-f-i/\">AFI’s 1994 visit to KALX\u003c/a> is now the band’s earliest live recording on YouTube.\u003c/p>\n\u003cfigure id=\"attachment_13979224\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979224\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-28-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-28-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-28-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-28-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-28-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shayne Stacy uploads videos twice a day from his growing collection in a cluttered, air-conditioned shed. ‘I promised my wife that I would digitize this stuff and then get rid of the tapes,’ he says, ‘and I’m having trouble doing that, to be quite frank.’ \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Large companies and record labels have taken notice, and Stacy’s provided them with material for a Nirvana box set, a Pavement film, and various documentaries. He talks just as enthusiastically, however, about forgotten bands like \u003ca href=\"https://sacramentomusicarchive.com/2000/04/12/donner-party-slims-sf-4-12-00-sam-coomes-from-quasis-early-band/\">The Donner Party\u003c/a> or the \u003ca href=\"https://sacramentomusicarchive.com/1987/04/11/slambodians-sproul-plaza-berkeley-ca-4-11-87-xfer-from-master-vhs-tape-east-bay-punk/\">Slambodians\u003c/a>. He’s especially excited about a recent estate sale find of reel-to-reels from a member of Red Asphalt, the early punk band, who lived in Sacramento.\u003c/p>\n\u003cp>And that brings him back to the original purpose of the archive, one it’s clearly outgrown: to legitimize and honor Sacramento as its own distinct music scene. He accepts that “Sacramento Music Archive” is a bit of a misnomer for a massive collection covering the the Bay Area and Northern California.\u003c/p>\n\u003cp>But he likes the name.\u003c/p>\n\u003cp>“I’ve always felt like Sacramento has always been the red-headed stepchild of California,” he says. “The Lakers make fun of the Kings, Southern California makes fun of Sacramento. It’s a cow town, right? So having something that’s culturally enriching, that has the Sacramento label on it, I’m fine with it.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The Sacramento Music Archive can be found at its \u003ca href=\"https://sacramentomusicarchive.com/\">official website\u003c/a> and \u003ca href=\"https://www.youtube.com/@sacramentomusicarchive/videos\">YouTube channel\u003c/a>. Subscribers can \u003ca href=\"https://www.patreon.com/SacramentoMusicArchive\">join the archive’s Patreon\u003c/a> to vote which shows in the archive will get digitized or posted next, or to arrange filming a concert from scratch. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "billie-joe-armstrong-too-short-oakland-ballers-baseball",
"title": "Billie Joe Armstrong, Too Short Invest in Oakland Ballers Baseball",
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"content": "\u003cfigure id=\"attachment_13972648\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972648\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/bj.as_.jpg\" alt=\"A man in a baseball jersey and cap holds a baseball glove in his hand\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/bj.as_.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/bj.as_-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/bj.as_-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/bj.as_-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/bj.as_-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/bj.as_-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/bj.as_-1920x1920.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Billie Joe Armstrong of Green Day stands on field before a game between the Seattle Mariners and the Oakland Athletics at the Oakland Coliseum on Sept. 5, 2015 in Oakland, California. In the wake of the A’s departure from Oakland, the East Bay-raised rock star has since switched his allegiance to the Oakland Ballers, joining rapper Too Short as an investor in the franchise. \u003ccite>(Michael Zagaris/Oakland Athletics/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Last year, Green Day frontman Billie Joe Armstrong \u003ca href=\"https://www.youtube.com/watch?v=6233qjZSTuE\">posted an video\u003c/a> from the Rogers Center in Toronto, showing the East Bay-raised rock star spray painting over the stadium’s Oakland A’s logo with an \u003ca href=\"https://www.instagram.com/p/C-JvddatdD3/?img_index=1\" target=\"_blank\" rel=\"noopener\">Oakland Ballers logo\u003c/a>. The video, in a way, foreshadowed this week’s news.\u003c/p>\n\u003cp>The Oakland Ballers have announced that Armstrong, along with pioneering Oakland rapper and entrepreneur Too Short, are now investors in the Ballers. They join a long list of fans who also own a portion of the team.\u003c/p>\n\u003cp>\u003ca href=\"https://www.oaklandballers.com/landing/index\" target=\"_blank\" rel=\"noopener\">The Ballers\u003c/a>, a second-year professional baseball franchise that plays in the independent Pioneer League, hosts their home games at West Oakland’s Raimondi Park. Last year, over the course of 48 home games, the team attracted more than 92,000 fans.\u003c/p>\n\u003cp>[aside postID='arts_13960687']Ahead of the inaugural season, the team’s founders, Bryan Carmel and Paul Freedman, opened the doors to potential investors. They hoped that local sports fans who’ve been dismayed by other franchises leaving Oakland would show up — and they did.\u003c/p>\n\u003cp>2,200 people raised over $1.2 million dollars in support of the team. The Ballers are back at it this year, looking to raise $2 million. With the social collateral that Armstrong and Too Short bring, the team is well on its way.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We’re delighted that Too $hort and Billie Joe Armstrong will be joining our ownership group, along with thousands of Oakland fan owners,” said Ballers co-founder Paul Freedman in\u003ca href=\"https://www.oaklandballers.com/news/2025/03/too-short-billie-joe-armstrong-owner-community-invest\" target=\"_blank\" rel=\"noopener\"> a statement\u003c/a>. “These two local legends were real supporters in our first season, and it’s great to now have them on board in a more formal capacity.”\u003c/p>\n\u003cp>https://x.com/OaklandBallers/status/1809772352051507422\u003c/p>\n\u003cp>In an interview with \u003cem>\u003ca href=\"https://www.hollywoodreporter.com/news/general-news/billie-joe-armstrong-too-short-oakland-ballers-1236155122/\" target=\"_blank\" rel=\"noopener\">The Hollywood Reporter\u003c/a>, \u003c/em>Armstrong said that “after the A’s left, the town was heartbroken. The Ballers are going to bring good vibes back to Oakland and the broader East Bay.”\u003c/p>\n\u003cp>Too Short echoed his sentiments, telling the publication, “If I can’t brag on a big-league franchise I can brag on being a Baller.”\u003c/p>\n\u003cp>[aside postID='news_11988883']The Ballers other co-founder, Carmel, said, “This isn’t a case of celebrities coming in to save the day. It’s a local team, and Billie Joe and Too $hort are just some better-known locals.”\u003c/p>\n\u003cp>Armstrong himself showed up to a ballers game last year in West Oakland, the neighborhood that inspired the Green Day song “Welcome to Paradise.” He is also an investor in the soccer club the \u003ca href=\"https://www.oaklandrootssc.com/\">Oakland Roots\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The first game of the Oakland Ballers’ second season is scheduled for\u003ca href=\"https://www.oaklandballers.com/sports/bsb/2025/schedule\" target=\"_blank\" rel=\"noopener\"> May 20\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13972648\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972648\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/bj.as_.jpg\" alt=\"A man in a baseball jersey and cap holds a baseball glove in his hand\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/bj.as_.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/bj.as_-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/bj.as_-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/bj.as_-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/bj.as_-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/bj.as_-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/bj.as_-1920x1920.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Billie Joe Armstrong of Green Day stands on field before a game between the Seattle Mariners and the Oakland Athletics at the Oakland Coliseum on Sept. 5, 2015 in Oakland, California. In the wake of the A’s departure from Oakland, the East Bay-raised rock star has since switched his allegiance to the Oakland Ballers, joining rapper Too Short as an investor in the franchise. \u003ccite>(Michael Zagaris/Oakland Athletics/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Last year, Green Day frontman Billie Joe Armstrong \u003ca href=\"https://www.youtube.com/watch?v=6233qjZSTuE\">posted an video\u003c/a> from the Rogers Center in Toronto, showing the East Bay-raised rock star spray painting over the stadium’s Oakland A’s logo with an \u003ca href=\"https://www.instagram.com/p/C-JvddatdD3/?img_index=1\" target=\"_blank\" rel=\"noopener\">Oakland Ballers logo\u003c/a>. The video, in a way, foreshadowed this week’s news.\u003c/p>\n\u003cp>The Oakland Ballers have announced that Armstrong, along with pioneering Oakland rapper and entrepreneur Too Short, are now investors in the Ballers. They join a long list of fans who also own a portion of the team.\u003c/p>\n\u003cp>\u003ca href=\"https://www.oaklandballers.com/landing/index\" target=\"_blank\" rel=\"noopener\">The Ballers\u003c/a>, a second-year professional baseball franchise that plays in the independent Pioneer League, hosts their home games at West Oakland’s Raimondi Park. Last year, over the course of 48 home games, the team attracted more than 92,000 fans.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Ahead of the inaugural season, the team’s founders, Bryan Carmel and Paul Freedman, opened the doors to potential investors. They hoped that local sports fans who’ve been dismayed by other franchises leaving Oakland would show up — and they did.\u003c/p>\n\u003cp>2,200 people raised over $1.2 million dollars in support of the team. The Ballers are back at it this year, looking to raise $2 million. With the social collateral that Armstrong and Too Short bring, the team is well on its way.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We’re delighted that Too $hort and Billie Joe Armstrong will be joining our ownership group, along with thousands of Oakland fan owners,” said Ballers co-founder Paul Freedman in\u003ca href=\"https://www.oaklandballers.com/news/2025/03/too-short-billie-joe-armstrong-owner-community-invest\" target=\"_blank\" rel=\"noopener\"> a statement\u003c/a>. “These two local legends were real supporters in our first season, and it’s great to now have them on board in a more formal capacity.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>In an interview with \u003cem>\u003ca href=\"https://www.hollywoodreporter.com/news/general-news/billie-joe-armstrong-too-short-oakland-ballers-1236155122/\" target=\"_blank\" rel=\"noopener\">The Hollywood Reporter\u003c/a>, \u003c/em>Armstrong said that “after the A’s left, the town was heartbroken. The Ballers are going to bring good vibes back to Oakland and the broader East Bay.”\u003c/p>\n\u003cp>Too Short echoed his sentiments, telling the publication, “If I can’t brag on a big-league franchise I can brag on being a Baller.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The Ballers other co-founder, Carmel, said, “This isn’t a case of celebrities coming in to save the day. It’s a local team, and Billie Joe and Too $hort are just some better-known locals.”\u003c/p>\n\u003cp>Armstrong himself showed up to a ballers game last year in West Oakland, the neighborhood that inspired the Green Day song “Welcome to Paradise.” He is also an investor in the soccer club the \u003ca href=\"https://www.oaklandrootssc.com/\">Oakland Roots\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The first game of the Oakland Ballers’ second season is scheduled for\u003ca href=\"https://www.oaklandballers.com/sports/bsb/2025/schedule\" target=\"_blank\" rel=\"noopener\"> May 20\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The Recording Academy announced the nominees for the 2025 Grammy Awards on Friday, led by an outstanding 11 nominations for the winningest artist in history herself, Beyoncé.\u003c/p>\n\u003cp>More than a few Bay Area artists managed to nab nominations across the 94 award categories, with Green Day and Kehlani scoring 3 nominations each and Sheila E., Taj Mahal and the San Francisco Symphony each landing a pair.\u003c/p>\n\u003cp>The winners of the 67th Grammy Awards will be announced on Feb. 2, 2025, before and during the televised ceremony.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/green-day\">Green Day\u003c/a>, the five-time Grammy-winning pop-punk band \u003ca href=\"https://www.kqed.org/news/12005849/pinole-honors-punk-icons-green-day-with-key-to-the-city\">recently honored in Pinole\u003c/a> with a key to the city, earned three nominations in the rock genre categories after their last two albums were overlooked. \u003cem>Saviors\u003c/em>, the band’s fourteenth studio album, landed a nomination for Best Rock Album. Two of its singles, “The American Dream Is Killing Me” and “Dilemma,” were recognized in Best Rock Performance and Best Rock Song categories, bringing the band’s all-time total to a staggering 20 nominations.\u003c/p>\n\u003cfigure id=\"attachment_13957856\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1688\" class=\"size-full wp-image-13957856\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-1020x673.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-768x506.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-1536x1013.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-2048x1350.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-1920x1266.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Kehlani performs during the Sol Blume Music festival at Discovery Park on August 20, 2023 in Sacramento, California. \u003ccite>(Tim Mosenfelder/WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland’s own \u003ca href=\"https://www.kqed.org/arts/tag/kehlani\">Kehlani\u003c/a>, who still proudly reps the Bay despite relocating to Los Angeles, scored three nominations as well. The R&B superstar, whose homecoming show at Chase Center last week featured surprise appearances from LaRussell, Mistah F.A.B. and Kamaiyah, found success with her latest studio album \u003cem>Crash\u003c/em>. The album was nominated in the Best Progressive R&B Album category, while its lead single, “After Hours,” landed in the Best R&B Song category. In addition, Kehlani’s featured role in the remixed version of British rapper Jordan Adetunji’s song “KEHLANI,” dedicated to the star, earned her a spot in the Best Melodic Rap Performance category. Yes, that’s right — Kehlani got a nomination for a song named after her.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Another Oakland artist picking up multiple nominations is \u003ca href=\"https://www.kqed.org/arts/13966525/sheila-e-tiny-desk-concert-npr-bailar\">Sheila E.\u003c/a>, who, alongside her father, percussionist Pete Escovedo, was awarded the Latin Grammy Lifetime Achievement Award in 2021. This year, her album \u003cem>Bailar\u003c/em> is nominated for Best Tropical Latin Album, while “Bemba Colorá,” her collaboration with Gloria Estefan and Mimy Succar, was chosen in the Best Global Music Performance category.\u003c/p>\n\u003cp>San Francisco-based \u003ca href=\"https://www.kqed.org/arts/tag/metallica\">Metallica\u003c/a>, who added a tenth Grammy Award to their ever-growing list of accolades earlier this year, scored another nomination in the Best Metal Performance category with “Screaming Suicide.”\u003c/p>\n\u003cfigure id=\"attachment_13895353\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans.jpg\" alt=\"A jazz quartet performs onstage in a modern theater with purple lighting.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13895353\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Taj Mahal performs on the SFJAZZ Center’s Robert N. Miner Auditorium stage in San Francisco, CA on March 1, 2020. \u003ccite>(Bill Evans)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Blues musician \u003ca href=\"https://www.npr.org/2013/06/30/196647551/taj-mahal-still-cooking-up-heirloom-music-his-own-way\">Taj Mahal\u003c/a>, who lives in Berkeley, landed a nomination with the Taj Mahal Sextet for \u003cem>Swingin’ Live at the Church in Tulsa\u003c/em> in the Best Traditional Blues Album category. Mahal also earned a nomination for Best American Roots Performance for his featured role on The Fabulous Thunderbirds’ “Nothing in Rambling,” bringing up his career total to 17 nominations and four wins.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13940505/julian-lage-sfjazz-san-francisco\">Julian Lage\u003c/a>, a Santa Rosa-bred jazz guitarist, was nominated for his album \u003cem>Speak to Me\u003c/em> in the Best Contemporary Instrumental Album category — his seventh nomination, which could turn into his first-ever Grammy win.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco-symphony\">San Francisco Symphony\u003c/a> and conductor \u003ca href=\"https://www.kqed.org/arts/tag/esa-pekka-salonen\">Esa-Pekka Salonen\u003c/a> notched two nominations for Best Orchestral Performance and Best Opera Recording for his recording of Stravinsky’s “The Firebird” and Finnish composer Kaija Saariaho’s “Adriana Mater,” respectively. (Saariaho, who died last year, was also nominated in the Best Contemporary Classical Composition category for the recording).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Also in the Best Opera Recording category is longtime Berkeley resident \u003ca href=\"https://www.kqed.org/arts/tag/john-adams\">John Adams\u003c/a>, the world-renowned composer and conductor. The Los Angeles Philharmonic’s recording of Adams’ \u003cem>Girls Of The Golden West\u003c/em>, which he conducted, secured Adams his 15th nomination.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Recording Academy announced the nominees for the 2025 Grammy Awards on Friday, led by an outstanding 11 nominations for the winningest artist in history herself, Beyoncé.\u003c/p>\n\u003cp>More than a few Bay Area artists managed to nab nominations across the 94 award categories, with Green Day and Kehlani scoring 3 nominations each and Sheila E., Taj Mahal and the San Francisco Symphony each landing a pair.\u003c/p>\n\u003cp>The winners of the 67th Grammy Awards will be announced on Feb. 2, 2025, before and during the televised ceremony.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/green-day\">Green Day\u003c/a>, the five-time Grammy-winning pop-punk band \u003ca href=\"https://www.kqed.org/news/12005849/pinole-honors-punk-icons-green-day-with-key-to-the-city\">recently honored in Pinole\u003c/a> with a key to the city, earned three nominations in the rock genre categories after their last two albums were overlooked. \u003cem>Saviors\u003c/em>, the band’s fourteenth studio album, landed a nomination for Best Rock Album. Two of its singles, “The American Dream Is Killing Me” and “Dilemma,” were recognized in Best Rock Performance and Best Rock Song categories, bringing the band’s all-time total to a staggering 20 nominations.\u003c/p>\n\u003cfigure id=\"attachment_13957856\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1688\" class=\"size-full wp-image-13957856\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-1020x673.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-768x506.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-1536x1013.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-2048x1350.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-1920x1266.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Kehlani performs during the Sol Blume Music festival at Discovery Park on August 20, 2023 in Sacramento, California. \u003ccite>(Tim Mosenfelder/WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland’s own \u003ca href=\"https://www.kqed.org/arts/tag/kehlani\">Kehlani\u003c/a>, who still proudly reps the Bay despite relocating to Los Angeles, scored three nominations as well. The R&B superstar, whose homecoming show at Chase Center last week featured surprise appearances from LaRussell, Mistah F.A.B. and Kamaiyah, found success with her latest studio album \u003cem>Crash\u003c/em>. The album was nominated in the Best Progressive R&B Album category, while its lead single, “After Hours,” landed in the Best R&B Song category. In addition, Kehlani’s featured role in the remixed version of British rapper Jordan Adetunji’s song “KEHLANI,” dedicated to the star, earned her a spot in the Best Melodic Rap Performance category. Yes, that’s right — Kehlani got a nomination for a song named after her.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Another Oakland artist picking up multiple nominations is \u003ca href=\"https://www.kqed.org/arts/13966525/sheila-e-tiny-desk-concert-npr-bailar\">Sheila E.\u003c/a>, who, alongside her father, percussionist Pete Escovedo, was awarded the Latin Grammy Lifetime Achievement Award in 2021. This year, her album \u003cem>Bailar\u003c/em> is nominated for Best Tropical Latin Album, while “Bemba Colorá,” her collaboration with Gloria Estefan and Mimy Succar, was chosen in the Best Global Music Performance category.\u003c/p>\n\u003cp>San Francisco-based \u003ca href=\"https://www.kqed.org/arts/tag/metallica\">Metallica\u003c/a>, who added a tenth Grammy Award to their ever-growing list of accolades earlier this year, scored another nomination in the Best Metal Performance category with “Screaming Suicide.”\u003c/p>\n\u003cfigure id=\"attachment_13895353\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans.jpg\" alt=\"A jazz quartet performs onstage in a modern theater with purple lighting.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13895353\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Taj Mahal performs on the SFJAZZ Center’s Robert N. Miner Auditorium stage in San Francisco, CA on March 1, 2020. \u003ccite>(Bill Evans)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Blues musician \u003ca href=\"https://www.npr.org/2013/06/30/196647551/taj-mahal-still-cooking-up-heirloom-music-his-own-way\">Taj Mahal\u003c/a>, who lives in Berkeley, landed a nomination with the Taj Mahal Sextet for \u003cem>Swingin’ Live at the Church in Tulsa\u003c/em> in the Best Traditional Blues Album category. Mahal also earned a nomination for Best American Roots Performance for his featured role on The Fabulous Thunderbirds’ “Nothing in Rambling,” bringing up his career total to 17 nominations and four wins.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13940505/julian-lage-sfjazz-san-francisco\">Julian Lage\u003c/a>, a Santa Rosa-bred jazz guitarist, was nominated for his album \u003cem>Speak to Me\u003c/em> in the Best Contemporary Instrumental Album category — his seventh nomination, which could turn into his first-ever Grammy win.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco-symphony\">San Francisco Symphony\u003c/a> and conductor \u003ca href=\"https://www.kqed.org/arts/tag/esa-pekka-salonen\">Esa-Pekka Salonen\u003c/a> notched two nominations for Best Orchestral Performance and Best Opera Recording for his recording of Stravinsky’s “The Firebird” and Finnish composer Kaija Saariaho’s “Adriana Mater,” respectively. (Saariaho, who died last year, was also nominated in the Best Contemporary Classical Composition category for the recording).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Also in the Best Opera Recording category is longtime Berkeley resident \u003ca href=\"https://www.kqed.org/arts/tag/john-adams\">John Adams\u003c/a>, the world-renowned composer and conductor. The Los Angeles Philharmonic’s recording of Adams’ \u003cem>Girls Of The Golden West\u003c/em>, which he conducted, secured Adams his 15th nomination.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It wasn’t until we all shuffled down the stairs of the Fillmore, ears ringing from an epic two-hour Green Day set, sweat dripping off our shirts and the cold San Francisco night air hitting our bewildered faces, that I realized just what we’d all just witnessed. \u003c/p>\n\u003cp>After all, it’s not often that Green Day, who \u003ca href=\"https://greenday.com/tour\">headline a tour of huge baseball stadiums\u003c/a> later this summer, play a small show at a 1,300-capacity room like the Fillmore. Outside at the 8 p.m. showtime on Tuesday night, over a dozen people walked the sidewalk with hopeful signs: “Dad who needs 1 ticket,” “Name Your Price,” and “Help! Need a ticket to join my wife and 8-year-old stepson for the show… and it’s our wedding anniversary today! Please!!”\u003c/p>\n\u003cfigure id=\"attachment_13955324\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103.jpg\" alt=\"\" width=\"2560\" height=\"1920\" class=\"size-full wp-image-13955324\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Christian Williams from San Leandro was one of many hopefuls outside the Green Day show at the Fillmore in San Francisco on Tuesday, April 2, 2024. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those who did get in, however, were treated to two hours of the Bay Area’s greatest rock ‘n’ roll export (sorry, Metallica), and at one of the country’s best venues, no less.\u003c/p>\n\u003cp>Here’s what I can say definitively. In the past 35 years — starting in 1989, yeesh — I’ve seen Green Day at youth centers, warehouses, house parties, high schools and Rotary Club halls. And though they know how to rock a stadium just fine, they always thrive in small spaces, face-to-face with the crowd and making the tiniest room feel like the entire universe. \u003c/p>\n\u003cfigure id=\"attachment_13955319\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13955319\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Billie Joe Armstrong performs with Green Day at The Fillmore in San Francisco on Tuesday, April 2, 2024. \u003ccite>(Greg Schneider)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Fillmore show Tuesday night — a benefit for United Nations Human Rights climate justice initiatives and the Recording Academy’s MusiCares charity — was no exception. As Green Day \u003ca href=\"https://www.youtube.com/watch?v=Ecqil_eZgYs\">had announced\u003c/a> the day prior, they played the entirety of their new album \u003cem>Saviors\u003c/em>, and the entirety of their 2004 opus \u003cem>American Idiot\u003c/em>. Big, anthemic stuff. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But without needing to play to the nosebleed seats in Section 327 above third base, they were able to give focus to epic songs like “Jesus of Suburbia” and “Homecoming.” Dressed in a sport jacket and Cramps T-shirt, Billie Joe Armstrong didn’t have to engage in much rockstar cosplay — for a hometown crowd, he still felt like just plain Billie from Rodeo, who you might bump into at Winchell’s after the Corrupted Morals show at Gilman.\u003c/p>\n\u003cfigure id=\"attachment_13955317\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11.jpg\" alt=\"\" width=\"1280\" height=\"1920\" class=\"size-full wp-image-13955317\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Mike Dirnt performs with Green Day at The Fillmore in San Francisco on Tuesday, April 2, 2024. \u003ccite>(Greg Schneider)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What was evident onstage — what he and Mike and Tré have picked up along the way since those early days — is not only a tight musicianship bordering on the miraculous, but a thespian’s skill for selling their songs and connecting with an audience.\u003c/p>\n\u003cp>[aside postID='arts_13950877']During the \u003cem>Saviors\u003c/em> track “Bobby Sox,” a fan in the second row waved a bisexual flag in fervent recognition of \u003ca href=\"https://americansongwriter.com/billie-joe-armstrong-opens-up-about-being-a-bisexual-icon-discusses-green-days-new-anthem-bobby-sox/\">the song’s love-who-you-want themes\u003c/a>. For “Father to a Son,” echoes were present of Armstrong’s son’s opening band, Ultra Q. Acknowledging the upcoming election that nobody wants to think about, during “Letterbomb,” Billie interjected, “Whose finger do you want to be on the nuclear bomb?!”\u003c/p>\n\u003cp>These sorts of things might come off as corny if they weren’t so sincere. Singing the final lines of the West Contra Costa anthem “Jesus of Suburbia,” about running away from the pain of a broken home, Billie appeared to briefly lose his voice; it was soon apparent that he was instead choking back tears.\u003c/p>\n\u003cfigure id=\"attachment_13955318\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13955318\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Billie Joe Armstrong performs with Green Day at The Fillmore in San Francisco on Tuesday, April 2, 2024. \u003ccite>(Greg Schneider)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>This is how you do it\u003c/em>, Green Day seemed to say on Tuesday. \u003cem>Write songs about your turbulent life, find a supportive circle, stick with your convictions, play damn loud and sing even louder to anyone who’ll listen, in every city around the world, record an unrivaled catalog of songs, and then, when you’re too famous to do so, play at the Fillmore anyway, this place where you once \u003ca href=\"https://www.instagram.com/p/C5RvizvvnLI/\">saw the Replacements and the Church as a teenager and got stoned off a stranger’s joint\u003c/a>, and get out there on stage and scream from the monitors and leap unimaginably high into the air and play like your life depends on it because somewhere, out in the crowd, is another 15-year-old kid with disapproving parents who doesn’t fit in at school, and who needs the same thing you needed when you were baptized into the gospel of rock ‘n’ roll liberation. \u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13955322\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13955322\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Green Day performs at The Fillmore in San Francisco on Tuesday, April 2, 2024. \u003ccite>(Greg Schneider)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After the show, out on the Fillmore overcrossing above Geary, was living proof of those types of kids: \u003ca href=\"https://www.facebook.com/people/Mary-Jane-Mafia/100086618806194/\">Mary Jane Mafia\u003c/a>, a Green Day tribute band from Fremont playing a pop-up show of covers like “Walking Contradiction” and “2,000 Light Years Away” on the sidewalk to a dancing group of onlookers and a few bemused cops. \u003c/p>\n\u003cp>See, they didn’t get in. They didn’t get to hear Green Day play new songs that have no business being as good as they are, like the \u003ca href=\"https://www.youtube.com/watch?v=UrkDYKwAN-o\">brutally honest\u003c/a> “Dilemma,” or jump in the pit for “St. Jimmy,” or sing along for the zillionth time to encore “Basket Case.” But what Green Day does is a thread, one that weaves from the Clash to the Replacements to Operation Ivy and onward to a thousand bands on sidewalks and in garages around the world. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So yeah — it was a show, but it was also a \u003cem>lineage\u003c/em>. I really wish you coulda seen it. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It wasn’t until we all shuffled down the stairs of the Fillmore, ears ringing from an epic two-hour Green Day set, sweat dripping off our shirts and the cold San Francisco night air hitting our bewildered faces, that I realized just what we’d all just witnessed. \u003c/p>\n\u003cp>After all, it’s not often that Green Day, who \u003ca href=\"https://greenday.com/tour\">headline a tour of huge baseball stadiums\u003c/a> later this summer, play a small show at a 1,300-capacity room like the Fillmore. Outside at the 8 p.m. showtime on Tuesday night, over a dozen people walked the sidewalk with hopeful signs: “Dad who needs 1 ticket,” “Name Your Price,” and “Help! Need a ticket to join my wife and 8-year-old stepson for the show… and it’s our wedding anniversary today! Please!!”\u003c/p>\n\u003cfigure id=\"attachment_13955324\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103.jpg\" alt=\"\" width=\"2560\" height=\"1920\" class=\"size-full wp-image-13955324\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Christian Williams from San Leandro was one of many hopefuls outside the Green Day show at the Fillmore in San Francisco on Tuesday, April 2, 2024. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those who did get in, however, were treated to two hours of the Bay Area’s greatest rock ‘n’ roll export (sorry, Metallica), and at one of the country’s best venues, no less.\u003c/p>\n\u003cp>Here’s what I can say definitively. In the past 35 years — starting in 1989, yeesh — I’ve seen Green Day at youth centers, warehouses, house parties, high schools and Rotary Club halls. And though they know how to rock a stadium just fine, they always thrive in small spaces, face-to-face with the crowd and making the tiniest room feel like the entire universe. \u003c/p>\n\u003cfigure id=\"attachment_13955319\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13955319\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Billie Joe Armstrong performs with Green Day at The Fillmore in San Francisco on Tuesday, April 2, 2024. \u003ccite>(Greg Schneider)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Fillmore show Tuesday night — a benefit for United Nations Human Rights climate justice initiatives and the Recording Academy’s MusiCares charity — was no exception. As Green Day \u003ca href=\"https://www.youtube.com/watch?v=Ecqil_eZgYs\">had announced\u003c/a> the day prior, they played the entirety of their new album \u003cem>Saviors\u003c/em>, and the entirety of their 2004 opus \u003cem>American Idiot\u003c/em>. Big, anthemic stuff. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But without needing to play to the nosebleed seats in Section 327 above third base, they were able to give focus to epic songs like “Jesus of Suburbia” and “Homecoming.” Dressed in a sport jacket and Cramps T-shirt, Billie Joe Armstrong didn’t have to engage in much rockstar cosplay — for a hometown crowd, he still felt like just plain Billie from Rodeo, who you might bump into at Winchell’s after the Corrupted Morals show at Gilman.\u003c/p>\n\u003cfigure id=\"attachment_13955317\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11.jpg\" alt=\"\" width=\"1280\" height=\"1920\" class=\"size-full wp-image-13955317\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Mike Dirnt performs with Green Day at The Fillmore in San Francisco on Tuesday, April 2, 2024. \u003ccite>(Greg Schneider)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What was evident onstage — what he and Mike and Tré have picked up along the way since those early days — is not only a tight musicianship bordering on the miraculous, but a thespian’s skill for selling their songs and connecting with an audience.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>During the \u003cem>Saviors\u003c/em> track “Bobby Sox,” a fan in the second row waved a bisexual flag in fervent recognition of \u003ca href=\"https://americansongwriter.com/billie-joe-armstrong-opens-up-about-being-a-bisexual-icon-discusses-green-days-new-anthem-bobby-sox/\">the song’s love-who-you-want themes\u003c/a>. For “Father to a Son,” echoes were present of Armstrong’s son’s opening band, Ultra Q. Acknowledging the upcoming election that nobody wants to think about, during “Letterbomb,” Billie interjected, “Whose finger do you want to be on the nuclear bomb?!”\u003c/p>\n\u003cp>These sorts of things might come off as corny if they weren’t so sincere. Singing the final lines of the West Contra Costa anthem “Jesus of Suburbia,” about running away from the pain of a broken home, Billie appeared to briefly lose his voice; it was soon apparent that he was instead choking back tears.\u003c/p>\n\u003cfigure id=\"attachment_13955318\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13955318\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Billie Joe Armstrong performs with Green Day at The Fillmore in San Francisco on Tuesday, April 2, 2024. \u003ccite>(Greg Schneider)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>This is how you do it\u003c/em>, Green Day seemed to say on Tuesday. \u003cem>Write songs about your turbulent life, find a supportive circle, stick with your convictions, play damn loud and sing even louder to anyone who’ll listen, in every city around the world, record an unrivaled catalog of songs, and then, when you’re too famous to do so, play at the Fillmore anyway, this place where you once \u003ca href=\"https://www.instagram.com/p/C5RvizvvnLI/\">saw the Replacements and the Church as a teenager and got stoned off a stranger’s joint\u003c/a>, and get out there on stage and scream from the monitors and leap unimaginably high into the air and play like your life depends on it because somewhere, out in the crowd, is another 15-year-old kid with disapproving parents who doesn’t fit in at school, and who needs the same thing you needed when you were baptized into the gospel of rock ‘n’ roll liberation. \u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13955322\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13955322\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Green Day performs at The Fillmore in San Francisco on Tuesday, April 2, 2024. \u003ccite>(Greg Schneider)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After the show, out on the Fillmore overcrossing above Geary, was living proof of those types of kids: \u003ca href=\"https://www.facebook.com/people/Mary-Jane-Mafia/100086618806194/\">Mary Jane Mafia\u003c/a>, a Green Day tribute band from Fremont playing a pop-up show of covers like “Walking Contradiction” and “2,000 Light Years Away” on the sidewalk to a dancing group of onlookers and a few bemused cops. \u003c/p>\n\u003cp>See, they didn’t get in. They didn’t get to hear Green Day play new songs that have no business being as good as they are, like the \u003ca href=\"https://www.youtube.com/watch?v=UrkDYKwAN-o\">brutally honest\u003c/a> “Dilemma,” or jump in the pit for “St. Jimmy,” or sing along for the zillionth time to encore “Basket Case.” But what Green Day does is a thread, one that weaves from the Clash to the Replacements to Operation Ivy and onward to a thousand bands on sidewalks and in garages around the world. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So yeah — it was a show, but it was also a \u003cem>lineage\u003c/em>. I really wish you coulda seen it. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/green-day\">Green Day\u003c/a> will headline a United Nations Human Rights-backed global climate concert on April 2 at the Fillmore in San Francisco.\u003c/p>\n\u003cp>The intimate event, which is co-hosted by the Recording Academy, aims to bring attention to the inequalities exasperated by climate change.\u003c/p>\n\u003cp>[aside postid='arts_13955312']Ultra Q, an alternative rock band fronted by Billie Joe Armstrong’s son Jakob Danger, will open.\u003c/p>\n\u003cp>Proceeds from the concert will go to United Nations Human Rights climate justice initiatives and a \u003ca href=\"https://www.musicares.org/\">MusiCares\u003c/a> climate fund to benefit musicians affected by climate change.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.righthererightnow.global/\">Right Here, Right Now Global Climate Alliance\u003c/a> will honor Green Day for their “long-standing commitment to social justice and environmental causes,” according to a press release.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“As world renowned artists and activists, Green Day continues to leverage its major influence and platform to bring awareness to the impact of climate change on the people and the environment,” Volker Türk, the United Nations High Commissioner for Human Rights said in a statement.\u003c/p>\n\u003cp>“The United Nations was founded in San Francisco almost 80 years ago to safeguard human rights and dignity from crisis and tragedy. It is only fitting that we are back in San Francisco.”\u003c/p>\n\u003cp>“Music is one of humanity’s greatest resources. It moves the world,” Harvey Mason jr., CEO of the Recording Academy added. “And we are grateful for Green Day’s longstanding dedication to promoting social justice.”\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>\n\u003cp>\u003cem>Tickets for Green Day’s April 2 show at The Fillmore go on sale \u003ca href=\"https://concerts.livenation.com/green-day-san-francisco-california-04-02-2024/event/1C006079927614B5?_gl=1*1qfbzox*_gcl_au*ODk2MjAxNjIuMTcwOTE0NDk2Mw..*_ga*MTM0NTgwNzQuMTcwOTE0NDk2Mw..*_ga_C1T806G4DF*MTcxMTY1MzQ1Ny4xLjAuMTcxMTY1MzQ2NS41Mi4wLjA.*_ga_H1KKSGW33X*MTcxMTY1MzQ1Ny4xLjAuMTcxMTY1MzQ2NS41Mi4wLjA.&_ga=2.49975855.827973097.1711653457-13458074.1709144963\">via LiveNation.com\u003c/a> on March 29, at 12 p.m.\u003c/em> \u003cem>Tickets will not be available from The Fillmore’s box office. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/green-day\">Green Day\u003c/a> will headline a United Nations Human Rights-backed global climate concert on April 2 at the Fillmore in San Francisco.\u003c/p>\n\u003cp>The intimate event, which is co-hosted by the Recording Academy, aims to bring attention to the inequalities exasperated by climate change.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Ultra Q, an alternative rock band fronted by Billie Joe Armstrong’s son Jakob Danger, will open.\u003c/p>\n\u003cp>Proceeds from the concert will go to United Nations Human Rights climate justice initiatives and a \u003ca href=\"https://www.musicares.org/\">MusiCares\u003c/a> climate fund to benefit musicians affected by climate change.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.righthererightnow.global/\">Right Here, Right Now Global Climate Alliance\u003c/a> will honor Green Day for their “long-standing commitment to social justice and environmental causes,” according to a press release.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“As world renowned artists and activists, Green Day continues to leverage its major influence and platform to bring awareness to the impact of climate change on the people and the environment,” Volker Türk, the United Nations High Commissioner for Human Rights said in a statement.\u003c/p>\n\u003cp>“The United Nations was founded in San Francisco almost 80 years ago to safeguard human rights and dignity from crisis and tragedy. It is only fitting that we are back in San Francisco.”\u003c/p>\n\u003cp>“Music is one of humanity’s greatest resources. It moves the world,” Harvey Mason jr., CEO of the Recording Academy added. “And we are grateful for Green Day’s longstanding dedication to promoting social justice.”\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>\n\u003cp>\u003cem>Tickets for Green Day’s April 2 show at The Fillmore go on sale \u003ca href=\"https://concerts.livenation.com/green-day-san-francisco-california-04-02-2024/event/1C006079927614B5?_gl=1*1qfbzox*_gcl_au*ODk2MjAxNjIuMTcwOTE0NDk2Mw..*_ga*MTM0NTgwNzQuMTcwOTE0NDk2Mw..*_ga_C1T806G4DF*MTcxMTY1MzQ1Ny4xLjAuMTcxMTY1MzQ2NS41Mi4wLjA.*_ga_H1KKSGW33X*MTcxMTY1MzQ1Ny4xLjAuMTcxMTY1MzQ2NS41Mi4wLjA.&_ga=2.49975855.827973097.1711653457-13458074.1709144963\">via LiveNation.com\u003c/a> on March 29, at 12 p.m.\u003c/em> \u003cem>Tickets will not be available from The Fillmore’s box office. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"headTitle": "Outside Lands 2022: Photos and Highlights From the Festival’s Return to Golden Gate Park | KQED",
"content": "\u003cp>The Outside Lands festival returned this past weekend to its traditional August dates in San Francisco’s Golden Gate Park. And while the venerable festival took one year off in 2020 due to COVID, and moved last year to October due to pandemic-related delays, this year’s return of the favorite end-of-summer festival didn’t seem to skip a beat.\u003c/p>\n\u003cp>Here’s what the scene was like, courtesy of Kristie Song and Estefany Gonzalez, with musical highlights and photos below.\u003c/p>\n\u003cfigure id=\"attachment_13917233\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917233\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Duckwrth-performs-at-Outside-Lands-on-Friday-August-5-2022.001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Duckwrth-performs-at-Outside-Lands-on-Friday-August-5-2022.001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Duckwrth-performs-at-Outside-Lands-on-Friday-August-5-2022.001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Duckwrth-performs-at-Outside-Lands-on-Friday-August-5-2022.001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Duckwrth-performs-at-Outside-Lands-on-Friday-August-5-2022.001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Duckwrth-performs-at-Outside-Lands-on-Friday-August-5-2022.001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Duckwrth-performs-at-Outside-Lands-on-Friday-August-5-2022.001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Duckwrth performs at Outside Lands on Friday, August 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Duckwrth Brings the Power to Land’s End Stage\u003c/h2>\n\u003cp>As a mid-afternoon drowsiness fell upon Friday’s crowd, there was no better act than Duckwrth to bring them back to life. Opening with two of his most energetic hits, “Coming Closer” and “Power Power,” the musician danced across the stage, smiling and flexing his arms as he sang and rapped. In no time, attendees began to dance and light up their joints, carefree and revitalized by his infectious aura.\u003c/p>\n\u003cp>Dressed in a custom black suit with a chrome bull on the back in a nod to his upcoming EP, Duckwrth previewed three of its singles to a delighted crowd. During “Ce Soir,” a collaboration with musician Syd that was just released that same morning, Duckwrth moved his hips to the song’s mellow beat and rapped the chorus in French as the crowd shimmied.\u003c/p>\n\u003cp>Duckwrth was joined by vocalist Olivia Walker, known as Just Liv, whose soulful singing and lively dancing only added to the invigorating atmosphere. Together, they performed slow, sexy classics like “Crush” and “Kiss U Right Now” as well as an untitled, heavy metal-tinged single. As he transferred his energy to the crowd, and as they delivered it right back, Duckwrth demonstrated that it is possible to have an audience completely wrapped around your finger.\u003cem>—K.S.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13917258\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917258\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/The-Mar%C3%ADas-perform-at-Outside-Lands-on-Friday-August-5-2022.001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-Marías-perform-at-Outside-Lands-on-Friday-August-5-2022.001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-Marías-perform-at-Outside-Lands-on-Friday-August-5-2022.001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-Marías-perform-at-Outside-Lands-on-Friday-August-5-2022.001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-Marías-perform-at-Outside-Lands-on-Friday-August-5-2022.001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-Marías-perform-at-Outside-Lands-on-Friday-August-5-2022.001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-Marías-perform-at-Outside-Lands-on-Friday-August-5-2022.001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Marías perform at Outside Lands on Friday, August 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Marías Bring Romantic Mystery\u003c/h2>\n\u003cp>Set against a large, blood red backdrop, Maria Zardoya of the psychedelic indie-rock band the Marías looked like an angel who had fallen into hell. In a distressed white dress with matching gloves, Zardoya carried her sultry, pixie-like voice across the crowd like a spell. Suddenly, everyone felt a little seductive and mysterious too, swaying their hips and shoulders to “All I Really Want Is You,” “Hush” and “Otro Atardecer.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Like Saturday’s headliner Kali Uchis, Zardoya sang in both English and Spanish, blending the languages into silky songs of love and yearning. Her entrancing voice was accompanied by dreamy instrumentals that felt like waking from deep slumber by the sea, especially during “Only in My Dreams.” Slow, romantic and affecting, her music belongs in the most intimate of spaces, personified by cigarette smoke and black-and-white films.\u003c/p>\n\u003cp>With grand trumpet solos from band member Gabe Steiner and low, haunting backing vocals from guitarist Jesse Perlman and drummer Josh Conway, Zardoya’s soft, distinctive voice transformed into an entity—a story. During “Cariño,” a couple in the crowd held one another close, leaning in for kisses as Zardoya sang: “You’re a masterpiece / Just by only looking at you, it’s something that gives me peace / Darling, you’re lovely / Darling, you paint in color.”\u003cem>—K.S.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13917245\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917245\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Phoebe-Bridgers-performs-at-Outside-Lands-on-Friday-August-5-2022.002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Phoebe-Bridgers-performs-at-Outside-Lands-on-Friday-August-5-2022.002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Phoebe-Bridgers-performs-at-Outside-Lands-on-Friday-August-5-2022.002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Phoebe-Bridgers-performs-at-Outside-Lands-on-Friday-August-5-2022.002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Phoebe-Bridgers-performs-at-Outside-Lands-on-Friday-August-5-2022.002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Phoebe-Bridgers-performs-at-Outside-Lands-on-Friday-August-5-2022.002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Phoebe-Bridgers-performs-at-Outside-Lands-on-Friday-August-5-2022.002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Phoebe Bridgers performs at Outside Lands on Friday, August 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Phoebe Bridgers Has ‘Em in the Palm of Her Hand\u003c/h2>\n\u003cp>Packed like sardines, the crowd waiting for Phoebe Bridgers on Friday night collectively screamed when she entered, dressed in a suit and bowtie, guitar in hand, silver tresses blowing in the wind. The Polo Field became a congregation, and hearing her soft voice live enveloped by stripped-down instrumentals beneath a dark sky and light dew was almost spiritual. Shoulder-to-shoulder, attendees sang along—some with tears in their eyes—as Bridgers played hits like “Motion Sickness,” “Kyoto,” Savior Complex” and “Chinese Satellite.”\u003c/p>\n\u003cp>In between songs, the Ukiah-raised Bridgers was sparse with words. When introducing “Funeral,” she offered just one line. “Um,” she said. “This one is an enormous bummer.” For “ICU,” she offered something similarly vague: “This is about the time I cried in a grocery store parking lot.”\u003c/p>\n\u003cp>These short, vague prefaces allowed a brief release for the crowd before being returned to the intimate landscapes of the quiet artist’s mind in the hour-long set. Holding this in their memories, the crowd stifled cheers during songs, looking up hopefully at someone who sang about a feeling that still bubbled in their hearts.\u003cem>—K.S.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13917251\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917251\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-August-5-2022.004-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-August-5-2022.004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-August-5-2022.004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-August-5-2022.004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-August-5-2022.004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-August-5-2022.004-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-August-5-2022.004.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SZA headlines Outside Lands on Friday, August 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>SZA’s Glow-Up\u003c/h2>\n\u003cp>SZA wowed the crowd at the Lands End stage with one of the most intricates set at this year’s festival. Starting her set atop a lighthouse, the R&B singer had fans hanging on her every word from the moment she took the stage. The life-sized anchor, marine projections and custom-made pier took the audience to a musical paradise where SZA reigns as queen.\u003c/p>\n\u003cp>The night was a clear glow-up from the minimalist approach of SZA’s \u003ca href=\"https://www.kqed.org/arts/13832104/sza-brockhampton-kamaiyah-bring-blurry-vision-into-focus-in-oakland\" target=\"_blank\" rel=\"noopener noreferrer\">2018 headlining set in Oakland\u003c/a>. Her growth was not only evident in the stage design but her overall stage presence, with elaborate synchronized dance numbers and a colorful wardrobe.\u003c/p>\n\u003cp>Kicking things off with “All The Stars,” the singer’s collaboration with Kendrick Lamar, the night was full of new and old hits, including “Love Galore,” “The Weekend,” and “Normal Girl.”\u003c/p>\n\u003cp>Most impressively, SZA did this all after shortly recovering from COVID-19 last week. As she told the audience: “I was definitely fighting for my life to be with you.”—E.G.\u003c/p>\n\u003cfigure id=\"attachment_13917271\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917271\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Mac-DeMarco-performs-at-Outside-Lands-on-Saturday-August-6-2022.001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Mac-DeMarco-performs-at-Outside-Lands-on-Saturday-August-6-2022.001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Mac-DeMarco-performs-at-Outside-Lands-on-Saturday-August-6-2022.001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Mac-DeMarco-performs-at-Outside-Lands-on-Saturday-August-6-2022.001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Mac-DeMarco-performs-at-Outside-Lands-on-Saturday-August-6-2022.001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Mac-DeMarco-performs-at-Outside-Lands-on-Saturday-August-6-2022.001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Mac-DeMarco-performs-at-Outside-Lands-on-Saturday-August-6-2022.001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mac DeMarco performs at Outside Lands on Saturday, August 6, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Mac DeMarco: ‘They’re All Love Songs!’\u003c/h2>\n\u003cp>Known for alternative indie-rock classics and a history of unpredictable stage antics, Mac DeMarco began his Saturday set with mellow 2014 single “Salad Days.” Flashing his famous gap-toothed smile, his \u003cem>La-li-la-lala\u003c/em>s were mirrored by dedicated fans in the audience.\u003c/p>\n\u003cp>DeMarco’s ease on stage showed when he swung his mic around during “Chamber of Reflection,” cheekily smiling when it distorted the sound; when he periodically yelled during songs; and when, during a jazzy interlude of “Still Together,” he walked to each of his bandmates and asked them to improvise scat singing.\u003c/p>\n\u003cp>In his signature green bucket hat with a yellow smiley face, DeMarco laughed often and was eager to shout out his band members: guitarist Alec Meen, bassist Daryl Johns and drummer JD Beck. Together, they looked like a group of garage band kids, ecstatic to be in each other’s company as they played nostalgic riffs and sang along to the tender lyrics of DeMarco’s wide discography.\u003c/p>\n\u003cp>At one point, DeMarco admitted, “They’re all love songs!” With this in mind, it was hard not to have someone special in mind as he sang “Baby’s Wearing Blue Jeans,” “Let Her Go,” “Another One” and the rest of the set. Wistful and sincere, the evening was permeated with a feeling of yearning that stayed long after he played.\u003cem>—K.S.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13917275\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917275\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Parcels-perform-at-Outside-Lands-on-Saturday-August-6-2022.002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Parcels-perform-at-Outside-Lands-on-Saturday-August-6-2022.002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Parcels-perform-at-Outside-Lands-on-Saturday-August-6-2022.002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Parcels-perform-at-Outside-Lands-on-Saturday-August-6-2022.002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Parcels-perform-at-Outside-Lands-on-Saturday-August-6-2022.002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Parcels-perform-at-Outside-Lands-on-Saturday-August-6-2022.002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Parcels-perform-at-Outside-Lands-on-Saturday-August-6-2022.002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Parcels perform at Outside Lands on Saturday, August 6, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Parcels Electrify Crowds with Funk and Disco\u003c/h2>\n\u003cp>People eager to dance and groove packed the Sutro stage at dusk, awaiting the arrival of five-piece Australian band Parcels. When the clock struck seven, the members launched into a long musical intro, slowly building a simple guitar riff into a multilayered jam session with lush keyboard, drums and bass playing. After several minutes, this transitioned into their hit single, “Lightenup,” a soulful funk song with hypnotic vocal harmonizations reminiscent of Bee Gees-era disco.\u003c/p>\n\u003cp>As the last remnants of the day’s sun warmed the stage, guitarist and lead vocalist Jules Crommelin greeted the crowd. “San Francisco, this place is the best,” he said, smiling. “And the smell man. The smell! So good.”\u003c/p>\n\u003cp>With their remaining time, the Parcels played other crowd pleasers that included “Tieduprightnow,” “IknowhowIFeel” and an exhilarating cover of Lykke Li’s “I Follow Rivers” that blended the group’s penchant for genre melding and long, satisfying instrumental interludes that climb to euphoric and cinematic climaxes.\u003cem>—K.S.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13917269\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917269\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Kali-Uchis-performs-at-Outside-Lands-on-Saturday-August-6-2022.003-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kali-Uchis-performs-at-Outside-Lands-on-Saturday-August-6-2022.003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kali-Uchis-performs-at-Outside-Lands-on-Saturday-August-6-2022.003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kali-Uchis-performs-at-Outside-Lands-on-Saturday-August-6-2022.003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kali-Uchis-performs-at-Outside-Lands-on-Saturday-August-6-2022.003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kali-Uchis-performs-at-Outside-Lands-on-Saturday-August-6-2022.003-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kali-Uchis-performs-at-Outside-Lands-on-Saturday-August-6-2022.003.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kali Uchis performs at Outside Lands on Saturday, August 6, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Kali Uchis Serves Superstar Presence\u003c/h2>\n\u003cp>When R&B singer Kali Uchis strutted on stage Saturday night, attendees shivering in the cold suddenly lit up, jumping to their feet. Dressed in an all-white ensemble and donning her signature smokey cat eye and glossy pout, Uchis opened with “Dead to Me” while fiercely sashaying and gesturing to the audience. Uchis’ powerful dismissal of an obsessive former flame had crowd members shouting along to every word of the independent-hot-girl anthem.\u003c/p>\n\u003cp>As the music transitioned into the smooth house beats of “10%,” Uchis delivered commanding glances as she sang, one hand holding the mic and the other performing precise choreography in sync with her backup dancers. Despite a few audio issues, Uchis put on a captivating performance, embodying a siren-like quality with her velvety contralto vocals, enchanting stares and sensual dance moves. Singing in both Spanish and English, Uchis performed hits like “fue mejor” and “no eres tu (soy yo)” from her 2020 Spanish album \u003cem>Sin Miedo (del Amor y Otros Demonios)\u003c/em>, and even some older songs like “Loner” and “Speed” from her 2015’s \u003cem>Por Vida\u003c/em>.\u003c/p>\n\u003cp>Bathed in pink and purple light, Uchis bewitched the stage, and her voice—airy one moment and soulful the next—stirred the cold out of weary festival goers, ending the night with heat and dance.\u003cem>—K.S.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13917289\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917289\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Dominic-Fike-performs-at-Outside-Lands-on-Sunday-August-7-2022.001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Dominic-Fike-performs-at-Outside-Lands-on-Sunday-August-7-2022.001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Dominic-Fike-performs-at-Outside-Lands-on-Sunday-August-7-2022.001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Dominic-Fike-performs-at-Outside-Lands-on-Sunday-August-7-2022.001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Dominic-Fike-performs-at-Outside-Lands-on-Sunday-August-7-2022.001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Dominic-Fike-performs-at-Outside-Lands-on-Sunday-August-7-2022.001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Dominic-Fike-performs-at-Outside-Lands-on-Sunday-August-7-2022.001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dominic Fike performs at Outside Lands on Sunday, August 7, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Dominic Fike Jumps From the Screen to the Stage\u003c/h2>\n\u003cp>You may know Dominic Fike as one of the leads of HBO’s Emmy award-winning show \u003cem>Euphoria\u003c/em>, or as Lil Nas X’s love interest in Brockhampton’s music video for “Count On Me.” But for those who caught the actor’s set on Friday afternoon, Fike left his mark as a musician.\u003c/p>\n\u003cp>Coming off as a mix of an old soul and TikTok sensation, Fike fittingly kicked off with a cover of “Bad Reputation” by Joan Jett & the Blackhearts before launching into original numbers “Baby Doll” and “She Wants My Money,” the latter of which included an impressive guitar solo. Fike also performed “The Kiss Of Venus,” a song that he worked on with Paul McCartney.\u003c/p>\n\u003cp>Joined by New York musician Blu DeTiger on the bass, a star in her own right, Fike performed with a skilled set of young instrumentalists. The audience was mostly composed of young faces who sang along at the end, when Fike played his biggest hit to date, “3 Nights.”\u003c/p>\n\u003cfigure id=\"attachment_13917293\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917293\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Post Malone headlines Outside Lands on Sunday, August 7, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Post Malone, the Relatable Sunday-Night Star\u003c/h2>\n\u003cp>Post Malone was all smiles at the Land End stage on Sunday Night. Raising a toast to the crowd with a red solo cup, the singer’s carefree attitude carried across Golden Gate Park.\u003c/p>\n\u003cp>Dressed in Converse high-tops, cutoff butterfly shorts and a large t-shirt, the Grammy award-winning artist could have passed for one of the many concertgoers who spent the weekend partying and enjoying music. Perhaps that explains his appeal: watching Malone perform felt like hanging out with a friend. He made heart shapes with his hands and directed them at people in the front row. He reached over the stage railing to fist-bump fans.\u003c/p>\n\u003cp>During “Circles” and “Better Now,” even those who’d been napping on the field seemed to rally enough energy to cheer for the closing set of the festival.\u003cem>—E.G.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>More photos below. \u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13917287\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917287\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Baby-Tate-performs-at-Outside-Lands-on-Sunday-August-7-2022.004-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Baby-Tate-performs-at-Outside-Lands-on-Sunday-August-7-2022.004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Baby-Tate-performs-at-Outside-Lands-on-Sunday-August-7-2022.004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Baby-Tate-performs-at-Outside-Lands-on-Sunday-August-7-2022.004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Baby-Tate-performs-at-Outside-Lands-on-Sunday-August-7-2022.004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Baby-Tate-performs-at-Outside-Lands-on-Sunday-August-7-2022.004-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Baby-Tate-performs-at-Outside-Lands-on-Sunday-August-7-2022.004.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Baby Tate performs at Outside Lands on Sunday, August 7, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917294\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917294\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Post Malone headlines Outside Lands on Sunday, August 7, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917280\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917280\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022.002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022.002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022.002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022.002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022.002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022.002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022.002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands on Saturday, August 6, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917266\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917266\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Green-Day-headline-Outside-Lands-on-Saturday-August-6-2022.004-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Green-Day-headline-Outside-Lands-on-Saturday-August-6-2022.004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Green-Day-headline-Outside-Lands-on-Saturday-August-6-2022.004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Green-Day-headline-Outside-Lands-on-Saturday-August-6-2022.004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Green-Day-headline-Outside-Lands-on-Saturday-August-6-2022.004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Green-Day-headline-Outside-Lands-on-Saturday-August-6-2022.004-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Green-Day-headline-Outside-Lands-on-Saturday-August-6-2022.004.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Green Day headline Outside Lands on Saturday, August 6, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917247\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Spellling-performs-at-Outside-Lands-on-Friday-August-5-2022.--800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Spellling-performs-at-Outside-Lands-on-Friday-August-5-2022.--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Spellling-performs-at-Outside-Lands-on-Friday-August-5-2022.--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Spellling-performs-at-Outside-Lands-on-Friday-August-5-2022.--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Spellling-performs-at-Outside-Lands-on-Friday-August-5-2022.--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Spellling-performs-at-Outside-Lands-on-Friday-August-5-2022.--1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Spellling-performs-at-Outside-Lands-on-Friday-August-5-2022.-.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Spellling performs at Outside Lands on Friday, August 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917236\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917236\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Hiatus-Kaiyote-perform-at-Outside-Lands-on-Friday-August-5-2022.002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Hiatus-Kaiyote-perform-at-Outside-Lands-on-Friday-August-5-2022.002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Hiatus-Kaiyote-perform-at-Outside-Lands-on-Friday-August-5-2022.002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Hiatus-Kaiyote-perform-at-Outside-Lands-on-Friday-August-5-2022.002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Hiatus-Kaiyote-perform-at-Outside-Lands-on-Friday-August-5-2022.002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Hiatus-Kaiyote-perform-at-Outside-Lands-on-Friday-August-5-2022.002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Hiatus-Kaiyote-perform-at-Outside-Lands-on-Friday-August-5-2022.002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hiatus Kaiyote perform at Outside Lands on Friday, August 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917237\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917237\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Lil-Uzi-Vert-performs-at-Outside-Lands-on-Friday-August-5-2022.-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Lil-Uzi-Vert-performs-at-Outside-Lands-on-Friday-August-5-2022.-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Lil-Uzi-Vert-performs-at-Outside-Lands-on-Friday-August-5-2022.-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Lil-Uzi-Vert-performs-at-Outside-Lands-on-Friday-August-5-2022.-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Lil-Uzi-Vert-performs-at-Outside-Lands-on-Friday-August-5-2022.-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Lil-Uzi-Vert-performs-at-Outside-Lands-on-Friday-August-5-2022.-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Lil-Uzi-Vert-performs-at-Outside-Lands-on-Friday-August-5-2022..jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lil Uzi Vert performs at Outside Lands on Friday, August 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917270\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917270\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Kali-Uchis-performs-at-Outside-Lands-on-Saturday-August-6-2022.004-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kali-Uchis-performs-at-Outside-Lands-on-Saturday-August-6-2022.004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kali-Uchis-performs-at-Outside-Lands-on-Saturday-August-6-2022.004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kali-Uchis-performs-at-Outside-Lands-on-Saturday-August-6-2022.004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kali-Uchis-performs-at-Outside-Lands-on-Saturday-August-6-2022.004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kali-Uchis-performs-at-Outside-Lands-on-Saturday-August-6-2022.004-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kali-Uchis-performs-at-Outside-Lands-on-Saturday-August-6-2022.004.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kali Uchis performs at Outside Lands on Saturday, August 6, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917303\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917303\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Weezer-perform-at-Outside-Lands-on-Sunday-August-7-2022.001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Weezer-perform-at-Outside-Lands-on-Sunday-August-7-2022.001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Weezer-perform-at-Outside-Lands-on-Sunday-August-7-2022.001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Weezer-perform-at-Outside-Lands-on-Sunday-August-7-2022.001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Weezer-perform-at-Outside-Lands-on-Sunday-August-7-2022.001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Weezer-perform-at-Outside-Lands-on-Sunday-August-7-2022.001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Weezer-perform-at-Outside-Lands-on-Sunday-August-7-2022.001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Weezer perform at Outside Lands on Sunday, August 7, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917292\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917292\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Kim-Petras-performs-at-Outside-Lands-on-Sunday-August-7-2022.002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kim-Petras-performs-at-Outside-Lands-on-Sunday-August-7-2022.002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kim-Petras-performs-at-Outside-Lands-on-Sunday-August-7-2022.002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kim-Petras-performs-at-Outside-Lands-on-Sunday-August-7-2022.002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kim-Petras-performs-at-Outside-Lands-on-Sunday-August-7-2022.002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kim-Petras-performs-at-Outside-Lands-on-Sunday-August-7-2022.002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kim-Petras-performs-at-Outside-Lands-on-Sunday-August-7-2022.002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kim Petras performs at Outside Lands on Sunday, August 7, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917257\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917257\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Friday-August-5-2022.-005-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Friday-August-5-2022.-005-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Friday-August-5-2022.-005-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Friday-August-5-2022.-005-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Friday-August-5-2022.-005-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Friday-August-5-2022.-005-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Friday-August-5-2022.-005.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands on Friday, August 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917273\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917273\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/P-Lo-and-Thuy-performs-at-Outside-Lands-on-Saturday-August-6-2022.-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/P-Lo-and-Thuy-performs-at-Outside-Lands-on-Saturday-August-6-2022.-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/P-Lo-and-Thuy-performs-at-Outside-Lands-on-Saturday-August-6-2022.-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/P-Lo-and-Thuy-performs-at-Outside-Lands-on-Saturday-August-6-2022.-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/P-Lo-and-Thuy-performs-at-Outside-Lands-on-Saturday-August-6-2022.-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/P-Lo-and-Thuy-performs-at-Outside-Lands-on-Saturday-August-6-2022.-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/P-Lo-and-Thuy-performs-at-Outside-Lands-on-Saturday-August-6-2022..jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">P-Lo and Thuy perform at Outside Lands on Saturday, August 6, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917285\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917285\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Baby-Tate-performs-at-Outside-Lands-on-Sunday-August-7-2022.002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Baby-Tate-performs-at-Outside-Lands-on-Sunday-August-7-2022.002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Baby-Tate-performs-at-Outside-Lands-on-Sunday-August-7-2022.002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Baby-Tate-performs-at-Outside-Lands-on-Sunday-August-7-2022.002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Baby-Tate-performs-at-Outside-Lands-on-Sunday-August-7-2022.002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Baby-Tate-performs-at-Outside-Lands-on-Sunday-August-7-2022.002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Baby-Tate-performs-at-Outside-Lands-on-Sunday-August-7-2022.002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Baby Tate performs at Outside Lands on Sunday, August 7, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917277\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917277\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022-005-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022-005-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022-005-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022-005-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022-005-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022-005-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022-005.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands on Saturday, August 6, 2022. \u003ccite>( Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917264\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917264\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Green-Day-headline-Outside-Lands-on-Saturday-August-6-2022.002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Green-Day-headline-Outside-Lands-on-Saturday-August-6-2022.002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Green-Day-headline-Outside-Lands-on-Saturday-August-6-2022.002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Green-Day-headline-Outside-Lands-on-Saturday-August-6-2022.002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Green-Day-headline-Outside-Lands-on-Saturday-August-6-2022.002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Green-Day-headline-Outside-Lands-on-Saturday-August-6-2022.002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Green-Day-headline-Outside-Lands-on-Saturday-August-6-2022.002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Green Day headline Outside Lands on Saturday, August 6, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917248\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917248\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-August-5-2022.001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-August-5-2022.001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-August-5-2022.001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-August-5-2022.001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-August-5-2022.001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-August-5-2022.001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-August-5-2022.001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SZA headlines Outside Lands on Friday, August 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917242\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917242\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Oliver-Tree-performs-at-Outside-Lands-on-Friday-August-5-2022.001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Oliver-Tree-performs-at-Outside-Lands-on-Friday-August-5-2022.001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Oliver-Tree-performs-at-Outside-Lands-on-Friday-August-5-2022.001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Oliver-Tree-performs-at-Outside-Lands-on-Friday-August-5-2022.001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Oliver-Tree-performs-at-Outside-Lands-on-Friday-August-5-2022.001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Oliver-Tree-performs-at-Outside-Lands-on-Friday-August-5-2022.001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Oliver-Tree-performs-at-Outside-Lands-on-Friday-August-5-2022.001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oliver Tree performs at Outside Lands on Friday, August 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917281\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917281\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022.003-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022.003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022.003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022.003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022.003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022.003-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022.003.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands on Saturday, August 6, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917307\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917307\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Wet-Leg-perform-at-Outside-Lands-on-Sunday-August-7-2022.-002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Wet-Leg-perform-at-Outside-Lands-on-Sunday-August-7-2022.-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Wet-Leg-perform-at-Outside-Lands-on-Sunday-August-7-2022.-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Wet-Leg-perform-at-Outside-Lands-on-Sunday-August-7-2022.-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Wet-Leg-perform-at-Outside-Lands-on-Sunday-August-7-2022.-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Wet-Leg-perform-at-Outside-Lands-on-Sunday-August-7-2022.-002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Wet-Leg-perform-at-Outside-Lands-on-Sunday-August-7-2022.-002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Wet Leg perform at Outside Lands on Sunday, August 7, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917299\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917299\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Sunday-August-7-2022.003-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Sunday-August-7-2022.003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Sunday-August-7-2022.003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Sunday-August-7-2022.003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Sunday-August-7-2022.003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Sunday-August-7-2022.003-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Sunday-August-7-2022.003.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands on Sunday, August 7, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917295\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917295\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.004-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.004-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.004.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Post Malone headlines Outside Lands on Sunday, August 7, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917262\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917262\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Duckwrth-backstage-at-Outside-Lands-on-Friday-August-5-2022-011-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Duckwrth-backstage-at-Outside-Lands-on-Friday-August-5-2022-011-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Duckwrth-backstage-at-Outside-Lands-on-Friday-August-5-2022-011-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Duckwrth-backstage-at-Outside-Lands-on-Friday-August-5-2022-011-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Duckwrth-backstage-at-Outside-Lands-on-Friday-August-5-2022-011-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Duckwrth-backstage-at-Outside-Lands-on-Friday-August-5-2022-011-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Duckwrth-backstage-at-Outside-Lands-on-Friday-August-5-2022-011.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Duckwrth performs at Outside Lands on Friday, August 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917244\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917244\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Phoebe-Bridgers-performs-at-Outside-Lands-on-Friday-August-5-2022.001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Phoebe-Bridgers-performs-at-Outside-Lands-on-Friday-August-5-2022.001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Phoebe-Bridgers-performs-at-Outside-Lands-on-Friday-August-5-2022.001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Phoebe-Bridgers-performs-at-Outside-Lands-on-Friday-August-5-2022.001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Phoebe-Bridgers-performs-at-Outside-Lands-on-Friday-August-5-2022.001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Phoebe-Bridgers-performs-at-Outside-Lands-on-Friday-August-5-2022.001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Phoebe-Bridgers-performs-at-Outside-Lands-on-Friday-August-5-2022.001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Phoebe Bridgers performs at Outside Lands on Friday, August 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917256\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917256\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Friday-August-5-2022.-004-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Friday-August-5-2022.-004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Friday-August-5-2022.-004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Friday-August-5-2022.-004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Friday-August-5-2022.-004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Friday-August-5-2022.-004-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Friday-August-5-2022.-004.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands on Friday, August 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"excerpt": "SZA, Kali Uchis, Post Malone, Phoebe Bridgers, Green Day and others highlighted the return of Outside Lands in San Francisco.",
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"description": "SZA, Kali Uchis, Post Malone, Phoebe Bridgers, Green Day and others highlighted the return of Outside Lands in San Francisco.",
"title": "Outside Lands 2022: Photos and Highlights From the Festival's Return to Golden Gate Park | KQED",
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"headline": "Outside Lands 2022: Photos and Highlights From the Festival's Return to Golden Gate Park",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Outside Lands festival returned this past weekend to its traditional August dates in San Francisco’s Golden Gate Park. And while the venerable festival took one year off in 2020 due to COVID, and moved last year to October due to pandemic-related delays, this year’s return of the favorite end-of-summer festival didn’t seem to skip a beat.\u003c/p>\n\u003cp>Here’s what the scene was like, courtesy of Kristie Song and Estefany Gonzalez, with musical highlights and photos below.\u003c/p>\n\u003cfigure id=\"attachment_13917233\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917233\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Duckwrth-performs-at-Outside-Lands-on-Friday-August-5-2022.001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Duckwrth-performs-at-Outside-Lands-on-Friday-August-5-2022.001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Duckwrth-performs-at-Outside-Lands-on-Friday-August-5-2022.001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Duckwrth-performs-at-Outside-Lands-on-Friday-August-5-2022.001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Duckwrth-performs-at-Outside-Lands-on-Friday-August-5-2022.001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Duckwrth-performs-at-Outside-Lands-on-Friday-August-5-2022.001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Duckwrth-performs-at-Outside-Lands-on-Friday-August-5-2022.001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Duckwrth performs at Outside Lands on Friday, August 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Duckwrth Brings the Power to Land’s End Stage\u003c/h2>\n\u003cp>As a mid-afternoon drowsiness fell upon Friday’s crowd, there was no better act than Duckwrth to bring them back to life. Opening with two of his most energetic hits, “Coming Closer” and “Power Power,” the musician danced across the stage, smiling and flexing his arms as he sang and rapped. In no time, attendees began to dance and light up their joints, carefree and revitalized by his infectious aura.\u003c/p>\n\u003cp>Dressed in a custom black suit with a chrome bull on the back in a nod to his upcoming EP, Duckwrth previewed three of its singles to a delighted crowd. During “Ce Soir,” a collaboration with musician Syd that was just released that same morning, Duckwrth moved his hips to the song’s mellow beat and rapped the chorus in French as the crowd shimmied.\u003c/p>\n\u003cp>Duckwrth was joined by vocalist Olivia Walker, known as Just Liv, whose soulful singing and lively dancing only added to the invigorating atmosphere. Together, they performed slow, sexy classics like “Crush” and “Kiss U Right Now” as well as an untitled, heavy metal-tinged single. As he transferred his energy to the crowd, and as they delivered it right back, Duckwrth demonstrated that it is possible to have an audience completely wrapped around your finger.\u003cem>—K.S.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13917258\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917258\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/The-Mar%C3%ADas-perform-at-Outside-Lands-on-Friday-August-5-2022.001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-Marías-perform-at-Outside-Lands-on-Friday-August-5-2022.001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-Marías-perform-at-Outside-Lands-on-Friday-August-5-2022.001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-Marías-perform-at-Outside-Lands-on-Friday-August-5-2022.001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-Marías-perform-at-Outside-Lands-on-Friday-August-5-2022.001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-Marías-perform-at-Outside-Lands-on-Friday-August-5-2022.001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-Marías-perform-at-Outside-Lands-on-Friday-August-5-2022.001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Marías perform at Outside Lands on Friday, August 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Marías Bring Romantic Mystery\u003c/h2>\n\u003cp>Set against a large, blood red backdrop, Maria Zardoya of the psychedelic indie-rock band the Marías looked like an angel who had fallen into hell. In a distressed white dress with matching gloves, Zardoya carried her sultry, pixie-like voice across the crowd like a spell. Suddenly, everyone felt a little seductive and mysterious too, swaying their hips and shoulders to “All I Really Want Is You,” “Hush” and “Otro Atardecer.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Like Saturday’s headliner Kali Uchis, Zardoya sang in both English and Spanish, blending the languages into silky songs of love and yearning. Her entrancing voice was accompanied by dreamy instrumentals that felt like waking from deep slumber by the sea, especially during “Only in My Dreams.” Slow, romantic and affecting, her music belongs in the most intimate of spaces, personified by cigarette smoke and black-and-white films.\u003c/p>\n\u003cp>With grand trumpet solos from band member Gabe Steiner and low, haunting backing vocals from guitarist Jesse Perlman and drummer Josh Conway, Zardoya’s soft, distinctive voice transformed into an entity—a story. During “Cariño,” a couple in the crowd held one another close, leaning in for kisses as Zardoya sang: “You’re a masterpiece / Just by only looking at you, it’s something that gives me peace / Darling, you’re lovely / Darling, you paint in color.”\u003cem>—K.S.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13917245\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917245\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Phoebe-Bridgers-performs-at-Outside-Lands-on-Friday-August-5-2022.002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Phoebe-Bridgers-performs-at-Outside-Lands-on-Friday-August-5-2022.002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Phoebe-Bridgers-performs-at-Outside-Lands-on-Friday-August-5-2022.002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Phoebe-Bridgers-performs-at-Outside-Lands-on-Friday-August-5-2022.002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Phoebe-Bridgers-performs-at-Outside-Lands-on-Friday-August-5-2022.002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Phoebe-Bridgers-performs-at-Outside-Lands-on-Friday-August-5-2022.002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Phoebe-Bridgers-performs-at-Outside-Lands-on-Friday-August-5-2022.002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Phoebe Bridgers performs at Outside Lands on Friday, August 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Phoebe Bridgers Has ‘Em in the Palm of Her Hand\u003c/h2>\n\u003cp>Packed like sardines, the crowd waiting for Phoebe Bridgers on Friday night collectively screamed when she entered, dressed in a suit and bowtie, guitar in hand, silver tresses blowing in the wind. The Polo Field became a congregation, and hearing her soft voice live enveloped by stripped-down instrumentals beneath a dark sky and light dew was almost spiritual. Shoulder-to-shoulder, attendees sang along—some with tears in their eyes—as Bridgers played hits like “Motion Sickness,” “Kyoto,” Savior Complex” and “Chinese Satellite.”\u003c/p>\n\u003cp>In between songs, the Ukiah-raised Bridgers was sparse with words. When introducing “Funeral,” she offered just one line. “Um,” she said. “This one is an enormous bummer.” For “ICU,” she offered something similarly vague: “This is about the time I cried in a grocery store parking lot.”\u003c/p>\n\u003cp>These short, vague prefaces allowed a brief release for the crowd before being returned to the intimate landscapes of the quiet artist’s mind in the hour-long set. Holding this in their memories, the crowd stifled cheers during songs, looking up hopefully at someone who sang about a feeling that still bubbled in their hearts.\u003cem>—K.S.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13917251\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917251\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-August-5-2022.004-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-August-5-2022.004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-August-5-2022.004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-August-5-2022.004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-August-5-2022.004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-August-5-2022.004-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-August-5-2022.004.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SZA headlines Outside Lands on Friday, August 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>SZA’s Glow-Up\u003c/h2>\n\u003cp>SZA wowed the crowd at the Lands End stage with one of the most intricates set at this year’s festival. Starting her set atop a lighthouse, the R&B singer had fans hanging on her every word from the moment she took the stage. The life-sized anchor, marine projections and custom-made pier took the audience to a musical paradise where SZA reigns as queen.\u003c/p>\n\u003cp>The night was a clear glow-up from the minimalist approach of SZA’s \u003ca href=\"https://www.kqed.org/arts/13832104/sza-brockhampton-kamaiyah-bring-blurry-vision-into-focus-in-oakland\" target=\"_blank\" rel=\"noopener noreferrer\">2018 headlining set in Oakland\u003c/a>. Her growth was not only evident in the stage design but her overall stage presence, with elaborate synchronized dance numbers and a colorful wardrobe.\u003c/p>\n\u003cp>Kicking things off with “All The Stars,” the singer’s collaboration with Kendrick Lamar, the night was full of new and old hits, including “Love Galore,” “The Weekend,” and “Normal Girl.”\u003c/p>\n\u003cp>Most impressively, SZA did this all after shortly recovering from COVID-19 last week. As she told the audience: “I was definitely fighting for my life to be with you.”—E.G.\u003c/p>\n\u003cfigure id=\"attachment_13917271\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917271\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Mac-DeMarco-performs-at-Outside-Lands-on-Saturday-August-6-2022.001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Mac-DeMarco-performs-at-Outside-Lands-on-Saturday-August-6-2022.001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Mac-DeMarco-performs-at-Outside-Lands-on-Saturday-August-6-2022.001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Mac-DeMarco-performs-at-Outside-Lands-on-Saturday-August-6-2022.001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Mac-DeMarco-performs-at-Outside-Lands-on-Saturday-August-6-2022.001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Mac-DeMarco-performs-at-Outside-Lands-on-Saturday-August-6-2022.001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Mac-DeMarco-performs-at-Outside-Lands-on-Saturday-August-6-2022.001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mac DeMarco performs at Outside Lands on Saturday, August 6, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Mac DeMarco: ‘They’re All Love Songs!’\u003c/h2>\n\u003cp>Known for alternative indie-rock classics and a history of unpredictable stage antics, Mac DeMarco began his Saturday set with mellow 2014 single “Salad Days.” Flashing his famous gap-toothed smile, his \u003cem>La-li-la-lala\u003c/em>s were mirrored by dedicated fans in the audience.\u003c/p>\n\u003cp>DeMarco’s ease on stage showed when he swung his mic around during “Chamber of Reflection,” cheekily smiling when it distorted the sound; when he periodically yelled during songs; and when, during a jazzy interlude of “Still Together,” he walked to each of his bandmates and asked them to improvise scat singing.\u003c/p>\n\u003cp>In his signature green bucket hat with a yellow smiley face, DeMarco laughed often and was eager to shout out his band members: guitarist Alec Meen, bassist Daryl Johns and drummer JD Beck. Together, they looked like a group of garage band kids, ecstatic to be in each other’s company as they played nostalgic riffs and sang along to the tender lyrics of DeMarco’s wide discography.\u003c/p>\n\u003cp>At one point, DeMarco admitted, “They’re all love songs!” With this in mind, it was hard not to have someone special in mind as he sang “Baby’s Wearing Blue Jeans,” “Let Her Go,” “Another One” and the rest of the set. Wistful and sincere, the evening was permeated with a feeling of yearning that stayed long after he played.\u003cem>—K.S.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13917275\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917275\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Parcels-perform-at-Outside-Lands-on-Saturday-August-6-2022.002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Parcels-perform-at-Outside-Lands-on-Saturday-August-6-2022.002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Parcels-perform-at-Outside-Lands-on-Saturday-August-6-2022.002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Parcels-perform-at-Outside-Lands-on-Saturday-August-6-2022.002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Parcels-perform-at-Outside-Lands-on-Saturday-August-6-2022.002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Parcels-perform-at-Outside-Lands-on-Saturday-August-6-2022.002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Parcels-perform-at-Outside-Lands-on-Saturday-August-6-2022.002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Parcels perform at Outside Lands on Saturday, August 6, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Parcels Electrify Crowds with Funk and Disco\u003c/h2>\n\u003cp>People eager to dance and groove packed the Sutro stage at dusk, awaiting the arrival of five-piece Australian band Parcels. When the clock struck seven, the members launched into a long musical intro, slowly building a simple guitar riff into a multilayered jam session with lush keyboard, drums and bass playing. After several minutes, this transitioned into their hit single, “Lightenup,” a soulful funk song with hypnotic vocal harmonizations reminiscent of Bee Gees-era disco.\u003c/p>\n\u003cp>As the last remnants of the day’s sun warmed the stage, guitarist and lead vocalist Jules Crommelin greeted the crowd. “San Francisco, this place is the best,” he said, smiling. “And the smell man. The smell! So good.”\u003c/p>\n\u003cp>With their remaining time, the Parcels played other crowd pleasers that included “Tieduprightnow,” “IknowhowIFeel” and an exhilarating cover of Lykke Li’s “I Follow Rivers” that blended the group’s penchant for genre melding and long, satisfying instrumental interludes that climb to euphoric and cinematic climaxes.\u003cem>—K.S.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13917269\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917269\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Kali-Uchis-performs-at-Outside-Lands-on-Saturday-August-6-2022.003-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kali-Uchis-performs-at-Outside-Lands-on-Saturday-August-6-2022.003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kali-Uchis-performs-at-Outside-Lands-on-Saturday-August-6-2022.003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kali-Uchis-performs-at-Outside-Lands-on-Saturday-August-6-2022.003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kali-Uchis-performs-at-Outside-Lands-on-Saturday-August-6-2022.003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kali-Uchis-performs-at-Outside-Lands-on-Saturday-August-6-2022.003-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kali-Uchis-performs-at-Outside-Lands-on-Saturday-August-6-2022.003.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kali Uchis performs at Outside Lands on Saturday, August 6, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Kali Uchis Serves Superstar Presence\u003c/h2>\n\u003cp>When R&B singer Kali Uchis strutted on stage Saturday night, attendees shivering in the cold suddenly lit up, jumping to their feet. Dressed in an all-white ensemble and donning her signature smokey cat eye and glossy pout, Uchis opened with “Dead to Me” while fiercely sashaying and gesturing to the audience. Uchis’ powerful dismissal of an obsessive former flame had crowd members shouting along to every word of the independent-hot-girl anthem.\u003c/p>\n\u003cp>As the music transitioned into the smooth house beats of “10%,” Uchis delivered commanding glances as she sang, one hand holding the mic and the other performing precise choreography in sync with her backup dancers. Despite a few audio issues, Uchis put on a captivating performance, embodying a siren-like quality with her velvety contralto vocals, enchanting stares and sensual dance moves. Singing in both Spanish and English, Uchis performed hits like “fue mejor” and “no eres tu (soy yo)” from her 2020 Spanish album \u003cem>Sin Miedo (del Amor y Otros Demonios)\u003c/em>, and even some older songs like “Loner” and “Speed” from her 2015’s \u003cem>Por Vida\u003c/em>.\u003c/p>\n\u003cp>Bathed in pink and purple light, Uchis bewitched the stage, and her voice—airy one moment and soulful the next—stirred the cold out of weary festival goers, ending the night with heat and dance.\u003cem>—K.S.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13917289\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917289\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Dominic-Fike-performs-at-Outside-Lands-on-Sunday-August-7-2022.001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Dominic-Fike-performs-at-Outside-Lands-on-Sunday-August-7-2022.001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Dominic-Fike-performs-at-Outside-Lands-on-Sunday-August-7-2022.001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Dominic-Fike-performs-at-Outside-Lands-on-Sunday-August-7-2022.001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Dominic-Fike-performs-at-Outside-Lands-on-Sunday-August-7-2022.001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Dominic-Fike-performs-at-Outside-Lands-on-Sunday-August-7-2022.001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Dominic-Fike-performs-at-Outside-Lands-on-Sunday-August-7-2022.001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dominic Fike performs at Outside Lands on Sunday, August 7, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Dominic Fike Jumps From the Screen to the Stage\u003c/h2>\n\u003cp>You may know Dominic Fike as one of the leads of HBO’s Emmy award-winning show \u003cem>Euphoria\u003c/em>, or as Lil Nas X’s love interest in Brockhampton’s music video for “Count On Me.” But for those who caught the actor’s set on Friday afternoon, Fike left his mark as a musician.\u003c/p>\n\u003cp>Coming off as a mix of an old soul and TikTok sensation, Fike fittingly kicked off with a cover of “Bad Reputation” by Joan Jett & the Blackhearts before launching into original numbers “Baby Doll” and “She Wants My Money,” the latter of which included an impressive guitar solo. Fike also performed “The Kiss Of Venus,” a song that he worked on with Paul McCartney.\u003c/p>\n\u003cp>Joined by New York musician Blu DeTiger on the bass, a star in her own right, Fike performed with a skilled set of young instrumentalists. The audience was mostly composed of young faces who sang along at the end, when Fike played his biggest hit to date, “3 Nights.”\u003c/p>\n\u003cfigure id=\"attachment_13917293\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917293\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Post Malone headlines Outside Lands on Sunday, August 7, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Post Malone, the Relatable Sunday-Night Star\u003c/h2>\n\u003cp>Post Malone was all smiles at the Land End stage on Sunday Night. Raising a toast to the crowd with a red solo cup, the singer’s carefree attitude carried across Golden Gate Park.\u003c/p>\n\u003cp>Dressed in Converse high-tops, cutoff butterfly shorts and a large t-shirt, the Grammy award-winning artist could have passed for one of the many concertgoers who spent the weekend partying and enjoying music. Perhaps that explains his appeal: watching Malone perform felt like hanging out with a friend. He made heart shapes with his hands and directed them at people in the front row. He reached over the stage railing to fist-bump fans.\u003c/p>\n\u003cp>During “Circles” and “Better Now,” even those who’d been napping on the field seemed to rally enough energy to cheer for the closing set of the festival.\u003cem>—E.G.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>More photos below. \u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13917287\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917287\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Baby-Tate-performs-at-Outside-Lands-on-Sunday-August-7-2022.004-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Baby-Tate-performs-at-Outside-Lands-on-Sunday-August-7-2022.004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Baby-Tate-performs-at-Outside-Lands-on-Sunday-August-7-2022.004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Baby-Tate-performs-at-Outside-Lands-on-Sunday-August-7-2022.004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Baby-Tate-performs-at-Outside-Lands-on-Sunday-August-7-2022.004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Baby-Tate-performs-at-Outside-Lands-on-Sunday-August-7-2022.004-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Baby-Tate-performs-at-Outside-Lands-on-Sunday-August-7-2022.004.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Baby Tate performs at Outside Lands on Sunday, August 7, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917294\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917294\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Post Malone headlines Outside Lands on Sunday, August 7, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917280\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917280\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022.002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022.002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022.002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022.002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022.002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022.002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022.002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands on Saturday, August 6, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917266\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917266\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Green-Day-headline-Outside-Lands-on-Saturday-August-6-2022.004-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Green-Day-headline-Outside-Lands-on-Saturday-August-6-2022.004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Green-Day-headline-Outside-Lands-on-Saturday-August-6-2022.004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Green-Day-headline-Outside-Lands-on-Saturday-August-6-2022.004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Green-Day-headline-Outside-Lands-on-Saturday-August-6-2022.004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Green-Day-headline-Outside-Lands-on-Saturday-August-6-2022.004-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Green-Day-headline-Outside-Lands-on-Saturday-August-6-2022.004.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Green Day headline Outside Lands on Saturday, August 6, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917247\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Spellling-performs-at-Outside-Lands-on-Friday-August-5-2022.--800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Spellling-performs-at-Outside-Lands-on-Friday-August-5-2022.--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Spellling-performs-at-Outside-Lands-on-Friday-August-5-2022.--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Spellling-performs-at-Outside-Lands-on-Friday-August-5-2022.--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Spellling-performs-at-Outside-Lands-on-Friday-August-5-2022.--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Spellling-performs-at-Outside-Lands-on-Friday-August-5-2022.--1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Spellling-performs-at-Outside-Lands-on-Friday-August-5-2022.-.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Spellling performs at Outside Lands on Friday, August 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917236\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917236\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Hiatus-Kaiyote-perform-at-Outside-Lands-on-Friday-August-5-2022.002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Hiatus-Kaiyote-perform-at-Outside-Lands-on-Friday-August-5-2022.002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Hiatus-Kaiyote-perform-at-Outside-Lands-on-Friday-August-5-2022.002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Hiatus-Kaiyote-perform-at-Outside-Lands-on-Friday-August-5-2022.002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Hiatus-Kaiyote-perform-at-Outside-Lands-on-Friday-August-5-2022.002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Hiatus-Kaiyote-perform-at-Outside-Lands-on-Friday-August-5-2022.002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Hiatus-Kaiyote-perform-at-Outside-Lands-on-Friday-August-5-2022.002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hiatus Kaiyote perform at Outside Lands on Friday, August 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917237\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917237\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Lil-Uzi-Vert-performs-at-Outside-Lands-on-Friday-August-5-2022.-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Lil-Uzi-Vert-performs-at-Outside-Lands-on-Friday-August-5-2022.-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Lil-Uzi-Vert-performs-at-Outside-Lands-on-Friday-August-5-2022.-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Lil-Uzi-Vert-performs-at-Outside-Lands-on-Friday-August-5-2022.-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Lil-Uzi-Vert-performs-at-Outside-Lands-on-Friday-August-5-2022.-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Lil-Uzi-Vert-performs-at-Outside-Lands-on-Friday-August-5-2022.-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Lil-Uzi-Vert-performs-at-Outside-Lands-on-Friday-August-5-2022..jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lil Uzi Vert performs at Outside Lands on Friday, August 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917270\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917270\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Kali-Uchis-performs-at-Outside-Lands-on-Saturday-August-6-2022.004-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kali-Uchis-performs-at-Outside-Lands-on-Saturday-August-6-2022.004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kali-Uchis-performs-at-Outside-Lands-on-Saturday-August-6-2022.004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kali-Uchis-performs-at-Outside-Lands-on-Saturday-August-6-2022.004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kali-Uchis-performs-at-Outside-Lands-on-Saturday-August-6-2022.004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kali-Uchis-performs-at-Outside-Lands-on-Saturday-August-6-2022.004-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kali-Uchis-performs-at-Outside-Lands-on-Saturday-August-6-2022.004.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kali Uchis performs at Outside Lands on Saturday, August 6, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917303\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917303\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Weezer-perform-at-Outside-Lands-on-Sunday-August-7-2022.001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Weezer-perform-at-Outside-Lands-on-Sunday-August-7-2022.001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Weezer-perform-at-Outside-Lands-on-Sunday-August-7-2022.001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Weezer-perform-at-Outside-Lands-on-Sunday-August-7-2022.001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Weezer-perform-at-Outside-Lands-on-Sunday-August-7-2022.001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Weezer-perform-at-Outside-Lands-on-Sunday-August-7-2022.001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Weezer-perform-at-Outside-Lands-on-Sunday-August-7-2022.001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Weezer perform at Outside Lands on Sunday, August 7, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917292\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917292\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Kim-Petras-performs-at-Outside-Lands-on-Sunday-August-7-2022.002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kim-Petras-performs-at-Outside-Lands-on-Sunday-August-7-2022.002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kim-Petras-performs-at-Outside-Lands-on-Sunday-August-7-2022.002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kim-Petras-performs-at-Outside-Lands-on-Sunday-August-7-2022.002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kim-Petras-performs-at-Outside-Lands-on-Sunday-August-7-2022.002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kim-Petras-performs-at-Outside-Lands-on-Sunday-August-7-2022.002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kim-Petras-performs-at-Outside-Lands-on-Sunday-August-7-2022.002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kim Petras performs at Outside Lands on Sunday, August 7, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917257\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917257\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Friday-August-5-2022.-005-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Friday-August-5-2022.-005-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Friday-August-5-2022.-005-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Friday-August-5-2022.-005-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Friday-August-5-2022.-005-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Friday-August-5-2022.-005-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Friday-August-5-2022.-005.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands on Friday, August 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917273\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917273\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/P-Lo-and-Thuy-performs-at-Outside-Lands-on-Saturday-August-6-2022.-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/P-Lo-and-Thuy-performs-at-Outside-Lands-on-Saturday-August-6-2022.-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/P-Lo-and-Thuy-performs-at-Outside-Lands-on-Saturday-August-6-2022.-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/P-Lo-and-Thuy-performs-at-Outside-Lands-on-Saturday-August-6-2022.-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/P-Lo-and-Thuy-performs-at-Outside-Lands-on-Saturday-August-6-2022.-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/P-Lo-and-Thuy-performs-at-Outside-Lands-on-Saturday-August-6-2022.-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/P-Lo-and-Thuy-performs-at-Outside-Lands-on-Saturday-August-6-2022..jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">P-Lo and Thuy perform at Outside Lands on Saturday, August 6, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917285\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917285\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Baby-Tate-performs-at-Outside-Lands-on-Sunday-August-7-2022.002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Baby-Tate-performs-at-Outside-Lands-on-Sunday-August-7-2022.002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Baby-Tate-performs-at-Outside-Lands-on-Sunday-August-7-2022.002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Baby-Tate-performs-at-Outside-Lands-on-Sunday-August-7-2022.002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Baby-Tate-performs-at-Outside-Lands-on-Sunday-August-7-2022.002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Baby-Tate-performs-at-Outside-Lands-on-Sunday-August-7-2022.002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Baby-Tate-performs-at-Outside-Lands-on-Sunday-August-7-2022.002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Baby Tate performs at Outside Lands on Sunday, August 7, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917277\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917277\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022-005-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022-005-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022-005-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022-005-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022-005-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022-005-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022-005.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands on Saturday, August 6, 2022. \u003ccite>( Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917264\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917264\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Green-Day-headline-Outside-Lands-on-Saturday-August-6-2022.002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Green-Day-headline-Outside-Lands-on-Saturday-August-6-2022.002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Green-Day-headline-Outside-Lands-on-Saturday-August-6-2022.002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Green-Day-headline-Outside-Lands-on-Saturday-August-6-2022.002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Green-Day-headline-Outside-Lands-on-Saturday-August-6-2022.002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Green-Day-headline-Outside-Lands-on-Saturday-August-6-2022.002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Green-Day-headline-Outside-Lands-on-Saturday-August-6-2022.002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Green Day headline Outside Lands on Saturday, August 6, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917248\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917248\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-August-5-2022.001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-August-5-2022.001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-August-5-2022.001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-August-5-2022.001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-August-5-2022.001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-August-5-2022.001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-August-5-2022.001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SZA headlines Outside Lands on Friday, August 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917242\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917242\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Oliver-Tree-performs-at-Outside-Lands-on-Friday-August-5-2022.001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Oliver-Tree-performs-at-Outside-Lands-on-Friday-August-5-2022.001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Oliver-Tree-performs-at-Outside-Lands-on-Friday-August-5-2022.001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Oliver-Tree-performs-at-Outside-Lands-on-Friday-August-5-2022.001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Oliver-Tree-performs-at-Outside-Lands-on-Friday-August-5-2022.001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Oliver-Tree-performs-at-Outside-Lands-on-Friday-August-5-2022.001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Oliver-Tree-performs-at-Outside-Lands-on-Friday-August-5-2022.001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oliver Tree performs at Outside Lands on Friday, August 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917281\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917281\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022.003-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022.003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022.003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022.003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022.003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022.003-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022.003.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands on Saturday, August 6, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917307\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917307\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Wet-Leg-perform-at-Outside-Lands-on-Sunday-August-7-2022.-002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Wet-Leg-perform-at-Outside-Lands-on-Sunday-August-7-2022.-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Wet-Leg-perform-at-Outside-Lands-on-Sunday-August-7-2022.-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Wet-Leg-perform-at-Outside-Lands-on-Sunday-August-7-2022.-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Wet-Leg-perform-at-Outside-Lands-on-Sunday-August-7-2022.-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Wet-Leg-perform-at-Outside-Lands-on-Sunday-August-7-2022.-002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Wet-Leg-perform-at-Outside-Lands-on-Sunday-August-7-2022.-002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Wet Leg perform at Outside Lands on Sunday, August 7, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917299\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917299\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Sunday-August-7-2022.003-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Sunday-August-7-2022.003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Sunday-August-7-2022.003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Sunday-August-7-2022.003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Sunday-August-7-2022.003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Sunday-August-7-2022.003-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Sunday-August-7-2022.003.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands on Sunday, August 7, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917295\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917295\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.004-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.004-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.004.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Post Malone headlines Outside Lands on Sunday, August 7, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917262\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917262\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Duckwrth-backstage-at-Outside-Lands-on-Friday-August-5-2022-011-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Duckwrth-backstage-at-Outside-Lands-on-Friday-August-5-2022-011-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Duckwrth-backstage-at-Outside-Lands-on-Friday-August-5-2022-011-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Duckwrth-backstage-at-Outside-Lands-on-Friday-August-5-2022-011-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Duckwrth-backstage-at-Outside-Lands-on-Friday-August-5-2022-011-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Duckwrth-backstage-at-Outside-Lands-on-Friday-August-5-2022-011-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Duckwrth-backstage-at-Outside-Lands-on-Friday-August-5-2022-011.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Duckwrth performs at Outside Lands on Friday, August 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917244\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917244\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Phoebe-Bridgers-performs-at-Outside-Lands-on-Friday-August-5-2022.001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Phoebe-Bridgers-performs-at-Outside-Lands-on-Friday-August-5-2022.001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Phoebe-Bridgers-performs-at-Outside-Lands-on-Friday-August-5-2022.001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Phoebe-Bridgers-performs-at-Outside-Lands-on-Friday-August-5-2022.001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Phoebe-Bridgers-performs-at-Outside-Lands-on-Friday-August-5-2022.001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Phoebe-Bridgers-performs-at-Outside-Lands-on-Friday-August-5-2022.001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Phoebe-Bridgers-performs-at-Outside-Lands-on-Friday-August-5-2022.001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Phoebe Bridgers performs at Outside Lands on Friday, August 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917256\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917256\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Friday-August-5-2022.-004-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Friday-August-5-2022.-004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Friday-August-5-2022.-004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Friday-August-5-2022.-004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Friday-August-5-2022.-004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Friday-August-5-2022.-004-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Friday-August-5-2022.-004.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands on Friday, August 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"title": "Green Day, SZA, Post Malone to Headline Outside Lands 2022",
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"content": "\u003cp>After a successful pandemic-era return last Halloween, \u003ca href=\"https://sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Outside Lands\u003c/a> comes back to Golden Gate Park Aug. 5-7 with headliners R&B singer SZA, rapper Post Malone and Berkeley pop-punk icons Green Day.\u003c/p>\n\u003cp>The festival attracts tens of thousands music fans to San Francisco each year for a weekend of performances, culinary delights and cannabis. The rest of the lineup, announced today, also features rappers Jack Harlow, Lil Uzi Vert and Pusha T; alternative rock acts like Weezer, Phoebe Bridgers, Mitski and Washed Out; electronic musicians Disclosure and Polo & Pan; and glitchy, experimental hyperpop artists 100 Gecs and Pussy Riot. [aside postid='arts_13905536']\u003c/p>\n\u003cp>In addition to Green Day, there are several Bay Area hometown heroes on the lineup, including rapper Larry June and orchestral pop artist Spellling. The rave-like SOMA Tent, which debuted last year, also makes a return with Dirtybird Records founder Claude Von Stroke, TOKiMONSTA and more.\u003c/p>\n\u003ch2>Full lineup\u003c/h2>\n\u003cp>\u003cstrong>Green Day\u003cbr>\nPost Malone\u003cbr>\nSZA\u003cbr>\nJack Harlow\u003cbr>\nWeezer\u003cbr>\nPhoebe Bridgers\u003cbr>\nIllenium\u003cbr>\nLil Uzi Vert\u003cbr>\nKali Uchis\u003cbr>\nDisclosure\u003cbr>\nMitski\u003cbr>\nPolo & Pan\u003cbr>\nAnitta\u003cbr>\nDominic Fike\u003cbr>\nOliver Tree\u003cbr>\nMac DeMarco\u003cbr>\nPusha T\u003cbr>\nMt. Joy\u003cbr>\nKim Petras\u003cbr>\nLocal Natives\u003cbr>\nThe Marías\u003cbr>\nLarry June\u003cbr>\n100 Gecs\u003cbr>\nParcels\u003cbr>\nDayglow\u003cbr>\nPurple Disco Machine\u003cbr>\nHiatus Kaiyote\u003cbr>\nWashed Out\u003cbr>\nAshe\u003cbr>\nSurf Mesa\u003cbr>\nWet Leg\u003cbr>\nSam Fender\u003cbr>\nRole Model\u003cbr>\nBaby Tate\u003cbr>\nThe Backseat Lovers\u003cbr>\nAmber Mark\u003cbr>\nBest Coast\u003cbr>\nFranc Moody\u003cbr>\nPussy Riot\u003cbr>\nDuckwrth\u003cbr>\nEmpress Of\u003cbr>\nRostam\u003cbr>\nZoe Wees\u003cbr>\nFaye Webster\u003cbr>\nGriff\u003cbr>\nAnna Lunoe\u003cbr>\nKennyHoopla\u003cbr>\nMaxo Kream\u003cbr>\nLido Pimienta\u003cbr>\nBriston Maroney\u003cbr>\nSampa The Great\u003cbr>\nDel Water Gap\u003cbr>\nRobert Glasper\u003cbr>\nInner Wave\u003cbr>\nTyla Yaweh\u003cbr>\nGlaive\u003cbr>\nThe Beths\u003cbr>\nPetey\u003cbr>\nOdie\u003cbr>\nBenny Sings\u003cbr>\nThuy\u003cbr>\nMICHELLE\u003cbr>\nJelani Aryeh\u003cbr>\nWilderado\u003cbr>\nCory Henry\u003cbr>\nThe Emo Night Tour\u003cbr>\nPawPaw Rod\u003cbr>\nL’Rain\u003cbr>\nCassandra Jenkins\u003cbr>\nUnusual Demont\u003cbr>\nForester\u003cbr>\nThe BLSSM\u003cbr>\nSPELLLING\u003cbr>\nTre’ Amani\u003c/strong>\u003c/p>\n\u003ch2>Soma Tent\u003c/h2>\n\u003cp>\u003cstrong>Claude VonStroke\u003cbr>\nDixon\u003cbr>\nTOKiMONSTA\u003cbr>\nAbsolute.\u003cbr>\nAMÉMÉ\u003cbr>\nANNA\u003cbr>\nAvalon Emerson\u003cbr>\nBarry Can’t Swim\u003cbr>\nCassian\u003cbr>\nDJ Minx\u003cbr>\nDJ Seinfeld\u003cbr>\nEllen Allien\u003cbr>\nIndia Jordan\u003cbr>\nJ. Worra\u003cbr>\nJOPLYN\u003cbr>\nMajor League Djz\u003cbr>\nMPHD b2b Tiffany Tyson\u003cbr>\nPerel\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After a successful pandemic-era return last Halloween, \u003ca href=\"https://sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Outside Lands\u003c/a> comes back to Golden Gate Park Aug. 5-7 with headliners R&B singer SZA, rapper Post Malone and Berkeley pop-punk icons Green Day.\u003c/p>\n\u003cp>The festival attracts tens of thousands music fans to San Francisco each year for a weekend of performances, culinary delights and cannabis. The rest of the lineup, announced today, also features rappers Jack Harlow, Lil Uzi Vert and Pusha T; alternative rock acts like Weezer, Phoebe Bridgers, Mitski and Washed Out; electronic musicians Disclosure and Polo & Pan; and glitchy, experimental hyperpop artists 100 Gecs and Pussy Riot. \u003c/p>\u003c/div>",
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"title": "OK, So You're a Punk Rock 'Sellout.' Now What?",
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"content": "\u003cp>“It’s actually scientifically proven you’ll make more money on an independent label if you’re a not-so-great punk band like us,” Jawbreaker singer and guitarist Blake Schwarzenbach once told an \u003ca href=\"https://archive.org/details/jawbreaker07031993/12+indictment.m4a\" target=\"_blank\" rel=\"noopener noreferrer\">audience in 1993\u003c/a>. This, he said on stage, isn’t an empty play to the crowd, but rather good business advice. “The smart money stays on an independent, and actually gets richer. And you can do it scrupulously. So think about that.”\u003c/p>\n\u003cp>Not long after, Jawbreaker would sign a nearly \u003ca href=\"https://www.sfgate.com/entertainment/article/Jawbreaker-Swallows-Deal-With-Geffen-S-F-punk-3023361.php\" target=\"_blank\" rel=\"noopener noreferrer\">million-dollar record\u003c/a> deal with the label Geffen.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Cwyh9cCUzRI\u003c/p>\n\u003cp>And they weren’t the only ones. Immediately following the massive boom that was Nirvana, major labels began scouring local indie punk scenes looking for the next big thing. But if you were the kind of band that earned its cred giving the finger to corporate suits, how were you supposed to navigate shaking their hand for your shot at rock stardom?\u003c/p>\n\u003cp>That’s the question at the center of the new book \u003cem>Sellout: The Major Label Feeding Frenzy That Swept Punk, Emo, and Hardcore 1994 — 2007\u003c/em> from music writer Dan Ozzi. The book uses the major label debuts of 11 bands to examine a music industry in flux, fans feeling betrayed, and bands just trying to navigate the machine. “I wanted to know, what happens to the real people,” says Ozzi. “Is it worth it?”\u003c/p>\n\u003cfigure id=\"attachment_13905412\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13905412\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/sellout-9780358244301_custom-fe5de2ccd0318a39fbe53780d596014611f61e33-800x1192.jpg\" alt=\"\" width=\"800\" height=\"1192\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/sellout-9780358244301_custom-fe5de2ccd0318a39fbe53780d596014611f61e33-800x1192.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/sellout-9780358244301_custom-fe5de2ccd0318a39fbe53780d596014611f61e33-1020x1520.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/sellout-9780358244301_custom-fe5de2ccd0318a39fbe53780d596014611f61e33-160x238.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/sellout-9780358244301_custom-fe5de2ccd0318a39fbe53780d596014611f61e33-768x1144.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/sellout-9780358244301_custom-fe5de2ccd0318a39fbe53780d596014611f61e33-1031x1536.jpg 1031w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/sellout-9780358244301_custom-fe5de2ccd0318a39fbe53780d596014611f61e33-1375x2048.jpg 1375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/sellout-9780358244301_custom-fe5de2ccd0318a39fbe53780d596014611f61e33-scaled.jpg 1718w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Sellout’ by Dan Ozzi. \u003ccite>(Houghton Mifflin Harcourt)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Some chapters are straight-ahead success stories (Green Day, Blink-182, My Chemical Romance). Others, less so. Which brings us back to Jawbreaker.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postid='arts_13804539']“There are stories about kids sitting on the floor while they would play their major label songs, kids turning their back. They got spit on a lot,” says Ozzi.\u003c/p>\n\u003cp>It didn’t matter that their only major-label release, 1995’s \u003cem>Dear You,\u003c/em> was the hardest the band had pushed itself. Or that it was seminal in shaping what we know as emo today. Kids simply weren’t buying, and the band eventually broke up.\u003c/p>\n\u003cp>It’s easy to get cred for never selling out if nobody’s buying. But when you’re \u003cem>really\u003c/em> faced with that decision? “It made you do a lot of self-reflection about yourself as an artist,” says Tim McIlrath in an interview with NPR. McIlrath is the singer and guitarist for the band Rise Against.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9-SQGOYOjxs\u003c/p>\n\u003cp>He found reading and participating in Ozzi’s book illuminating because bands going through this weren’t talking with each other about this stuff. “Maybe it was a combination of people were either embarrassed to talk about it, or still processing how they felt about it.”\u003c/p>\n\u003cp>And every band had a slightly different experience. Some, like the all-female band The Donnas, had label reps trying to micromanage and change their image.\u003c/p>\n\u003cp>“They had an A&R guy tell them, ‘Yeah, you guys are great. What we’re going to have you do is drop the instruments so you can sing and dance,'” says Ozzi. Which was a problem because they couldn’t dance. But also, why change now? Being who they were got them their success.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nCvRT2sy5FE\u003c/p>\n\u003cp>But the picture Ozzi paints in the book isn’t as binary as the virtuous independent label vs. the evil and greedy major labels. He interviews various people from the corporate entities who came from punk scenes and really, truly wanted what was best for the bands. And there are, of course, shady actors coming from the indie labels, too. “There’s people not looking out for your best interests on either side of it,” he says.\u003c/p>\n\u003cp>Every art form deals with some variation of this question—what concessions are you willing to make for more eyeballs, more opportunity and more money. But money has always been a particularly sensitive topic for punk bands at any level.\u003c/p>\n\u003cp>[aside postid='arts_13894169']“Growing up in punk and hardcore, we have this thing called punk rock guilt,” says McIlrath. It’s a feeling of insecurity, of second-guessing if the choices you’re making are reflective of your values. Sometimes this pushes people to make somewhat ridiculous choices. (There’s a line in the book about McIlrath getting dropped off around the corner from a gig because he didn’t want people to see him getting out of his manager’s Mercedes).\u003c/p>\n\u003cp>But sometimes “selling out” afforded the band artistic opportunities it wouldn’t have had otherwise. For instance, during the height of the war in Iraq, Rise Against could call George Bush a liar in front of a small crowd of punks and, well, sure. Big surprise, there. But in front of a wider audience, where the cars in the parking lots are decked with American flags and “Support the Troops” stickers?\u003c/p>\n\u003cp>Ozzi writes:\u003c/p>\n\u003cblockquote>\u003cp>Sometimes, McIlrath saw his words lead to shoving matches and fistfights in the crowd. In more extreme cases, the band dodged cans that were thrown at them or were called f****ts or p*****s. McIlrath felt empowered by the combative atmosphere and enjoyed going into battle each night… It was as though the band had grown into their name.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>Of course, now in the streaming era, the economics of being in a band have changed. So that punk rock guilt barely exists anymore as most bands happily take beer ad money or agree to corporate brand sponsorships. Because just as you can’t pay your rent in punk cred, you also cannot escape marketing. “Maybe we’ve all just dealt with it,” says Ozzi. Or, maybe we’ve all just sold out.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=OK%2C+so+you%27re+a+%27Sellout.%27+Now+what%3F+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“It’s actually scientifically proven you’ll make more money on an independent label if you’re a not-so-great punk band like us,” Jawbreaker singer and guitarist Blake Schwarzenbach once told an \u003ca href=\"https://archive.org/details/jawbreaker07031993/12+indictment.m4a\" target=\"_blank\" rel=\"noopener noreferrer\">audience in 1993\u003c/a>. This, he said on stage, isn’t an empty play to the crowd, but rather good business advice. “The smart money stays on an independent, and actually gets richer. And you can do it scrupulously. So think about that.”\u003c/p>\n\u003cp>Not long after, Jawbreaker would sign a nearly \u003ca href=\"https://www.sfgate.com/entertainment/article/Jawbreaker-Swallows-Deal-With-Geffen-S-F-punk-3023361.php\" target=\"_blank\" rel=\"noopener noreferrer\">million-dollar record\u003c/a> deal with the label Geffen.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Cwyh9cCUzRI'\n title='//www.youtube.com/embed/Cwyh9cCUzRI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And they weren’t the only ones. Immediately following the massive boom that was Nirvana, major labels began scouring local indie punk scenes looking for the next big thing. But if you were the kind of band that earned its cred giving the finger to corporate suits, how were you supposed to navigate shaking their hand for your shot at rock stardom?\u003c/p>\n\u003cp>That’s the question at the center of the new book \u003cem>Sellout: The Major Label Feeding Frenzy That Swept Punk, Emo, and Hardcore 1994 — 2007\u003c/em> from music writer Dan Ozzi. The book uses the major label debuts of 11 bands to examine a music industry in flux, fans feeling betrayed, and bands just trying to navigate the machine. “I wanted to know, what happens to the real people,” says Ozzi. “Is it worth it?”\u003c/p>\n\u003cfigure id=\"attachment_13905412\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13905412\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/sellout-9780358244301_custom-fe5de2ccd0318a39fbe53780d596014611f61e33-800x1192.jpg\" alt=\"\" width=\"800\" height=\"1192\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/sellout-9780358244301_custom-fe5de2ccd0318a39fbe53780d596014611f61e33-800x1192.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/sellout-9780358244301_custom-fe5de2ccd0318a39fbe53780d596014611f61e33-1020x1520.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/sellout-9780358244301_custom-fe5de2ccd0318a39fbe53780d596014611f61e33-160x238.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/sellout-9780358244301_custom-fe5de2ccd0318a39fbe53780d596014611f61e33-768x1144.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/sellout-9780358244301_custom-fe5de2ccd0318a39fbe53780d596014611f61e33-1031x1536.jpg 1031w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/sellout-9780358244301_custom-fe5de2ccd0318a39fbe53780d596014611f61e33-1375x2048.jpg 1375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/sellout-9780358244301_custom-fe5de2ccd0318a39fbe53780d596014611f61e33-scaled.jpg 1718w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Sellout’ by Dan Ozzi. \u003ccite>(Houghton Mifflin Harcourt)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Some chapters are straight-ahead success stories (Green Day, Blink-182, My Chemical Romance). Others, less so. Which brings us back to Jawbreaker.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“There are stories about kids sitting on the floor while they would play their major label songs, kids turning their back. They got spit on a lot,” says Ozzi.\u003c/p>\n\u003cp>It didn’t matter that their only major-label release, 1995’s \u003cem>Dear You,\u003c/em> was the hardest the band had pushed itself. Or that it was seminal in shaping what we know as emo today. Kids simply weren’t buying, and the band eventually broke up.\u003c/p>\n\u003cp>It’s easy to get cred for never selling out if nobody’s buying. But when you’re \u003cem>really\u003c/em> faced with that decision? “It made you do a lot of self-reflection about yourself as an artist,” says Tim McIlrath in an interview with NPR. McIlrath is the singer and guitarist for the band Rise Against.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/9-SQGOYOjxs'\n title='//www.youtube.com/embed/9-SQGOYOjxs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>He found reading and participating in Ozzi’s book illuminating because bands going through this weren’t talking with each other about this stuff. “Maybe it was a combination of people were either embarrassed to talk about it, or still processing how they felt about it.”\u003c/p>\n\u003cp>And every band had a slightly different experience. Some, like the all-female band The Donnas, had label reps trying to micromanage and change their image.\u003c/p>\n\u003cp>“They had an A&R guy tell them, ‘Yeah, you guys are great. What we’re going to have you do is drop the instruments so you can sing and dance,'” says Ozzi. Which was a problem because they couldn’t dance. But also, why change now? Being who they were got them their success.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/nCvRT2sy5FE'\n title='//www.youtube.com/embed/nCvRT2sy5FE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But the picture Ozzi paints in the book isn’t as binary as the virtuous independent label vs. the evil and greedy major labels. He interviews various people from the corporate entities who came from punk scenes and really, truly wanted what was best for the bands. And there are, of course, shady actors coming from the indie labels, too. “There’s people not looking out for your best interests on either side of it,” he says.\u003c/p>\n\u003cp>Every art form deals with some variation of this question—what concessions are you willing to make for more eyeballs, more opportunity and more money. But money has always been a particularly sensitive topic for punk bands at any level.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Growing up in punk and hardcore, we have this thing called punk rock guilt,” says McIlrath. It’s a feeling of insecurity, of second-guessing if the choices you’re making are reflective of your values. Sometimes this pushes people to make somewhat ridiculous choices. (There’s a line in the book about McIlrath getting dropped off around the corner from a gig because he didn’t want people to see him getting out of his manager’s Mercedes).\u003c/p>\n\u003cp>But sometimes “selling out” afforded the band artistic opportunities it wouldn’t have had otherwise. For instance, during the height of the war in Iraq, Rise Against could call George Bush a liar in front of a small crowd of punks and, well, sure. Big surprise, there. But in front of a wider audience, where the cars in the parking lots are decked with American flags and “Support the Troops” stickers?\u003c/p>\n\u003cp>Ozzi writes:\u003c/p>\n\u003cblockquote>\u003cp>Sometimes, McIlrath saw his words lead to shoving matches and fistfights in the crowd. In more extreme cases, the band dodged cans that were thrown at them or were called f****ts or p*****s. McIlrath felt empowered by the combative atmosphere and enjoyed going into battle each night… It was as though the band had grown into their name.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>Of course, now in the streaming era, the economics of being in a band have changed. So that punk rock guilt barely exists anymore as most bands happily take beer ad money or agree to corporate brand sponsorships. Because just as you can’t pay your rent in punk cred, you also cannot escape marketing. “Maybe we’ve all just dealt with it,” says Ozzi. Or, maybe we’ve all just sold out.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=OK%2C+so+you%27re+a+%27Sellout.%27+Now+what%3F+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The coronavirus has begun to halt touring plans for some of the world’s biggest pop groups, rock bands and symphony orchestras.\u003c/p>\n\u003cp>K-pop superstars BTS canceled an upcoming concert series in South Korea’s capital as the country tries to contain the COVID-19 virus outbreak. \u003c/p>\n\u003cp>BTS, which performed at the Grammys and at New York’s Grand Central Terminal for \u003cem>The Tonight Show\u003c/em> in recent weeks, is seen as an emblem of South Korea’s cultural and economic power. The canceled concerts were the inaugural leg of the band’s new world tour.\u003c/p>\n\u003cp>“We regret to announce that the BTS MAP OF THE SOUL TOUR … has been cancelled,” the band’s agency Big Hit Entertainment said, in a statement.\u003c/p>\n\u003cp>The management agency said the outbreak in South Korea, which has more than 2,000 cases so far, made it impossible to predict the scale of the outbreak by April 11-12 and April 18-19, when the group was set to perform at Seoul’s Olympic Stadium.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On Thursday, Bay Area rock band Green Day also canceled upcoming tour dates in March throughout Asia, including shows in Singapore, Bangkok, Manila, Taipei, Hong Kong, Seoul, Osaka and Tokyo.\u003c/p>\n\u003cp>“We have unfortunately made the difficult decision to postpone our upcoming shows in Asia due to the health + travel concerns with coronavirus,” the band said in a statement. “We know it sucks, as we were looking forward to seeing you all, but hold on to your tickets we’ll be announcing the new dates very soon.“\u003c/p>\n\u003cp>Also, the National Symphony Orchestra canceled the five remaining performances in Japan of its Asian tour due to the epidemic.\u003c/p>\n\u003cp>The orchestra originally was to play eight concerts in its first international tour with music director Gianandrea Noseda. On Feb. 4, the NSO called off shows in Beijing on March 13 and 14 and one in Shanghai on March 17.\u003c/p>\n\u003cp>In an announcement Thursday night, the orchestra scrapped performances from March 6-11 in Fukui, Sakai, Hiroshima and Tokyo. It cited a recommendation from Japanese Prime Minister Shinzo Abe that major cultural events be canceled for the next two weeks.\u003c/p>\n\u003cp>“After multiple consultations with officials at U.S. government agencies and recommendations from the Japanese government, it became clear that these evolving circumstances are beyond our control,” NSO executive director Gary Ginstling said in a statement.\u003c/p>\n\u003cp>The NSO is based at the Kennedy Center in Washington, D.C., and hopes fill the void in its schedule with orchestra and chamber music in the Washington area.\u003c/p>\n\u003cp>The Boston Symphony Orchestra canceled an Asian tour from Feb. 6-16 that had included performances in Seoul, South Korea; Taipei, Taiwan; Shanghai and Hong Kong.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The COVID-19 illness caused by a new type of coronavirus has sickened tens of thousands of people, most of them in China. Japan and South Korea also have been hard hit among Asian countries.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The coronavirus has begun to halt touring plans for some of the world’s biggest pop groups, rock bands and symphony orchestras.\u003c/p>\n\u003cp>K-pop superstars BTS canceled an upcoming concert series in South Korea’s capital as the country tries to contain the COVID-19 virus outbreak. \u003c/p>\n\u003cp>BTS, which performed at the Grammys and at New York’s Grand Central Terminal for \u003cem>The Tonight Show\u003c/em> in recent weeks, is seen as an emblem of South Korea’s cultural and economic power. The canceled concerts were the inaugural leg of the band’s new world tour.\u003c/p>\n\u003cp>“We regret to announce that the BTS MAP OF THE SOUL TOUR … has been cancelled,” the band’s agency Big Hit Entertainment said, in a statement.\u003c/p>\n\u003cp>The management agency said the outbreak in South Korea, which has more than 2,000 cases so far, made it impossible to predict the scale of the outbreak by April 11-12 and April 18-19, when the group was set to perform at Seoul’s Olympic Stadium.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On Thursday, Bay Area rock band Green Day also canceled upcoming tour dates in March throughout Asia, including shows in Singapore, Bangkok, Manila, Taipei, Hong Kong, Seoul, Osaka and Tokyo.\u003c/p>\n\u003cp>“We have unfortunately made the difficult decision to postpone our upcoming shows in Asia due to the health + travel concerns with coronavirus,” the band said in a statement. “We know it sucks, as we were looking forward to seeing you all, but hold on to your tickets we’ll be announcing the new dates very soon.“\u003c/p>\n\u003cp>Also, the National Symphony Orchestra canceled the five remaining performances in Japan of its Asian tour due to the epidemic.\u003c/p>\n\u003cp>The orchestra originally was to play eight concerts in its first international tour with music director Gianandrea Noseda. On Feb. 4, the NSO called off shows in Beijing on March 13 and 14 and one in Shanghai on March 17.\u003c/p>\n\u003cp>In an announcement Thursday night, the orchestra scrapped performances from March 6-11 in Fukui, Sakai, Hiroshima and Tokyo. It cited a recommendation from Japanese Prime Minister Shinzo Abe that major cultural events be canceled for the next two weeks.\u003c/p>\n\u003cp>“After multiple consultations with officials at U.S. government agencies and recommendations from the Japanese government, it became clear that these evolving circumstances are beyond our control,” NSO executive director Gary Ginstling said in a statement.\u003c/p>\n\u003cp>The NSO is based at the Kennedy Center in Washington, D.C., and hopes fill the void in its schedule with orchestra and chamber music in the Washington area.\u003c/p>\n\u003cp>The Boston Symphony Orchestra canceled an Asian tour from Feb. 6-16 that had included performances in Seoul, South Korea; Taipei, Taiwan; Shanghai and Hong Kong.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The COVID-19 illness caused by a new type of coronavirus has sickened tens of thousands of people, most of them in China. Japan and South Korea also have been hard hit among Asian countries.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "Chris Thile steps to the mic as the host of Live from Here (formerly A Prairie Home Companion), a live public radio variety show. Download Chris’s Song of the Week plus other highlights from the broadcast. Produced by American Public Media.",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
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