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"content": "\u003cp>\u003cem>This story has been updated. It was first published on Aug. 12, 2023. \u003c/em>\u003c/p>\n\u003cp>It turns out Kendrick Lamar only needs a microphone to show why he’s a titan of rap.\u003c/p>\n\u003cp>At \u003ca href=\"https://www.kqed.org/arts/tag/outside-lands\">Outside Lands\u003c/a> Friday night, Lamar took the stage bathed in blue light and immediately got down to business, delivering a crisp, refined set that underscored his stature as a poet. Even as the crowd, tens of thousands of fans deep, went wild for hits like “Swimming Pools” off 2012’s \u003ci>good kid, m.A.A.D. city\u003c/i> and “DNA” from 2017’s \u003ci>DAMN.\u003c/i>, Lamar’s minimalist stage setup underscored the emotional depth of his words: ancestral curses, internal conflicts, specters of trauma that linger even in moments of triumph.\u003c/p>\n\u003cfigure id=\"attachment_13933060\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933060\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Kendrick-Lamar-headlines-Outside-Lands-on-Friday-Aug.-11-2023.-002.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kendrick-Lamar-headlines-Outside-Lands-on-Friday-Aug.-11-2023.-002.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kendrick-Lamar-headlines-Outside-Lands-on-Friday-Aug.-11-2023.-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kendrick-Lamar-headlines-Outside-Lands-on-Friday-Aug.-11-2023.-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kendrick-Lamar-headlines-Outside-Lands-on-Friday-Aug.-11-2023.-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kendrick-Lamar-headlines-Outside-Lands-on-Friday-Aug.-11-2023.-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kendrick-Lamar-headlines-Outside-Lands-on-Friday-Aug.-11-2023.-002-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kendrick Lamar headlines Outside Lands on Friday, Aug. 11, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>His group of male dancers, dressed in eerily identical outfits, moved in unison, following Lamar around the stage like the physical embodiment of his embattled subconscious. Meanwhile, paintings by \u003ca href=\"https://www.newyorker.com/magazine/2018/07/30/henry-taylors-promiscuous-painting\">Henry Taylor\u003c/a> hung as backdrops, its subjects making uncomfortably direct eye contact with the crowd. Even as the audience happily sang out “what’s the yams?” during “King Kunta” or jumped and chanted “Ya! Ya! Ya!” during “m.A.A.d. City,” Lamar never let the audience float into escapism for too long.\u003c/p>\n\u003cp>Though his set fell on the 50th anniversary of hip-hop culture, he didn’t stop to acknowledge the occasion, and didn’t bring out surprise guests. But he didn’t need to — this night was about his power of bringing together the collective through excavations of his most intimate pain. \u003cem>\u003cspan style=\"font-weight: 400\">—Nastia Voynovskaya\u003c/span>\u003c/em>\u003c/p>\n\u003ch2>More Outside Lands highlights\u003c/h2>\n\u003cfigure id=\"attachment_13933112\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933112\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Megan-Thee-Stallion-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.009.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Megan-Thee-Stallion-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.009.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Megan-Thee-Stallion-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.009-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Megan-Thee-Stallion-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.009-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Megan-Thee-Stallion-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.009-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Megan-Thee-Stallion-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.009-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Megan-Thee-Stallion-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.009-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Megan Thee Stallion performs at Outside Lands on Sunday, Aug. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Megan Thee Stallion\u003c/b>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At Outside Lands Sunday, the hotties were at the ready, chanting “Megan! Megan!” and clutching their friends in anticipation. Then, to the chorus of “Her,” she appeared with a cascade of waist-length red hair framing her silhouette and prepared to set the mic ablaze.\u003c/p>\n\u003cp>Megan Thee Stallion’s set was pure energy. She rapped sex-positive anthems like “Freak Nasty” and “Captain Hook” with precision while performing complicated choreography for almost an hour nonstop. She twerked a dozen different ways, showing off her world-famous knee strength. A high-energy crew of male and female dancers dressed in baby pink surrounded her as she shimmered in a glittery pink corset. (It started to break halfway through the show because of how hard she was going.)\u003c/p>\n\u003cp>Not only is Megan Thee Stallion an icon of female sexual empowerment, she’s a beacon for those who’ve risen above obstacles. Appearing to briefly address the hardships she endured after surviving a shooting at the hands of Tory Lanez, she told the audience, “Being a hottie is not easy. … Fuck all my haters, none of that shit you was doing or sayin’ broke me.” Tens of thousands of dedicated fans gave her detractors the middle finger as she rapped “What’s New.” But she seemed ready to put that pain behind her. After signing a few audience members’ graduation caps, Megan’s fun-loving mood was contagious as she triumphantly closed out the evening with one of her biggest hits, “Savage.” \u003ci>—Nastia Voynovskaya\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13933128\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933128\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Tobe-Nwigwe-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.002.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Tobe-Nwigwe-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.002.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Tobe-Nwigwe-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Tobe-Nwigwe-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Tobe-Nwigwe-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Tobe-Nwigwe-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Tobe-Nwigwe-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.002-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Tobe Nwigwe performs at Outside Lands on Sunday, Aug. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Tobe Nwigwe\u003c/b>\u003c/p>\n\u003cp>Tobe Nwigwe’s Sunday evening set made it clear: the man moves with intention. As if performing inside an art installation, he sang and rapped soulfully beneath a chorus of gospel singers, with tulle-draped dancers twirling delicately around him. Everything, from the set to the outfits, was mint green. Nwigwe’s uber-talented ensemble included his wife Fat Nwigwe, who rapped during a fiery crescendo as she and Tobe held hands with their two young daughters, both of whom got to say an adorable “bye!” into the microphone. He ended the night with the cheeky “Try Jesus”: “Try Jesus / not me / ’cause I throw hands.” \u003ci>—Nastia Voynovskaya\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13933117\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933117\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Per-Sia-strikes-a-pose-at-Outside-Lands-new-open-air-dance-club-Dolores-on-on-Sunday-Aug.-13-2023.002.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Per-Sia-strikes-a-pose-at-Outside-Lands-new-open-air-dance-club-Dolores-on-on-Sunday-Aug.-13-2023.002.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Per-Sia-strikes-a-pose-at-Outside-Lands-new-open-air-dance-club-Dolores-on-on-Sunday-Aug.-13-2023.002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Per-Sia-strikes-a-pose-at-Outside-Lands-new-open-air-dance-club-Dolores-on-on-Sunday-Aug.-13-2023.002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Per-Sia-strikes-a-pose-at-Outside-Lands-new-open-air-dance-club-Dolores-on-on-Sunday-Aug.-13-2023.002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Per-Sia-strikes-a-pose-at-Outside-Lands-new-open-air-dance-club-Dolores-on-on-Sunday-Aug.-13-2023.002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Per-Sia-strikes-a-pose-at-Outside-Lands-new-open-air-dance-club-Dolores-on-on-Sunday-Aug.-13-2023.002-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Per Sia strikes a pose at Outside Land’s new open-air dance club Dolores’ on on Sunday, Aug. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Dolores’\u003c/b>\u003cbr>\nA new and welcome addition to Outside Lands, the queer nightlife stage Dolores’ was lit throughout the weekend. The “open-air” dance club was a nonstop party that spotlighted Bay Area party collectives Fake and Gay and Hard French, as well as Oasis, the best drag venue in the City. Swinging by Dolores’ on the way to the Land’s End stage offered a quick dance break to house beats and hyperpop Britney Spears remixes, or a chance to see top-tier drag talent like Nikki Jizz, the star and curator of the all-Black drag show \u003cem>Reparations\u003c/em>. With so many people traveling to Outside Lands from out of town and out of state, Dolores’ gave San Francisco’s queer and trans performers the extra spotlight they deserve. Let’s hope it becomes a permanent fixture. \u003ci>—Nastia Voynovskaya\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13933090\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933090\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Zack-Fox-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.-004-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Zack-Fox-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.-004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Zack-Fox-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.-004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Zack-Fox-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.-004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Zack-Fox-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.-004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Zack-Fox-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.-004-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Zack-Fox-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.-004.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zack Fox performs at Outside Lands on Saturday, Aug. 12, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Zack Fox\u003c/strong>\u003c/p>\n\u003cp>On Saturday, Zack Fox had his audience cackling before he rapped a single bar — or crowd surfed before 3 p.m. Repping Waffle House on a camo long-sleeve, the rapper and \u003ci>Abbott Elementary\u003c/i> actor delivered as many laughs as he did beats. The crowd rapped along to every witty verse from his 2019 track “The Bean Kicked In,” which unsubtly references his attraction to Michelle Obama. And they already had the words memorized to his single “dummy,” which debuted the day before his Outside Lands performance. Fox’s set had the energy of a stand-up comedy show, and he closed it with “Jesus Is the One (I Got Depression).” \u003cem>—Olivia Cruz Mayeda\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13933073\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933073\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Invisibl-Skratch-Piklz-perform-at-Outside-Lands-on-Saturday-Aug.-12-2023.005-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Invisibl-Skratch-Piklz-perform-at-Outside-Lands-on-Saturday-Aug.-12-2023.005-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Invisibl-Skratch-Piklz-perform-at-Outside-Lands-on-Saturday-Aug.-12-2023.005-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Invisibl-Skratch-Piklz-perform-at-Outside-Lands-on-Saturday-Aug.-12-2023.005-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Invisibl-Skratch-Piklz-perform-at-Outside-Lands-on-Saturday-Aug.-12-2023.005-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Invisibl-Skratch-Piklz-perform-at-Outside-Lands-on-Saturday-Aug.-12-2023.005-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Invisibl-Skratch-Piklz-perform-at-Outside-Lands-on-Saturday-Aug.-12-2023.005.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Invisibl Skratch Piklz perform at Outside Lands on Saturday, Aug. 12, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Invisibl Skratch Piklz\u003c/strong>\u003c/p>\n\u003cp>Bay Area Filipino DJ legends QBert and D-Styles reaffirmed for the nth time on Saturday why they’re world champions of turntablism. Joined by San Francisco DJ and producer Dan the Automator, the hoodie and puffer-clad trio gave a sonically delicious set that included their rendition of “To Catch a Thief” by Lovage, one of Dan the Automator’s collaborations from a long list of projects that also includes Gorillaz and Deltron 3030.\u003c/p>\n\u003cp>Sliding smoothly from beat to beat, the DJs started off with ease, expertly cranking up the lifeforce of the audience with every epic break. Once the beat reached the pace of a sprinter’s pulse, their scratches — ranging from high whistles to deep bellows that could’ve come from the earth herself — animated the dense crowd again and again. QBert and D-Styles bodyrocked in unison, giving each other appreciative nods and smiles as they have been for decades. \u003ci>—Olivia Cruz Mayeda\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13933076\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933076\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Maggie-Rogers-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Maggie-Rogers-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Maggie-Rogers-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Maggie-Rogers-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Maggie-Rogers-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Maggie-Rogers-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Maggie-Rogers-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Maggie Rogers performs at Outside Lands on Saturday, Aug. 12, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Maggie Rogers\u003c/strong>\u003c/p>\n\u003cp>Striding and strutting through “Fallingwater” and her cover of “I Wanna Dance with Somebody,” Maggie Rogers worked the stage like a runway, her buoyant energy beaming through the onslaught of heavy fog that became light rain on Saturday evening. Her performance felt punk rock, folksy or indie pop at any given moment, and was as multidimensional as her fit: sunshine yellow leggings, a black leather mini skirt and bright pink eyeshadow.\u003c/p>\n\u003cp>After Rogers asked, “Is anybody out there in love right now?” to a frankly pitiful crowd response — you alright there, San Francisco? — she got everyone deeper in their feels with her 2021 hit “Love You for a Long Time.” Her performance of “Alaska” isolated her impassioned vocals for its first few verses, breaking from the recorded song and amplifying the chorus of festival goers hundreds of rows deep. “That song makes me feel like a goddamn pop star,” Rogers said. \u003ci>—Olivia Cruz Mayeda\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13933045\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933045\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-004.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-004.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-004-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Janelle Monáe performs at Outside Lands on Friday, Aug. 11, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Janelle Monáe\u003c/b>\u003c/p>\n\u003cp>With their latest album, Janelle Monáe has dubbed this summer \u003ci>The Age of Pleasure\u003c/i>, and onstage Friday at Outside Lands, a pansexual pool party unfolded between giant beach balls as Monáe luxuriated in each sensual lyric of “Lipstick Lover” and “Water Slide.” Monáe and their dancers donned matching bodysuits and swim caps, while the horn section performed with towels wrapped around their waists. Despite the gimmicks, it was really Monáe’s strong, resounding vocals that impressed the most. During a warm moment of appreciation, they reflected to the audience: “To be Black, to be queer, to be nonbinary and have family like you is a blessing.” \u003cem>\u003cspan style=\"font-weight: 400\">—Nastia Voynovskaya\u003c/span>\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13933047\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933047\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Cuco-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.002.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Cuco-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.002.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Cuco-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Cuco-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Cuco-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Cuco-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Cuco-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.002-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Cuco performs at Outside Lands on Friday, Aug. 11, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Cuco\u003c/b>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Washed-out psychedelia, cumbia and lovers rock swirled during Cuco’s Friday afternoon set as the singer slowly revealed his multi-instrumentalist status. Two trumpet solos, a guitar solo and lots of tinkering on his Yamaha synth showed him in a playful and inspired mood. At the end of the set, he confessed, “Last time I was out here I was dealing with a lot of substance abuse issues, and now I’m here a year sober.” The audience met him with warm, encouraging applause. \u003cem>\u003cspan style=\"font-weight: 400\">—Nastia Voynovskaya\u003c/span>\u003c/em>\u003c/p>\n\u003ch2>More photos from Outside Lands:\u003c/h2>\n\u003cfigure id=\"attachment_13933044\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933044\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-005.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-005.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-005-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-005-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-005-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-005-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-005-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Janelle Monáe performs at Outside Lands on Friday, Aug. 11, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933058\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933058\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Kendrick-Lamar-headlines-Outside-Lands-on-Friday-Aug.-11-2023.-001.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kendrick-Lamar-headlines-Outside-Lands-on-Friday-Aug.-11-2023.-001.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kendrick-Lamar-headlines-Outside-Lands-on-Friday-Aug.-11-2023.-001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kendrick-Lamar-headlines-Outside-Lands-on-Friday-Aug.-11-2023.-001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kendrick-Lamar-headlines-Outside-Lands-on-Friday-Aug.-11-2023.-001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kendrick-Lamar-headlines-Outside-Lands-on-Friday-Aug.-11-2023.-001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kendrick-Lamar-headlines-Outside-Lands-on-Friday-Aug.-11-2023.-001-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kendrick Lamar headlines Outside Lands on Friday, Aug. 11, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933056\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933056\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Willow-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.003.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Willow-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.003.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Willow-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Willow-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Willow-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Willow-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Willow-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.003-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Willow performs at Outside Lands on Friday, Aug. 11, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933041\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933041\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/La-Dona-at-the-Lands-End-VIP-viewing-area-on-Friday-Aug.-11-2023.-001.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/La-Dona-at-the-Lands-End-VIP-viewing-area-on-Friday-Aug.-11-2023.-001.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/La-Dona-at-the-Lands-End-VIP-viewing-area-on-Friday-Aug.-11-2023.-001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/La-Dona-at-the-Lands-End-VIP-viewing-area-on-Friday-Aug.-11-2023.-001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/La-Dona-at-the-Lands-End-VIP-viewing-area-on-Friday-Aug.-11-2023.-001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/La-Dona-at-the-Lands-End-VIP-viewing-area-on-Friday-Aug.-11-2023.-001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/La-Dona-at-the-Lands-End-VIP-viewing-area-on-Friday-Aug.-11-2023.-001-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">La Doña at the Lands End VIP viewing area on Friday, Aug. 11, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933051\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933051\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/J.I.D-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.001.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/J.I.D-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.001.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/J.I.D-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/J.I.D-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/J.I.D-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/J.I.D-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/J.I.D-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.001-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">J.I.D performs at Outside Lands on Friday, Aug. 11, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933042\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933042\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-008.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-008.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-008-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-008-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-008-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-008-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-008-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Janelle Monáe performs at Outside Lands on Friday, Aug. 11, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933049\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933049\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Alex-G-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.001.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Alex-G-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.001.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Alex-G-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Alex-G-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Alex-G-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Alex-G-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Alex-G-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.001-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alex G performs at Outside Lands on Friday, Aug. 11, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933061\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933061\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/The-crowd-at-Outside-Lands-on-Friday-Aug.-11-2023.002.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-crowd-at-Outside-Lands-on-Friday-Aug.-11-2023.002.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-crowd-at-Outside-Lands-on-Friday-Aug.-11-2023.002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-crowd-at-Outside-Lands-on-Friday-Aug.-11-2023.002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-crowd-at-Outside-Lands-on-Friday-Aug.-11-2023.002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-crowd-at-Outside-Lands-on-Friday-Aug.-11-2023.002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-crowd-at-Outside-Lands-on-Friday-Aug.-11-2023.002-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands on Friday, Aug. 11, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933059\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933059\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Kendrick-Lamar-headlines-Outside-Lands-on-Friday-Aug.-11-2023.-003.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kendrick-Lamar-headlines-Outside-Lands-on-Friday-Aug.-11-2023.-003.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kendrick-Lamar-headlines-Outside-Lands-on-Friday-Aug.-11-2023.-003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kendrick-Lamar-headlines-Outside-Lands-on-Friday-Aug.-11-2023.-003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kendrick-Lamar-headlines-Outside-Lands-on-Friday-Aug.-11-2023.-003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kendrick-Lamar-headlines-Outside-Lands-on-Friday-Aug.-11-2023.-003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kendrick-Lamar-headlines-Outside-Lands-on-Friday-Aug.-11-2023.-003-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kendrick Lamar headlines Outside Lands on Friday, Aug. 11, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933043\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933043\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-006.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-006.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-006-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-006-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-006-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-006-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-006-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Janelle Monáe performs at Outside Lands on Friday, Aug. 11, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933054\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933054\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Willow-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.001.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Willow-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.001.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Willow-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Willow-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Willow-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Willow-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Willow-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.001-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Willow performs at Outside Lands on Friday, Aug. 11, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933053\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933053\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/J.I.D-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.003.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/J.I.D-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.003.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/J.I.D-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/J.I.D-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/J.I.D-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/J.I.D-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/J.I.D-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.003-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">J.I.D performs at Outside Lands on Friday, Aug. 11, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933050\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933050\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.--1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Janelle Monáe performs at Outside Lands on Friday, Aug. 11, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933093\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933093\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/The-Crowd-at-Outside-Lands-on-Saturday-Aug.-12-2023.-003-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-Crowd-at-Outside-Lands-on-Saturday-Aug.-12-2023.-003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-Crowd-at-Outside-Lands-on-Saturday-Aug.-12-2023.-003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-Crowd-at-Outside-Lands-on-Saturday-Aug.-12-2023.-003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-Crowd-at-Outside-Lands-on-Saturday-Aug.-12-2023.-003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-Crowd-at-Outside-Lands-on-Saturday-Aug.-12-2023.-003-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-Crowd-at-Outside-Lands-on-Saturday-Aug.-12-2023.-003.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Crowd at Outside Lands on Saturday, Aug. 12, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933078\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933078\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Maggie-Rogers-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.004-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Maggie-Rogers-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Maggie-Rogers-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Maggie-Rogers-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Maggie-Rogers-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Maggie-Rogers-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.004-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Maggie-Rogers-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.004.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Maggie Rogers performs at Outside Lands on Saturday, Aug. 12, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933066\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933066\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Adore-Delano-at-Outside-Lands-new-open-air-dance-club-Dolores-during-the-Oasis-Princess-dance-party.-002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Adore-Delano-at-Outside-Lands-new-open-air-dance-club-Dolores-during-the-Oasis-Princess-dance-party.-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Adore-Delano-at-Outside-Lands-new-open-air-dance-club-Dolores-during-the-Oasis-Princess-dance-party.-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Adore-Delano-at-Outside-Lands-new-open-air-dance-club-Dolores-during-the-Oasis-Princess-dance-party.-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Adore-Delano-at-Outside-Lands-new-open-air-dance-club-Dolores-during-the-Oasis-Princess-dance-party.-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Adore-Delano-at-Outside-Lands-new-open-air-dance-club-Dolores-during-the-Oasis-Princess-dance-party.-002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Adore-Delano-at-Outside-Lands-new-open-air-dance-club-Dolores-during-the-Oasis-Princess-dance-party.-002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Adore Delano at Outside Land’s new open-air dance club Dolores’ during the Oasis Princess dance party. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933098\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933098\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Adore-Delano-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.003-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Adore-Delano-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Adore-Delano-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Adore-Delano-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Adore-Delano-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Adore-Delano-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.003-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Adore-Delano-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.003.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Adore Delano performs at Outside Lands on Saturday, Aug. 12, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933086\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933086\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Tito-Soto-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.-001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Tito-Soto-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.-001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Tito-Soto-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.-001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Tito-Soto-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.-001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Tito-Soto-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.-001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Tito-Soto-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.-001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Tito-Soto-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.-001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tito Soto performs at Outside Lands on Saturday, Aug. 12, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933083\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933083\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/No-Vacation-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/No-Vacation-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/No-Vacation-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/No-Vacation-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/No-Vacation-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/No-Vacation-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/No-Vacation-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">No Vacation perform at Outside Lands on Saturday, Aug. 12, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933084\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933084\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/No-Vacation-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/No-Vacation-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/No-Vacation-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/No-Vacation-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/No-Vacation-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/No-Vacation-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/No-Vacation-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">No Vacation perform at Outside Lands on Saturday, Aug. 12, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933080\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933080\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Manila-Grey-perform-at-Outside-Lands-on-Saturday-Aug.-12-2023.-002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Manila-Grey-perform-at-Outside-Lands-on-Saturday-Aug.-12-2023.-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Manila-Grey-perform-at-Outside-Lands-on-Saturday-Aug.-12-2023.-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Manila-Grey-perform-at-Outside-Lands-on-Saturday-Aug.-12-2023.-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Manila-Grey-perform-at-Outside-Lands-on-Saturday-Aug.-12-2023.-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Manila-Grey-perform-at-Outside-Lands-on-Saturday-Aug.-12-2023.-002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Manila-Grey-perform-at-Outside-Lands-on-Saturday-Aug.-12-2023.-002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Manila Grey perform at Outside Lands on Saturday, Aug. 12, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933069\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933069\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Foo-Fighters-headline-Outside-Lands-on-Saturday-Aug.-12-2023.-002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Foo-Fighters-headline-Outside-Lands-on-Saturday-Aug.-12-2023.-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Foo-Fighters-headline-Outside-Lands-on-Saturday-Aug.-12-2023.-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Foo-Fighters-headline-Outside-Lands-on-Saturday-Aug.-12-2023.-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Foo-Fighters-headline-Outside-Lands-on-Saturday-Aug.-12-2023.-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Foo-Fighters-headline-Outside-Lands-on-Saturday-Aug.-12-2023.-002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Foo-Fighters-headline-Outside-Lands-on-Saturday-Aug.-12-2023.-002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Foo Fighters headline Outside Lands on Saturday, Aug. 12, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933068\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933068\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Foo-Fighters-headline-Outside-Lands-on-Saturday-Aug.-12-2023.-001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Foo-Fighters-headline-Outside-Lands-on-Saturday-Aug.-12-2023.-001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Foo-Fighters-headline-Outside-Lands-on-Saturday-Aug.-12-2023.-001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Foo-Fighters-headline-Outside-Lands-on-Saturday-Aug.-12-2023.-001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Foo-Fighters-headline-Outside-Lands-on-Saturday-Aug.-12-2023.-001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Foo-Fighters-headline-Outside-Lands-on-Saturday-Aug.-12-2023.-001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Foo-Fighters-headline-Outside-Lands-on-Saturday-Aug.-12-2023.-001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Foo Fighters headline Outside Lands on Saturday, Aug. 12, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933091\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933091\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/The-Crowd-at-Outside-Lands-on-Saturday-Aug.-12-2023.-005-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-Crowd-at-Outside-Lands-on-Saturday-Aug.-12-2023.-005-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-Crowd-at-Outside-Lands-on-Saturday-Aug.-12-2023.-005-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-Crowd-at-Outside-Lands-on-Saturday-Aug.-12-2023.-005-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-Crowd-at-Outside-Lands-on-Saturday-Aug.-12-2023.-005-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-Crowd-at-Outside-Lands-on-Saturday-Aug.-12-2023.-005-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-Crowd-at-Outside-Lands-on-Saturday-Aug.-12-2023.-005.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands on Saturday, Aug. 12, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933108\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933108\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Megan-Thee-Stallion-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.004.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Megan-Thee-Stallion-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.004.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Megan-Thee-Stallion-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Megan-Thee-Stallion-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Megan-Thee-Stallion-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Megan-Thee-Stallion-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Megan-Thee-Stallion-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.004-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Megan Thee Stallion performs at Outside Lands on Sunday, Aug. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933105\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933105\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Lil-Yachty-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.002.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Lil-Yachty-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.002.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Lil-Yachty-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Lil-Yachty-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Lil-Yachty-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Lil-Yachty-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Lil-Yachty-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.002-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Lil Yachty performs at Outside Lands on Sunday, Aug. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933115\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933115\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/ODESZA-headline-Outside-Lands-on-Sunday-Aug.-13-2023.004.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/ODESZA-headline-Outside-Lands-on-Sunday-Aug.-13-2023.004.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/ODESZA-headline-Outside-Lands-on-Sunday-Aug.-13-2023.004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/ODESZA-headline-Outside-Lands-on-Sunday-Aug.-13-2023.004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/ODESZA-headline-Outside-Lands-on-Sunday-Aug.-13-2023.004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/ODESZA-headline-Outside-Lands-on-Sunday-Aug.-13-2023.004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/ODESZA-headline-Outside-Lands-on-Sunday-Aug.-13-2023.004-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">ODESZA headline Outside Lands on Sunday, Aug. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933118\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933118\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Poolside-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.-001.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Poolside-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.-001.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Poolside-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.-001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Poolside-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.-001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Poolside-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.-001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Poolside-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.-001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Poolside-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.-001-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Poolside performs at Outside Lands on Sunday, Aug. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933110\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933110\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Megan-Thee-Stallion-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.006.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Megan-Thee-Stallion-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.006.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Megan-Thee-Stallion-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.006-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Megan-Thee-Stallion-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.006-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Megan-Thee-Stallion-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.006-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Megan-Thee-Stallion-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.006-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Megan-Thee-Stallion-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.006-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Megan Thee Stallion performs at Outside Lands on Sunday, Aug. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933130\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933130\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Festival-attendees-dance-at-the-Hard-French-QUICHE-party-on-Sunday-Aug.-13-2023.-003.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Festival-attendees-dance-at-the-Hard-French-QUICHE-party-on-Sunday-Aug.-13-2023.-003.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Festival-attendees-dance-at-the-Hard-French-QUICHE-party-on-Sunday-Aug.-13-2023.-003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Festival-attendees-dance-at-the-Hard-French-QUICHE-party-on-Sunday-Aug.-13-2023.-003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Festival-attendees-dance-at-the-Hard-French-QUICHE-party-on-Sunday-Aug.-13-2023.-003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Festival-attendees-dance-at-the-Hard-French-QUICHE-party-on-Sunday-Aug.-13-2023.-003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Festival-attendees-dance-at-the-Hard-French-QUICHE-party-on-Sunday-Aug.-13-2023.-003-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Festival attendees dance at the Hard French QUICHE party on Sunday, Aug. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933124\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933124\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/The-crowd-at-Outside-Lands-on-Sunday-Aug.-13-2023.-003.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-crowd-at-Outside-Lands-on-Sunday-Aug.-13-2023.-003.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-crowd-at-Outside-Lands-on-Sunday-Aug.-13-2023.-003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-crowd-at-Outside-Lands-on-Sunday-Aug.-13-2023.-003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-crowd-at-Outside-Lands-on-Sunday-Aug.-13-2023.-003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-crowd-at-Outside-Lands-on-Sunday-Aug.-13-2023.-003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-crowd-at-Outside-Lands-on-Sunday-Aug.-13-2023.-003-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands on Sunday, Aug. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933123\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933123\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/The-crowd-at-Outside-Lands-on-Sunday-Aug.-13-2023.-002.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-crowd-at-Outside-Lands-on-Sunday-Aug.-13-2023.-002.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-crowd-at-Outside-Lands-on-Sunday-Aug.-13-2023.-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-crowd-at-Outside-Lands-on-Sunday-Aug.-13-2023.-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-crowd-at-Outside-Lands-on-Sunday-Aug.-13-2023.-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-crowd-at-Outside-Lands-on-Sunday-Aug.-13-2023.-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-crowd-at-Outside-Lands-on-Sunday-Aug.-13-2023.-002-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands on Sunday, Aug. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"excerpt": "The 2023 festival in San Francisco debuted a new queer nightlife stage alongside its big-name headliners. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This story has been updated. It was first published on Aug. 12, 2023. \u003c/em>\u003c/p>\n\u003cp>It turns out Kendrick Lamar only needs a microphone to show why he’s a titan of rap.\u003c/p>\n\u003cp>At \u003ca href=\"https://www.kqed.org/arts/tag/outside-lands\">Outside Lands\u003c/a> Friday night, Lamar took the stage bathed in blue light and immediately got down to business, delivering a crisp, refined set that underscored his stature as a poet. Even as the crowd, tens of thousands of fans deep, went wild for hits like “Swimming Pools” off 2012’s \u003ci>good kid, m.A.A.D. city\u003c/i> and “DNA” from 2017’s \u003ci>DAMN.\u003c/i>, Lamar’s minimalist stage setup underscored the emotional depth of his words: ancestral curses, internal conflicts, specters of trauma that linger even in moments of triumph.\u003c/p>\n\u003cfigure id=\"attachment_13933060\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933060\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Kendrick-Lamar-headlines-Outside-Lands-on-Friday-Aug.-11-2023.-002.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kendrick-Lamar-headlines-Outside-Lands-on-Friday-Aug.-11-2023.-002.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kendrick-Lamar-headlines-Outside-Lands-on-Friday-Aug.-11-2023.-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kendrick-Lamar-headlines-Outside-Lands-on-Friday-Aug.-11-2023.-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kendrick-Lamar-headlines-Outside-Lands-on-Friday-Aug.-11-2023.-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kendrick-Lamar-headlines-Outside-Lands-on-Friday-Aug.-11-2023.-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kendrick-Lamar-headlines-Outside-Lands-on-Friday-Aug.-11-2023.-002-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kendrick Lamar headlines Outside Lands on Friday, Aug. 11, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>His group of male dancers, dressed in eerily identical outfits, moved in unison, following Lamar around the stage like the physical embodiment of his embattled subconscious. Meanwhile, paintings by \u003ca href=\"https://www.newyorker.com/magazine/2018/07/30/henry-taylors-promiscuous-painting\">Henry Taylor\u003c/a> hung as backdrops, its subjects making uncomfortably direct eye contact with the crowd. Even as the audience happily sang out “what’s the yams?” during “King Kunta” or jumped and chanted “Ya! Ya! Ya!” during “m.A.A.d. City,” Lamar never let the audience float into escapism for too long.\u003c/p>\n\u003cp>Though his set fell on the 50th anniversary of hip-hop culture, he didn’t stop to acknowledge the occasion, and didn’t bring out surprise guests. But he didn’t need to — this night was about his power of bringing together the collective through excavations of his most intimate pain. \u003cem>\u003cspan style=\"font-weight: 400\">—Nastia Voynovskaya\u003c/span>\u003c/em>\u003c/p>\n\u003ch2>More Outside Lands highlights\u003c/h2>\n\u003cfigure id=\"attachment_13933112\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933112\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Megan-Thee-Stallion-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.009.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Megan-Thee-Stallion-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.009.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Megan-Thee-Stallion-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.009-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Megan-Thee-Stallion-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.009-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Megan-Thee-Stallion-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.009-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Megan-Thee-Stallion-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.009-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Megan-Thee-Stallion-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.009-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Megan Thee Stallion performs at Outside Lands on Sunday, Aug. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Megan Thee Stallion\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At Outside Lands Sunday, the hotties were at the ready, chanting “Megan! Megan!” and clutching their friends in anticipation. Then, to the chorus of “Her,” she appeared with a cascade of waist-length red hair framing her silhouette and prepared to set the mic ablaze.\u003c/p>\n\u003cp>Megan Thee Stallion’s set was pure energy. She rapped sex-positive anthems like “Freak Nasty” and “Captain Hook” with precision while performing complicated choreography for almost an hour nonstop. She twerked a dozen different ways, showing off her world-famous knee strength. A high-energy crew of male and female dancers dressed in baby pink surrounded her as she shimmered in a glittery pink corset. (It started to break halfway through the show because of how hard she was going.)\u003c/p>\n\u003cp>Not only is Megan Thee Stallion an icon of female sexual empowerment, she’s a beacon for those who’ve risen above obstacles. Appearing to briefly address the hardships she endured after surviving a shooting at the hands of Tory Lanez, she told the audience, “Being a hottie is not easy. … Fuck all my haters, none of that shit you was doing or sayin’ broke me.” Tens of thousands of dedicated fans gave her detractors the middle finger as she rapped “What’s New.” But she seemed ready to put that pain behind her. After signing a few audience members’ graduation caps, Megan’s fun-loving mood was contagious as she triumphantly closed out the evening with one of her biggest hits, “Savage.” \u003ci>—Nastia Voynovskaya\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13933128\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933128\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Tobe-Nwigwe-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.002.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Tobe-Nwigwe-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.002.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Tobe-Nwigwe-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Tobe-Nwigwe-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Tobe-Nwigwe-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Tobe-Nwigwe-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Tobe-Nwigwe-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.002-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Tobe Nwigwe performs at Outside Lands on Sunday, Aug. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Tobe Nwigwe\u003c/b>\u003c/p>\n\u003cp>Tobe Nwigwe’s Sunday evening set made it clear: the man moves with intention. As if performing inside an art installation, he sang and rapped soulfully beneath a chorus of gospel singers, with tulle-draped dancers twirling delicately around him. Everything, from the set to the outfits, was mint green. Nwigwe’s uber-talented ensemble included his wife Fat Nwigwe, who rapped during a fiery crescendo as she and Tobe held hands with their two young daughters, both of whom got to say an adorable “bye!” into the microphone. He ended the night with the cheeky “Try Jesus”: “Try Jesus / not me / ’cause I throw hands.” \u003ci>—Nastia Voynovskaya\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13933117\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933117\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Per-Sia-strikes-a-pose-at-Outside-Lands-new-open-air-dance-club-Dolores-on-on-Sunday-Aug.-13-2023.002.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Per-Sia-strikes-a-pose-at-Outside-Lands-new-open-air-dance-club-Dolores-on-on-Sunday-Aug.-13-2023.002.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Per-Sia-strikes-a-pose-at-Outside-Lands-new-open-air-dance-club-Dolores-on-on-Sunday-Aug.-13-2023.002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Per-Sia-strikes-a-pose-at-Outside-Lands-new-open-air-dance-club-Dolores-on-on-Sunday-Aug.-13-2023.002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Per-Sia-strikes-a-pose-at-Outside-Lands-new-open-air-dance-club-Dolores-on-on-Sunday-Aug.-13-2023.002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Per-Sia-strikes-a-pose-at-Outside-Lands-new-open-air-dance-club-Dolores-on-on-Sunday-Aug.-13-2023.002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Per-Sia-strikes-a-pose-at-Outside-Lands-new-open-air-dance-club-Dolores-on-on-Sunday-Aug.-13-2023.002-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Per Sia strikes a pose at Outside Land’s new open-air dance club Dolores’ on on Sunday, Aug. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Dolores’\u003c/b>\u003cbr>\nA new and welcome addition to Outside Lands, the queer nightlife stage Dolores’ was lit throughout the weekend. The “open-air” dance club was a nonstop party that spotlighted Bay Area party collectives Fake and Gay and Hard French, as well as Oasis, the best drag venue in the City. Swinging by Dolores’ on the way to the Land’s End stage offered a quick dance break to house beats and hyperpop Britney Spears remixes, or a chance to see top-tier drag talent like Nikki Jizz, the star and curator of the all-Black drag show \u003cem>Reparations\u003c/em>. With so many people traveling to Outside Lands from out of town and out of state, Dolores’ gave San Francisco’s queer and trans performers the extra spotlight they deserve. Let’s hope it becomes a permanent fixture. \u003ci>—Nastia Voynovskaya\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13933090\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933090\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Zack-Fox-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.-004-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Zack-Fox-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.-004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Zack-Fox-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.-004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Zack-Fox-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.-004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Zack-Fox-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.-004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Zack-Fox-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.-004-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Zack-Fox-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.-004.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zack Fox performs at Outside Lands on Saturday, Aug. 12, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Zack Fox\u003c/strong>\u003c/p>\n\u003cp>On Saturday, Zack Fox had his audience cackling before he rapped a single bar — or crowd surfed before 3 p.m. Repping Waffle House on a camo long-sleeve, the rapper and \u003ci>Abbott Elementary\u003c/i> actor delivered as many laughs as he did beats. The crowd rapped along to every witty verse from his 2019 track “The Bean Kicked In,” which unsubtly references his attraction to Michelle Obama. And they already had the words memorized to his single “dummy,” which debuted the day before his Outside Lands performance. Fox’s set had the energy of a stand-up comedy show, and he closed it with “Jesus Is the One (I Got Depression).” \u003cem>—Olivia Cruz Mayeda\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13933073\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933073\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Invisibl-Skratch-Piklz-perform-at-Outside-Lands-on-Saturday-Aug.-12-2023.005-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Invisibl-Skratch-Piklz-perform-at-Outside-Lands-on-Saturday-Aug.-12-2023.005-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Invisibl-Skratch-Piklz-perform-at-Outside-Lands-on-Saturday-Aug.-12-2023.005-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Invisibl-Skratch-Piklz-perform-at-Outside-Lands-on-Saturday-Aug.-12-2023.005-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Invisibl-Skratch-Piklz-perform-at-Outside-Lands-on-Saturday-Aug.-12-2023.005-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Invisibl-Skratch-Piklz-perform-at-Outside-Lands-on-Saturday-Aug.-12-2023.005-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Invisibl-Skratch-Piklz-perform-at-Outside-Lands-on-Saturday-Aug.-12-2023.005.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Invisibl Skratch Piklz perform at Outside Lands on Saturday, Aug. 12, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Invisibl Skratch Piklz\u003c/strong>\u003c/p>\n\u003cp>Bay Area Filipino DJ legends QBert and D-Styles reaffirmed for the nth time on Saturday why they’re world champions of turntablism. Joined by San Francisco DJ and producer Dan the Automator, the hoodie and puffer-clad trio gave a sonically delicious set that included their rendition of “To Catch a Thief” by Lovage, one of Dan the Automator’s collaborations from a long list of projects that also includes Gorillaz and Deltron 3030.\u003c/p>\n\u003cp>Sliding smoothly from beat to beat, the DJs started off with ease, expertly cranking up the lifeforce of the audience with every epic break. Once the beat reached the pace of a sprinter’s pulse, their scratches — ranging from high whistles to deep bellows that could’ve come from the earth herself — animated the dense crowd again and again. QBert and D-Styles bodyrocked in unison, giving each other appreciative nods and smiles as they have been for decades. \u003ci>—Olivia Cruz Mayeda\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13933076\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933076\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Maggie-Rogers-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Maggie-Rogers-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Maggie-Rogers-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Maggie-Rogers-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Maggie-Rogers-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Maggie-Rogers-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Maggie-Rogers-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Maggie Rogers performs at Outside Lands on Saturday, Aug. 12, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Maggie Rogers\u003c/strong>\u003c/p>\n\u003cp>Striding and strutting through “Fallingwater” and her cover of “I Wanna Dance with Somebody,” Maggie Rogers worked the stage like a runway, her buoyant energy beaming through the onslaught of heavy fog that became light rain on Saturday evening. Her performance felt punk rock, folksy or indie pop at any given moment, and was as multidimensional as her fit: sunshine yellow leggings, a black leather mini skirt and bright pink eyeshadow.\u003c/p>\n\u003cp>After Rogers asked, “Is anybody out there in love right now?” to a frankly pitiful crowd response — you alright there, San Francisco? — she got everyone deeper in their feels with her 2021 hit “Love You for a Long Time.” Her performance of “Alaska” isolated her impassioned vocals for its first few verses, breaking from the recorded song and amplifying the chorus of festival goers hundreds of rows deep. “That song makes me feel like a goddamn pop star,” Rogers said. \u003ci>—Olivia Cruz Mayeda\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13933045\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933045\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-004.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-004.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-004-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Janelle Monáe performs at Outside Lands on Friday, Aug. 11, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Janelle Monáe\u003c/b>\u003c/p>\n\u003cp>With their latest album, Janelle Monáe has dubbed this summer \u003ci>The Age of Pleasure\u003c/i>, and onstage Friday at Outside Lands, a pansexual pool party unfolded between giant beach balls as Monáe luxuriated in each sensual lyric of “Lipstick Lover” and “Water Slide.” Monáe and their dancers donned matching bodysuits and swim caps, while the horn section performed with towels wrapped around their waists. Despite the gimmicks, it was really Monáe’s strong, resounding vocals that impressed the most. During a warm moment of appreciation, they reflected to the audience: “To be Black, to be queer, to be nonbinary and have family like you is a blessing.” \u003cem>\u003cspan style=\"font-weight: 400\">—Nastia Voynovskaya\u003c/span>\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13933047\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933047\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Cuco-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.002.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Cuco-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.002.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Cuco-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Cuco-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Cuco-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Cuco-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Cuco-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.002-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Cuco performs at Outside Lands on Friday, Aug. 11, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Cuco\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Washed-out psychedelia, cumbia and lovers rock swirled during Cuco’s Friday afternoon set as the singer slowly revealed his multi-instrumentalist status. Two trumpet solos, a guitar solo and lots of tinkering on his Yamaha synth showed him in a playful and inspired mood. At the end of the set, he confessed, “Last time I was out here I was dealing with a lot of substance abuse issues, and now I’m here a year sober.” The audience met him with warm, encouraging applause. \u003cem>\u003cspan style=\"font-weight: 400\">—Nastia Voynovskaya\u003c/span>\u003c/em>\u003c/p>\n\u003ch2>More photos from Outside Lands:\u003c/h2>\n\u003cfigure id=\"attachment_13933044\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933044\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-005.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-005.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-005-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-005-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-005-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-005-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-005-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Janelle Monáe performs at Outside Lands on Friday, Aug. 11, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933058\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933058\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Kendrick-Lamar-headlines-Outside-Lands-on-Friday-Aug.-11-2023.-001.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kendrick-Lamar-headlines-Outside-Lands-on-Friday-Aug.-11-2023.-001.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kendrick-Lamar-headlines-Outside-Lands-on-Friday-Aug.-11-2023.-001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kendrick-Lamar-headlines-Outside-Lands-on-Friday-Aug.-11-2023.-001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kendrick-Lamar-headlines-Outside-Lands-on-Friday-Aug.-11-2023.-001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kendrick-Lamar-headlines-Outside-Lands-on-Friday-Aug.-11-2023.-001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kendrick-Lamar-headlines-Outside-Lands-on-Friday-Aug.-11-2023.-001-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kendrick Lamar headlines Outside Lands on Friday, Aug. 11, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933056\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933056\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Willow-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.003.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Willow-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.003.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Willow-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Willow-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Willow-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Willow-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Willow-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.003-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Willow performs at Outside Lands on Friday, Aug. 11, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933041\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933041\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/La-Dona-at-the-Lands-End-VIP-viewing-area-on-Friday-Aug.-11-2023.-001.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/La-Dona-at-the-Lands-End-VIP-viewing-area-on-Friday-Aug.-11-2023.-001.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/La-Dona-at-the-Lands-End-VIP-viewing-area-on-Friday-Aug.-11-2023.-001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/La-Dona-at-the-Lands-End-VIP-viewing-area-on-Friday-Aug.-11-2023.-001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/La-Dona-at-the-Lands-End-VIP-viewing-area-on-Friday-Aug.-11-2023.-001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/La-Dona-at-the-Lands-End-VIP-viewing-area-on-Friday-Aug.-11-2023.-001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/La-Dona-at-the-Lands-End-VIP-viewing-area-on-Friday-Aug.-11-2023.-001-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">La Doña at the Lands End VIP viewing area on Friday, Aug. 11, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933051\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933051\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/J.I.D-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.001.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/J.I.D-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.001.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/J.I.D-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/J.I.D-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/J.I.D-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/J.I.D-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/J.I.D-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.001-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">J.I.D performs at Outside Lands on Friday, Aug. 11, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933042\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933042\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-008.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-008.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-008-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-008-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-008-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-008-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-008-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Janelle Monáe performs at Outside Lands on Friday, Aug. 11, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933049\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933049\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Alex-G-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.001.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Alex-G-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.001.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Alex-G-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Alex-G-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Alex-G-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Alex-G-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Alex-G-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.001-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alex G performs at Outside Lands on Friday, Aug. 11, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933061\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933061\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/The-crowd-at-Outside-Lands-on-Friday-Aug.-11-2023.002.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-crowd-at-Outside-Lands-on-Friday-Aug.-11-2023.002.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-crowd-at-Outside-Lands-on-Friday-Aug.-11-2023.002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-crowd-at-Outside-Lands-on-Friday-Aug.-11-2023.002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-crowd-at-Outside-Lands-on-Friday-Aug.-11-2023.002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-crowd-at-Outside-Lands-on-Friday-Aug.-11-2023.002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-crowd-at-Outside-Lands-on-Friday-Aug.-11-2023.002-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands on Friday, Aug. 11, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933059\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933059\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Kendrick-Lamar-headlines-Outside-Lands-on-Friday-Aug.-11-2023.-003.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kendrick-Lamar-headlines-Outside-Lands-on-Friday-Aug.-11-2023.-003.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kendrick-Lamar-headlines-Outside-Lands-on-Friday-Aug.-11-2023.-003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kendrick-Lamar-headlines-Outside-Lands-on-Friday-Aug.-11-2023.-003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kendrick-Lamar-headlines-Outside-Lands-on-Friday-Aug.-11-2023.-003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kendrick-Lamar-headlines-Outside-Lands-on-Friday-Aug.-11-2023.-003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Kendrick-Lamar-headlines-Outside-Lands-on-Friday-Aug.-11-2023.-003-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kendrick Lamar headlines Outside Lands on Friday, Aug. 11, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933043\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933043\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-006.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-006.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-006-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-006-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-006-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-006-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-006-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Janelle Monáe performs at Outside Lands on Friday, Aug. 11, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933054\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933054\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Willow-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.001.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Willow-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.001.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Willow-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Willow-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Willow-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Willow-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Willow-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.001-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Willow performs at Outside Lands on Friday, Aug. 11, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933053\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933053\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/J.I.D-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.003.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/J.I.D-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.003.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/J.I.D-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/J.I.D-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/J.I.D-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/J.I.D-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/J.I.D-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.003-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">J.I.D performs at Outside Lands on Friday, Aug. 11, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933050\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933050\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.-.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Janelle-Monae-performs-at-Outside-Lands-on-Friday-Aug.-11-2023.--1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Janelle Monáe performs at Outside Lands on Friday, Aug. 11, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933093\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933093\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/The-Crowd-at-Outside-Lands-on-Saturday-Aug.-12-2023.-003-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-Crowd-at-Outside-Lands-on-Saturday-Aug.-12-2023.-003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-Crowd-at-Outside-Lands-on-Saturday-Aug.-12-2023.-003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-Crowd-at-Outside-Lands-on-Saturday-Aug.-12-2023.-003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-Crowd-at-Outside-Lands-on-Saturday-Aug.-12-2023.-003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-Crowd-at-Outside-Lands-on-Saturday-Aug.-12-2023.-003-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-Crowd-at-Outside-Lands-on-Saturday-Aug.-12-2023.-003.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Crowd at Outside Lands on Saturday, Aug. 12, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933078\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933078\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Maggie-Rogers-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.004-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Maggie-Rogers-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Maggie-Rogers-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Maggie-Rogers-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Maggie-Rogers-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Maggie-Rogers-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.004-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Maggie-Rogers-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.004.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Maggie Rogers performs at Outside Lands on Saturday, Aug. 12, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933066\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933066\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Adore-Delano-at-Outside-Lands-new-open-air-dance-club-Dolores-during-the-Oasis-Princess-dance-party.-002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Adore-Delano-at-Outside-Lands-new-open-air-dance-club-Dolores-during-the-Oasis-Princess-dance-party.-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Adore-Delano-at-Outside-Lands-new-open-air-dance-club-Dolores-during-the-Oasis-Princess-dance-party.-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Adore-Delano-at-Outside-Lands-new-open-air-dance-club-Dolores-during-the-Oasis-Princess-dance-party.-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Adore-Delano-at-Outside-Lands-new-open-air-dance-club-Dolores-during-the-Oasis-Princess-dance-party.-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Adore-Delano-at-Outside-Lands-new-open-air-dance-club-Dolores-during-the-Oasis-Princess-dance-party.-002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Adore-Delano-at-Outside-Lands-new-open-air-dance-club-Dolores-during-the-Oasis-Princess-dance-party.-002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Adore Delano at Outside Land’s new open-air dance club Dolores’ during the Oasis Princess dance party. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933098\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933098\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Adore-Delano-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.003-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Adore-Delano-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Adore-Delano-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Adore-Delano-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Adore-Delano-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Adore-Delano-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.003-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Adore-Delano-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.003.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Adore Delano performs at Outside Lands on Saturday, Aug. 12, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933086\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933086\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Tito-Soto-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.-001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Tito-Soto-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.-001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Tito-Soto-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.-001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Tito-Soto-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.-001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Tito-Soto-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.-001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Tito-Soto-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.-001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Tito-Soto-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.-001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tito Soto performs at Outside Lands on Saturday, Aug. 12, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933083\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933083\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/No-Vacation-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/No-Vacation-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/No-Vacation-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/No-Vacation-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/No-Vacation-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/No-Vacation-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/No-Vacation-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">No Vacation perform at Outside Lands on Saturday, Aug. 12, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933084\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933084\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/No-Vacation-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/No-Vacation-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/No-Vacation-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/No-Vacation-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/No-Vacation-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/No-Vacation-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/No-Vacation-performs-at-Outside-Lands-on-Saturday-Aug.-12-2023.002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">No Vacation perform at Outside Lands on Saturday, Aug. 12, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933080\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933080\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Manila-Grey-perform-at-Outside-Lands-on-Saturday-Aug.-12-2023.-002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Manila-Grey-perform-at-Outside-Lands-on-Saturday-Aug.-12-2023.-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Manila-Grey-perform-at-Outside-Lands-on-Saturday-Aug.-12-2023.-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Manila-Grey-perform-at-Outside-Lands-on-Saturday-Aug.-12-2023.-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Manila-Grey-perform-at-Outside-Lands-on-Saturday-Aug.-12-2023.-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Manila-Grey-perform-at-Outside-Lands-on-Saturday-Aug.-12-2023.-002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Manila-Grey-perform-at-Outside-Lands-on-Saturday-Aug.-12-2023.-002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Manila Grey perform at Outside Lands on Saturday, Aug. 12, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933069\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933069\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Foo-Fighters-headline-Outside-Lands-on-Saturday-Aug.-12-2023.-002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Foo-Fighters-headline-Outside-Lands-on-Saturday-Aug.-12-2023.-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Foo-Fighters-headline-Outside-Lands-on-Saturday-Aug.-12-2023.-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Foo-Fighters-headline-Outside-Lands-on-Saturday-Aug.-12-2023.-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Foo-Fighters-headline-Outside-Lands-on-Saturday-Aug.-12-2023.-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Foo-Fighters-headline-Outside-Lands-on-Saturday-Aug.-12-2023.-002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Foo-Fighters-headline-Outside-Lands-on-Saturday-Aug.-12-2023.-002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Foo Fighters headline Outside Lands on Saturday, Aug. 12, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933068\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933068\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Foo-Fighters-headline-Outside-Lands-on-Saturday-Aug.-12-2023.-001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Foo-Fighters-headline-Outside-Lands-on-Saturday-Aug.-12-2023.-001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Foo-Fighters-headline-Outside-Lands-on-Saturday-Aug.-12-2023.-001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Foo-Fighters-headline-Outside-Lands-on-Saturday-Aug.-12-2023.-001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Foo-Fighters-headline-Outside-Lands-on-Saturday-Aug.-12-2023.-001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Foo-Fighters-headline-Outside-Lands-on-Saturday-Aug.-12-2023.-001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Foo-Fighters-headline-Outside-Lands-on-Saturday-Aug.-12-2023.-001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Foo Fighters headline Outside Lands on Saturday, Aug. 12, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933091\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933091\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/The-Crowd-at-Outside-Lands-on-Saturday-Aug.-12-2023.-005-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-Crowd-at-Outside-Lands-on-Saturday-Aug.-12-2023.-005-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-Crowd-at-Outside-Lands-on-Saturday-Aug.-12-2023.-005-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-Crowd-at-Outside-Lands-on-Saturday-Aug.-12-2023.-005-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-Crowd-at-Outside-Lands-on-Saturday-Aug.-12-2023.-005-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-Crowd-at-Outside-Lands-on-Saturday-Aug.-12-2023.-005-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-Crowd-at-Outside-Lands-on-Saturday-Aug.-12-2023.-005.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands on Saturday, Aug. 12, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933108\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933108\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Megan-Thee-Stallion-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.004.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Megan-Thee-Stallion-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.004.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Megan-Thee-Stallion-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Megan-Thee-Stallion-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Megan-Thee-Stallion-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Megan-Thee-Stallion-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Megan-Thee-Stallion-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.004-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Megan Thee Stallion performs at Outside Lands on Sunday, Aug. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933105\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933105\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Lil-Yachty-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.002.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Lil-Yachty-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.002.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Lil-Yachty-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Lil-Yachty-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Lil-Yachty-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Lil-Yachty-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Lil-Yachty-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.002-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Lil Yachty performs at Outside Lands on Sunday, Aug. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933115\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933115\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/ODESZA-headline-Outside-Lands-on-Sunday-Aug.-13-2023.004.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/ODESZA-headline-Outside-Lands-on-Sunday-Aug.-13-2023.004.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/ODESZA-headline-Outside-Lands-on-Sunday-Aug.-13-2023.004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/ODESZA-headline-Outside-Lands-on-Sunday-Aug.-13-2023.004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/ODESZA-headline-Outside-Lands-on-Sunday-Aug.-13-2023.004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/ODESZA-headline-Outside-Lands-on-Sunday-Aug.-13-2023.004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/ODESZA-headline-Outside-Lands-on-Sunday-Aug.-13-2023.004-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">ODESZA headline Outside Lands on Sunday, Aug. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933118\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933118\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Poolside-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.-001.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Poolside-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.-001.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Poolside-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.-001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Poolside-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.-001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Poolside-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.-001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Poolside-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.-001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Poolside-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.-001-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Poolside performs at Outside Lands on Sunday, Aug. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933110\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933110\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Megan-Thee-Stallion-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.006.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Megan-Thee-Stallion-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.006.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Megan-Thee-Stallion-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.006-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Megan-Thee-Stallion-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.006-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Megan-Thee-Stallion-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.006-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Megan-Thee-Stallion-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.006-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Megan-Thee-Stallion-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.006-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Megan Thee Stallion performs at Outside Lands on Sunday, Aug. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933130\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933130\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Festival-attendees-dance-at-the-Hard-French-QUICHE-party-on-Sunday-Aug.-13-2023.-003.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Festival-attendees-dance-at-the-Hard-French-QUICHE-party-on-Sunday-Aug.-13-2023.-003.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Festival-attendees-dance-at-the-Hard-French-QUICHE-party-on-Sunday-Aug.-13-2023.-003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Festival-attendees-dance-at-the-Hard-French-QUICHE-party-on-Sunday-Aug.-13-2023.-003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Festival-attendees-dance-at-the-Hard-French-QUICHE-party-on-Sunday-Aug.-13-2023.-003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Festival-attendees-dance-at-the-Hard-French-QUICHE-party-on-Sunday-Aug.-13-2023.-003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Festival-attendees-dance-at-the-Hard-French-QUICHE-party-on-Sunday-Aug.-13-2023.-003-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Festival attendees dance at the Hard French QUICHE party on Sunday, Aug. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933124\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933124\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/The-crowd-at-Outside-Lands-on-Sunday-Aug.-13-2023.-003.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-crowd-at-Outside-Lands-on-Sunday-Aug.-13-2023.-003.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-crowd-at-Outside-Lands-on-Sunday-Aug.-13-2023.-003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-crowd-at-Outside-Lands-on-Sunday-Aug.-13-2023.-003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-crowd-at-Outside-Lands-on-Sunday-Aug.-13-2023.-003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-crowd-at-Outside-Lands-on-Sunday-Aug.-13-2023.-003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-crowd-at-Outside-Lands-on-Sunday-Aug.-13-2023.-003-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands on Sunday, Aug. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13933123\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933123\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/The-crowd-at-Outside-Lands-on-Sunday-Aug.-13-2023.-002.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-crowd-at-Outside-Lands-on-Sunday-Aug.-13-2023.-002.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-crowd-at-Outside-Lands-on-Sunday-Aug.-13-2023.-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-crowd-at-Outside-Lands-on-Sunday-Aug.-13-2023.-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-crowd-at-Outside-Lands-on-Sunday-Aug.-13-2023.-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-crowd-at-Outside-Lands-on-Sunday-Aug.-13-2023.-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-crowd-at-Outside-Lands-on-Sunday-Aug.-13-2023.-002-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands on Sunday, Aug. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"title": "Janelle Monáe Wants You ... to Enter the ‘Pleasure’ Zone",
"headTitle": "Janelle Monáe Wants You … to Enter the ‘Pleasure’ Zone | KQED",
"content": "\u003cp>In the already uncomfortably hot summer of 2023, talk of pleasure can hit like a forbidden tonic, providing relief from a steady diet of grief, outrage and anxiety. Janelle Monáe’s new album \u003cem>The Age of Pleasure\u003c/em> presents itself as both that stimulant and a guidebook, a compact compendium of fantasies and pep talks designed to encourage listeners to relax into the dopamine-rushed present tense.\u003c/p>\n\u003cp>“If I could f*** me right here right now I would do that,” the singer-actor-conceptualist turned libertine lifestyle coach sings in “Water Slide,” a reggaefied mid-record romp that plays with swimming metaphors — \u003cem>backstroke, freestyle, surfing on the thing like it’s high tide \u003c/em>— to invoke a tipsy kind of arousal that lingers delightfully, requiring no release. A floating feeling, like being drawn into a swimming pool’s lazy river. Or like getting intimate without an end goal in mind, in a safe space with someone you love. “I could spend the whole day in it,” Monáe swoons, and by “it” she means pleasure itself.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Ag7Ul4U_dSI\u003c/p>\n\u003cp>In Monáe’s world pleasure means some obvious things — material comfort, self-love, carefully maintained ties with intimates and an open-ended approach to alluring strangers. Musically, these values find expression in a certain cadence, that \u003cem>clavé \u003c/em>groove that unfolds the way sexual excitement does, slowing time down and speeding it up all at once. Monáe and her collaborators in the Wondaland Arts Society ground \u003cem>The Age of Pleasure\u003c/em> in the complex yet accessible rhythms of \u003ca href=\"https://www.rollingstone.com/music/music-features/afrobeats-global-rise-1282575/\">Afrobeats\u003c/a> (some prefer Afropop), the diasporic dance music that shares sonic borders with global Latin pop and Caribbean riddims.\u003c/p>\n\u003cp>[aside postid='arts_13929970']Afrobeats is the ground of much current mainstream pop, recasting hip-hop on the global stage in ways that are both historically minded — the presence of Nigerian scion\u003ca href=\"https://www.seunkuti.net/\"> Seun Kuti \u003c/a>and Egypt 80 on this album accomplish that goal — and \u003cem>au courant\u003c/em>. Monáe queers the trend with lyrics that celebrate same-sex encounters and polyamory and by filling \u003cem>Pleasure\u003c/em>‘s songs with quick turns, interludes and echoes, creating a sinuous inflorescence evocative of many women’s responsive patterns and the polymorphous attention blur of a friendly orgy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>If this sounds like a lot, Monáe and her collaborators make sure it goes down easy. \u003cem>The Age of Pleasure\u003c/em> is just over 30 minutes long and its structure is clean and tight. Supposedly an autobiographical departure from her previous character-driven concept albums, this neat set still displays an actor’s sensibility. It unfolds in three acts, with a bold opening, a complicated middle and a pleasing denouement. But unlike her earlier Cindi Mayweather trilogy, with its hugely detailed world-building and heady ideas about power, race and humanity itself, \u003cem>The Age of Pleasure \u003c/em>is contained, naturalistic and circular. It’s a round, a story that’s not linear but grounded in an ebb and flow, again like a woman’s sensuality — and in service of a utopian eroticism that runs on true mutual recognition.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kEaclTJZCKc\u003c/p>\n\u003cp>True to her style and accommodating an instrument that’s more chameleonic than stunningly distinctive, Monáe puts on many voices throughout \u003cem>The Age of Pleasure\u003c/em>. The first four tracks are flexes, runway struts redolent of the ballroom (and, inevitably, Beyoncé’s \u003cem>Renaissance\u003c/em>). The dominant voice here is that of a haughty rapper who also likes to play. Monáe doesn’t walk, she floats; she’s on her champagne s***, phenomenal, so hot she’s \u003cem>haute\u003c/em>. This is the warm-up, the infusion of pride required to pursue pleasure without too much risk of being exploited. “I’m looking at a thousand versions of myself, and we’re all fine as f***,” Monáe spits over an avant-funk beat, ready to grab her besties and go on the prowl. Flipping a line from decadent \u003ca href=\"https://www.youtube.com/watch?v=EZiISc7Ej84&t=90s\">\u003cem>Euphoria\u003c/em>\u003c/a>, she speaks up for seductiveness as a strength instead of a destabilizing element.\u003c/p>\n\u003cp>[aside postid='arts_13930122']Her excursions occupy the album’s middle and most interesting section, a set of mid-tempo grooves that turn inward to describe a queer experience of pleasure. An interlude featuring Saint Grace Jones murmuring in French sets up the section; then comes “Lipstick Lover,” the summery reggae single that hovers in the air like a throwaway while establishing Monáe’s all-important perspective. “I like lipstick on my neck,” Monáe chants in the chorus, not only making clear that she wants queer fun but pointing toward erogenous zones that unseat Afropop and hip-hop’s \u003ca href=\"https://www.teenvogue.com/story/afrobeats-industry-needs-to-confront-its-bias-against-female-artists\">phallocentric tendencies\u003c/a>.\u003c/p>\n\u003cp>Even more effective is “The Rush,” its half time dancehall riddim and airy harmonies sounding like what being turned on feels like, steadily yet sneakily intensifying on a wave of Monáe’s murmurs with extra strokes from \u003ca href=\"https://www.npr.org/1180152530\">Amaarae\u003c/a> and Nia Long. “I get that \u003cem>feelin’\u003c/em>,” she repeats, redirecting her thought processes below her neck over a bed of what the credits describe as “percolating freaquencies.” Feeling becomes a way of thinking. Next comes “Water Slide,” its drenched metaphors accentuating the music’s body consciousness.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jppx-EFJ818\u003c/p>\n\u003cp>The final turn in \u003cem>The Age of Pleasure \u003c/em>complicates pleasure by showing how it’s a two- (or three-) way street that can get a little bumpy. The insistence of “Know Better,” a lover’s plea built around densely multi-tracked vocals from Monáe and Nigerian crooner \u003ca href=\"https://www.youtube.com/watch?v=qNbAu0IZhKQ\">Ckay\u003c/a>, reminds the listener that pleasure demands consent. That song drifts right into “Paid In Pleasure,” a sticky allegory that lets in some perversion, turning sex’s sometimes transactional nature into a fetish. (Monáe’s early mentor Prince would have enjoyed this one.) Our sensual hero recovers her wits on the final two tracks — the adorable ode to throupling “Only Have Eyes 42,” which quotes a doo wop classic to swathe polyamory in innocence, and the brief, tender “A Dry Red,” which shows that Monaé can do yearning as convincingly as she can pose or purr, and begins the album’s cycle of awakening, pursuit and connection again.\u003c/p>\n\u003cp>[aside postid='arts_13927403']For all its narrative flair, \u003cem>The Age of Pleasure\u003c/em> is actually more about making space than telling a story, and that’s why this album is more instantly beguiling than her previous releases, whose high concepts could result in a certain chilliness. Monáe has called this space an oasis, and its sheltering vibes are paramount. The album’s rollout, via a \u003cem>Rolling Stone \u003c/em>cover and the \u003ca href=\"https://www.youtube.com/watch?v=Y7S6wLP_vsY\">“Lipstick Lover” video\u003c/a>, has centered on Wondaland West, the communal Los Angeles manse where Monáe is housemother, with its party-ready courtyard that \u003cem>Rolling Stone\u003c/em>‘s Mankaprr Conteh \u003ca href=\"https://www.rollingstone.com/music/music-features/janelle-monae-the-age-of-pleasure-album-interview-1234736254/\">described\u003c/a> as “magnificent, with its tranquil pool in the center and troves of nooks, crannies, outdoor baths, and citrus trees” — an Eden where slipping away with a special someone is as possible as joining in on a group hug. During lockdown, in collaboration with the diasporic roving party Everyday People, Monáe began hosting gatherings. \u003cem>The Age of Pleasure\u003c/em> reflects this communal experience, asserting that the only way pleasure can flower is in well-tended gardens where people can relax into themselves. For BIPOC and queer people, such places have often been difficult to find, and they are currently under siege. \u003cem>The Age of Pleasure \u003c/em>establishes its utopia to illuminate the need for more mundane versions of it to multiply.\u003c/p>\n\u003cp>The term “pleasure zone” has different meanings; it designates sensitive parts of the body, but also spaces where people can step outside the grind of their daily lives and play. Postmodern theory names certain characteristics of these spaces: They are sheltering, flexible and whimsical, allowing visitors to try on customarily unavailable modes of being. Access to such spaces has often been denied BIPOC and queer people; the history of the swimming pool, Monáe’s favorite metaphor, is stained with the blood of racist segregation. That’s why imagining — and creating — such oases matters so much, and why, for all its lightness, \u003cem>The Age of Pleasure\u003c/em> is profoundly political. As these songs move from Lagos polyrhythms to Atlanta \u003ca href=\"https://www.youtube.com/watch?v=vXmqauitBkM\">hip-hop horns\u003c/a> to variations on \u003ca href=\"https://www.youtube.com/watch?v=au7W8tbSFtU\">earlier pop twists\u003c/a> on dance floor innovation like executive producer Diddy’s long-lost project Dirty Money, \u003cem>The Age of Pleasure\u003c/em> conjures a dream of frictionless fluidity where any fantasy might be pursued, any identity embraced, safely. The myriad images of water add to the feeling of escaping gravity — and it’s definitely pool water, teal blue and protected from dangerous undertows, where a leg can press against a thigh on a floatie with no danger of pulling anyone under.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Janelle Monáe’s supreme ability to contain herself, to meld with the roles she takes on, is her main strength and shortcoming as a performer. She has achieved much as an actress by disappearing into roles that \u003ca href=\"https://www.netflix.com/tudum/articles/janelle-monae-character-glass-onion-costumes\">require her to don disguises\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=W3FxDJz_HDg\">help others disguise themselves\u003c/a>, keep secrets and find power \u003ca href=\"https://www.youtube.com/watch?v=lXz94_CRzAU\">on the margins\u003c/a>. Her music has sometimes lacked a strong charismatic center as she’s pursued different characters and plotlines. On \u003cem>The Age of Pleasure\u003c/em> she experiments with a new role — that of her own fine self, alive in a body and eager to feel as much as she can. This allows her to put aside the highly dramatic expressiveness to which she’s not suited and instead dwell in that liquid experience of suggestiveness and seduction where gestures speak louder than words. Monáe still seems to resist intense emotions — heartache, for example, doesn’t surface anywhere here, and despite all the kissing and licking and offers to keep her lovers coming, she doesn’t hit any orgasmic notes herself. Instead, she and the Wondaland crew offer an alternative to all that: a wet dream of a better world.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Janelle+Mon%C3%A1e+wants+you+...+to+enter+the+%27Pleasure%27+zone&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the already uncomfortably hot summer of 2023, talk of pleasure can hit like a forbidden tonic, providing relief from a steady diet of grief, outrage and anxiety. Janelle Monáe’s new album \u003cem>The Age of Pleasure\u003c/em> presents itself as both that stimulant and a guidebook, a compact compendium of fantasies and pep talks designed to encourage listeners to relax into the dopamine-rushed present tense.\u003c/p>\n\u003cp>“If I could f*** me right here right now I would do that,” the singer-actor-conceptualist turned libertine lifestyle coach sings in “Water Slide,” a reggaefied mid-record romp that plays with swimming metaphors — \u003cem>backstroke, freestyle, surfing on the thing like it’s high tide \u003c/em>— to invoke a tipsy kind of arousal that lingers delightfully, requiring no release. A floating feeling, like being drawn into a swimming pool’s lazy river. Or like getting intimate without an end goal in mind, in a safe space with someone you love. “I could spend the whole day in it,” Monáe swoons, and by “it” she means pleasure itself.\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/Ag7Ul4U_dSI'\n title='//www.youtube.com/embed/Ag7Ul4U_dSI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In Monáe’s world pleasure means some obvious things — material comfort, self-love, carefully maintained ties with intimates and an open-ended approach to alluring strangers. Musically, these values find expression in a certain cadence, that \u003cem>clavé \u003c/em>groove that unfolds the way sexual excitement does, slowing time down and speeding it up all at once. Monáe and her collaborators in the Wondaland Arts Society ground \u003cem>The Age of Pleasure\u003c/em> in the complex yet accessible rhythms of \u003ca href=\"https://www.rollingstone.com/music/music-features/afrobeats-global-rise-1282575/\">Afrobeats\u003c/a> (some prefer Afropop), the diasporic dance music that shares sonic borders with global Latin pop and Caribbean riddims.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Afrobeats is the ground of much current mainstream pop, recasting hip-hop on the global stage in ways that are both historically minded — the presence of Nigerian scion\u003ca href=\"https://www.seunkuti.net/\"> Seun Kuti \u003c/a>and Egypt 80 on this album accomplish that goal — and \u003cem>au courant\u003c/em>. Monáe queers the trend with lyrics that celebrate same-sex encounters and polyamory and by filling \u003cem>Pleasure\u003c/em>‘s songs with quick turns, interludes and echoes, creating a sinuous inflorescence evocative of many women’s responsive patterns and the polymorphous attention blur of a friendly orgy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If this sounds like a lot, Monáe and her collaborators make sure it goes down easy. \u003cem>The Age of Pleasure\u003c/em> is just over 30 minutes long and its structure is clean and tight. Supposedly an autobiographical departure from her previous character-driven concept albums, this neat set still displays an actor’s sensibility. It unfolds in three acts, with a bold opening, a complicated middle and a pleasing denouement. But unlike her earlier Cindi Mayweather trilogy, with its hugely detailed world-building and heady ideas about power, race and humanity itself, \u003cem>The Age of Pleasure \u003c/em>is contained, naturalistic and circular. It’s a round, a story that’s not linear but grounded in an ebb and flow, again like a woman’s sensuality — and in service of a utopian eroticism that runs on true mutual recognition.\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/kEaclTJZCKc'\n title='//www.youtube.com/embed/kEaclTJZCKc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>True to her style and accommodating an instrument that’s more chameleonic than stunningly distinctive, Monáe puts on many voices throughout \u003cem>The Age of Pleasure\u003c/em>. The first four tracks are flexes, runway struts redolent of the ballroom (and, inevitably, Beyoncé’s \u003cem>Renaissance\u003c/em>). The dominant voice here is that of a haughty rapper who also likes to play. Monáe doesn’t walk, she floats; she’s on her champagne s***, phenomenal, so hot she’s \u003cem>haute\u003c/em>. This is the warm-up, the infusion of pride required to pursue pleasure without too much risk of being exploited. “I’m looking at a thousand versions of myself, and we’re all fine as f***,” Monáe spits over an avant-funk beat, ready to grab her besties and go on the prowl. Flipping a line from decadent \u003ca href=\"https://www.youtube.com/watch?v=EZiISc7Ej84&t=90s\">\u003cem>Euphoria\u003c/em>\u003c/a>, she speaks up for seductiveness as a strength instead of a destabilizing element.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Her excursions occupy the album’s middle and most interesting section, a set of mid-tempo grooves that turn inward to describe a queer experience of pleasure. An interlude featuring Saint Grace Jones murmuring in French sets up the section; then comes “Lipstick Lover,” the summery reggae single that hovers in the air like a throwaway while establishing Monáe’s all-important perspective. “I like lipstick on my neck,” Monáe chants in the chorus, not only making clear that she wants queer fun but pointing toward erogenous zones that unseat Afropop and hip-hop’s \u003ca href=\"https://www.teenvogue.com/story/afrobeats-industry-needs-to-confront-its-bias-against-female-artists\">phallocentric tendencies\u003c/a>.\u003c/p>\n\u003cp>Even more effective is “The Rush,” its half time dancehall riddim and airy harmonies sounding like what being turned on feels like, steadily yet sneakily intensifying on a wave of Monáe’s murmurs with extra strokes from \u003ca href=\"https://www.npr.org/1180152530\">Amaarae\u003c/a> and Nia Long. “I get that \u003cem>feelin’\u003c/em>,” she repeats, redirecting her thought processes below her neck over a bed of what the credits describe as “percolating freaquencies.” Feeling becomes a way of thinking. Next comes “Water Slide,” its drenched metaphors accentuating the music’s body consciousness.\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/jppx-EFJ818'\n title='//www.youtube.com/embed/jppx-EFJ818'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The final turn in \u003cem>The Age of Pleasure \u003c/em>complicates pleasure by showing how it’s a two- (or three-) way street that can get a little bumpy. The insistence of “Know Better,” a lover’s plea built around densely multi-tracked vocals from Monáe and Nigerian crooner \u003ca href=\"https://www.youtube.com/watch?v=qNbAu0IZhKQ\">Ckay\u003c/a>, reminds the listener that pleasure demands consent. That song drifts right into “Paid In Pleasure,” a sticky allegory that lets in some perversion, turning sex’s sometimes transactional nature into a fetish. (Monáe’s early mentor Prince would have enjoyed this one.) Our sensual hero recovers her wits on the final two tracks — the adorable ode to throupling “Only Have Eyes 42,” which quotes a doo wop classic to swathe polyamory in innocence, and the brief, tender “A Dry Red,” which shows that Monaé can do yearning as convincingly as she can pose or purr, and begins the album’s cycle of awakening, pursuit and connection again.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>For all its narrative flair, \u003cem>The Age of Pleasure\u003c/em> is actually more about making space than telling a story, and that’s why this album is more instantly beguiling than her previous releases, whose high concepts could result in a certain chilliness. Monáe has called this space an oasis, and its sheltering vibes are paramount. The album’s rollout, via a \u003cem>Rolling Stone \u003c/em>cover and the \u003ca href=\"https://www.youtube.com/watch?v=Y7S6wLP_vsY\">“Lipstick Lover” video\u003c/a>, has centered on Wondaland West, the communal Los Angeles manse where Monáe is housemother, with its party-ready courtyard that \u003cem>Rolling Stone\u003c/em>‘s Mankaprr Conteh \u003ca href=\"https://www.rollingstone.com/music/music-features/janelle-monae-the-age-of-pleasure-album-interview-1234736254/\">described\u003c/a> as “magnificent, with its tranquil pool in the center and troves of nooks, crannies, outdoor baths, and citrus trees” — an Eden where slipping away with a special someone is as possible as joining in on a group hug. During lockdown, in collaboration with the diasporic roving party Everyday People, Monáe began hosting gatherings. \u003cem>The Age of Pleasure\u003c/em> reflects this communal experience, asserting that the only way pleasure can flower is in well-tended gardens where people can relax into themselves. For BIPOC and queer people, such places have often been difficult to find, and they are currently under siege. \u003cem>The Age of Pleasure \u003c/em>establishes its utopia to illuminate the need for more mundane versions of it to multiply.\u003c/p>\n\u003cp>The term “pleasure zone” has different meanings; it designates sensitive parts of the body, but also spaces where people can step outside the grind of their daily lives and play. Postmodern theory names certain characteristics of these spaces: They are sheltering, flexible and whimsical, allowing visitors to try on customarily unavailable modes of being. Access to such spaces has often been denied BIPOC and queer people; the history of the swimming pool, Monáe’s favorite metaphor, is stained with the blood of racist segregation. That’s why imagining — and creating — such oases matters so much, and why, for all its lightness, \u003cem>The Age of Pleasure\u003c/em> is profoundly political. As these songs move from Lagos polyrhythms to Atlanta \u003ca href=\"https://www.youtube.com/watch?v=vXmqauitBkM\">hip-hop horns\u003c/a> to variations on \u003ca href=\"https://www.youtube.com/watch?v=au7W8tbSFtU\">earlier pop twists\u003c/a> on dance floor innovation like executive producer Diddy’s long-lost project Dirty Money, \u003cem>The Age of Pleasure\u003c/em> conjures a dream of frictionless fluidity where any fantasy might be pursued, any identity embraced, safely. The myriad images of water add to the feeling of escaping gravity — and it’s definitely pool water, teal blue and protected from dangerous undertows, where a leg can press against a thigh on a floatie with no danger of pulling anyone under.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Janelle Monáe’s supreme ability to contain herself, to meld with the roles she takes on, is her main strength and shortcoming as a performer. She has achieved much as an actress by disappearing into roles that \u003ca href=\"https://www.netflix.com/tudum/articles/janelle-monae-character-glass-onion-costumes\">require her to don disguises\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=W3FxDJz_HDg\">help others disguise themselves\u003c/a>, keep secrets and find power \u003ca href=\"https://www.youtube.com/watch?v=lXz94_CRzAU\">on the margins\u003c/a>. Her music has sometimes lacked a strong charismatic center as she’s pursued different characters and plotlines. On \u003cem>The Age of Pleasure\u003c/em> she experiments with a new role — that of her own fine self, alive in a body and eager to feel as much as she can. This allows her to put aside the highly dramatic expressiveness to which she’s not suited and instead dwell in that liquid experience of suggestiveness and seduction where gestures speak louder than words. Monáe still seems to resist intense emotions — heartache, for example, doesn’t surface anywhere here, and despite all the kissing and licking and offers to keep her lovers coming, she doesn’t hit any orgasmic notes herself. Instead, she and the Wondaland crew offer an alternative to all that: a wet dream of a better world.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Janelle+Mon%C3%A1e+wants+you+...+to+enter+the+%27Pleasure%27+zone&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "It's Met Gala 2023! Let's All Pretend Karl Lagerfeld Was Cool!",
"headTitle": "It’s Met Gala 2023! Let’s All Pretend Karl Lagerfeld Was Cool! | KQED",
"content": "\u003cp>Oh, hey, look everybody! It’s the first Monday in May! That can mean only one thing: Celebrities trying to out-fashion each other on the Metropolitan Museum’s red carpet in New York. Except that this year’s Met Gala also happened to fall on \u003ca href=\"https://www.britannica.com/topic/May-Day-international-observance\">May Day\u003c/a> — a day traditionally dedicated to the workers of the world uniting and pushing back against the powers that be. (Somewhere, in the back of a limo, someone’s assistant was wearing Fruit of the Loom underwear in solidarity.)\u003c/p>\n\u003cp>[aside postid='arts_13912817']Also making the 2023 Met Gala even weirder this year? The damn theme: \u003cem>Karl Lagerfeld: A Line of Beauty\u003c/em>. Lagerfeld was a hateful little man who proudly wore his misogyny, fatphobia and \u003ca href=\"https://www.theguardian.com/fashion/2017/nov/13/karl-lagerfeld-sparks-outrage-over-migrant-holocaust-comments\">Islamaphobia\u003c/a> on his impeccably tailored sleeve. He also spent 36 years of his life working for Chanel — the fashion house founded by \u003ca href=\"https://www.pbs.org/wgbh/roadshow/stories/articles/2022/1/3/coco-chanel-fashion-designer-and-nazi-informant#:~:text=Gabrielle%20%E2%80%9CCoco%E2%80%9D%20Chanel%20was%20a,a%20Nazi%20sympathizer%20and%20informer.\">known Nazi sympathizer and secret agent, Coco Chanel\u003c/a>. Oh, and then there was that time in 2013 when \u003ca href=\"https://theweek.com/articles/493757/claudia-schiffers-blackface-photos-defensible\">he put Claudia Schiffer in blackface and an afro\u003c/a>. Hurray!\u003c/p>\n\u003cp>Is everyone feeling super awkward and uncomfortable yet? Like Kim Kardashian in that \u003ca href=\"https://www.wmagazine.com/story/kim-kardashian-met-gala-corset-mugler-mr-pearl\">very corseted Thierry Mugler dress\u003c/a> at 2019’s Met Gala? Good. Then let’s take a look at the fashion!\u003c/p>\n\u003ch2>Penélope Cruz and Dua Lipa\u003c/h2>\n\u003cfigure id=\"attachment_13928511\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928511\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/GettyImages-1486910904-scaled-e1682979054617-800x533.jpg\" alt=\"Two women with pale flawless skin and dark brown hair stand side by side. One is wearing a corseted white dress with black stitching. The other is a wearing a plunging, belted white dress with a transparent white hood.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486910904-scaled-e1682979054617-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486910904-scaled-e1682979054617-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486910904-scaled-e1682979054617-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486910904-scaled-e1682979054617-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486910904-scaled-e1682979054617-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486910904-scaled-e1682979054617.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A nun and a milkmaid walk into a museum… \u003ccite>(Matt Winkelmeyer/MG23/Getty Images for The Met Museum/Vogue)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Penélope Cruz arrived in a Chanel take on Elsa from \u003cem>Frozen,\u003c/em> while Dua Lipa donned 1992 Chanel that was giving fancy-ass milkmaid. Cruz is a mom of two and therefore a reminder of that time Lagerfeld told a journalist at \u003cem>Interview \u003c/em>magazine\u003cem>: “\u003c/em>You’re lucky because [your children] are very beautiful. \u003ca href=\"https://www.interviewmagazine.com/fashion/carine-roitfeld\">It would have been difficult to have an ugly daughter\u003c/a>.” He continued: “If I were a woman, I would love to have lots of kids. But for men, I don’t believe in it.”\u003c/p>\n\u003cp>Nice!\u003c/p>\n\u003ch2>Salma Hayek\u003c/h2>\n\u003cfigure id=\"attachment_13928518\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928518\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/GettyImages-1486926230-scaled-e1682985176606-800x533.jpg\" alt=\"A striking movie star stands on a red carpet wearing a red, tiered gown and bodice, hand on her hip. Photographers are lined up behind her.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486926230-scaled-e1682985176606-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486926230-scaled-e1682985176606-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486926230-scaled-e1682985176606-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486926230-scaled-e1682985176606-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486926230-scaled-e1682985176606-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486926230-scaled-e1682985176606.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Salma Hayek: 10 out of 10, no notes. \u003ccite>(Jamie McCarthy/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The iconic actress provided a rare pop of color to the black and white-centric gala, in a stunning red, tiered, full-length gown and rubber bodice. For some reason — maybe because Hayek survived nightmarish harassment by Harvey Weinstein and \u003ca href=\"https://www.nytimes.com/interactive/2017/12/13/opinion/contributors/salma-hayek-harvey-weinstein.html?smid=tw-nytopinion&smtyp=cur&mtrref=t.co&assetType=opinion&mtrref=theplaylist.net&gwh=58685C1FA7FF98DAD582641F4BB2C2C9&gwt=pay&assetType=PAYWALL\">wrote a powerful essay about it\u003c/a>? — I can’t help but think about that time Karl Lagerfeld said he was “fed up” with the #MeToo movement.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“What shocks me most in all of this,” \u003ca href=\"https://www.hollywoodreporter.com/lifestyle/style/karl-lagerfeld-metoo-comments-you-don-t-want-your-pants-pulled-don-t-become-a-model-1102596/\">the designer said\u003c/a>, “are the starlets who have taken 20 years to remember what happened.”\u003c/p>\n\u003cp>Literally stunning!\u003c/p>\n\u003ch2>Cara Delevingne\u003c/h2>\n\u003cfigure id=\"attachment_13928520\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928520\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/GettyImages-1486932554-scaled-e1682987052540-800x533.jpg\" alt=\"A white woman with cropped shaggy silver hair stands on a red carpet surrounded by photographers, fanning out a huge white cape from a mini dress. Her legs are covered with black leather sheaths.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486932554-scaled-e1682987052540-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486932554-scaled-e1682987052540-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486932554-scaled-e1682987052540-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486932554-scaled-e1682987052540-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486932554-scaled-e1682987052540-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486932554-scaled-e1682987052540.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cara Delevingne being di(la)vine at the 2023 Met Gala. \u003ccite>(Jamie McCarthy/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cara Delevingne is one of the most in-demand models in the world not just because of her looks, but because of her tough persona and assertive edge. I wonder if she remembers that time in 2018 when \u003ca href=\"https://www.hollywoodreporter.com/lifestyle/style/karl-lagerfeld-metoo-comments-you-don-t-want-your-pants-pulled-don-t-become-a-model-1102596/\">Karl Lagerfeld wanted models to stop speaking up for themselves\u003c/a>?\u003c/p>\n\u003cp>“I read somewhere that now you must ask a model if she is comfortable with posing,” Lagerfeld said. “It’s simply too much; from now on, as a designer, you can’t do anything. It’s unbelievable. If you don’t want your pants pulled about, don’t become a model. Join a nunnery. There’ll always be a place for you in the convent.”\u003c/p>\n\u003cp>Sensational!\u003c/p>\n\u003ch2>Cardi B\u003c/h2>\n\u003cfigure id=\"attachment_13928522\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928522\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/GettyImages-1486936357-800x554.jpg\" alt=\"A Black woman wearing a dramatic black gown with white sleeveless collared shirt and black tie underneath, stands on the red carpet, gloved arms outstretched. She is wearing a long, straight, silver wig.\" width=\"800\" height=\"554\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486936357-800x554.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486936357-1020x707.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486936357-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486936357-768x532.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486936357-1536x1064.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486936357-2048x1419.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486936357-1920x1330.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Talented rapper and tattooed human, Cardi B. \u003ccite>(Matt Winkelmeyer/MG23/Getty Images for The Met Museum/Vogue)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The rapper arrived in a bell-shaped gown paired with boss-lady collared shirt and black tie. Cardi’s silver wig was a nod to Lagerfeld’s own strange mane, which is super fun when you think about that time the designer said: “I think tattoos are horrible. It’s like living in a Pucci dress full-time.”\u003c/p>\n\u003cp>Hope you like Pucci, Cardi!\u003c/p>\n\u003ch2>Janelle Monáe\u003c/h2>\n\u003cfigure id=\"attachment_13928521\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928521\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/GettyImages-1486933737-800x533.jpg\" alt=\"A Black woman wearing a stunned facial expression stands wearing an oversized conical black and white suit coat, held up by a wired underskirt.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486933737-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486933737-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486933737-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486933737-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486933737-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486933737-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486933737-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Janelle Monáe doing iconic weeble business. \u003ccite>(Dimitrios Kambouris/Getty Images for The Met Museum/Vogue)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Janelle Monáe upped the theatricality with an avant-garde, oversized, conical-shaped, black and white coat that she later whipped off to reveal a structured, mesh underskirt. While there is zero evidence to support this theory, I am hoping this illusion of largeness was a nod to the time Karl Lagerfeld said: “The hole in social security, it’s also [because of] all the diseases caught by people who are too fat.”\u003c/p>\n\u003cp>Cool!\u003c/p>\n\u003ch2>David Byrne\u003c/h2>\n\u003cfigure id=\"attachment_13928512\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928512\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/GettyImages-1486913679-800x533.jpg\" alt=\"A man in a crisp white suit and casual sneakers stands on a red carpet with a bicycle, smiling.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486913679-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486913679-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486913679-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486913679-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486913679-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486913679-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486913679-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Byrne and his bicycle. \u003ccite>(Mike Coppola/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Talking Heads legend David Byrne showed up in a crisp white suit with his bicycle — an excellent accessory, tailor-made to get grease all over your couture as you haul it up the stairs. Something about this striking look was reminiscent of the time Karl Lagerfeld declared: “\u003ca href=\"https://www.harpersbazaar.com/fashion/designers/a26405187/karl-lagerfeld-quotes/\">I hate intellectual conversation with intellectuals because I only care about my opinion\u003c/a>.”\u003c/p>\n\u003cp>Perfection!\u003c/p>\n\u003ch2>Lil Nas X\u003c/h2>\n\u003cfigure id=\"attachment_13928517\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928517\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/GettyImages-1486925234-800x559.jpg\" alt=\"A man in silver body paint and crystal-encrusted face mask strikes a pose in front of a white curtain. He is wearing only a loin cloth.\" width=\"800\" height=\"559\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486925234-800x559.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486925234-1020x712.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486925234-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486925234-768x536.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486925234-1536x1073.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486925234-2048x1431.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486925234-1920x1341.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lil Nas X in a typically understated silver ensemble. \u003ccite>(Matt Winkelmeyer/MG23/Getty Images for The Met Museum/Vogue)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lil Nas X showed up in a subtle silver number that emphasized his, uh, assets. Because of his status as a queer icon, it’s hard not to think about the time Karl Lagerfeld endorsed marriage equality on the runway, then immediately told everyone \u003ca href=\"https://www.theguardian.com/fashion/2013/jan/22/karl-lagerfeld-chanel-gay-marriage\">he was “less keen” on gay couples being allowed to adopt\u003c/a> children.\u003c/p>\n\u003cp>So awesome!\u003c/p>\n\u003ch2>Michaela Coel\u003c/h2>\n\u003cfigure id=\"attachment_13928516\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928516\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/GettyImages-1486916795-scaled-e1682984031541-800x533.jpg\" alt=\"A beautiful black woman with feline features and cornrows wears a heavily beaded gold gown.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486916795-scaled-e1682984031541-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486916795-scaled-e1682984031541-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486916795-scaled-e1682984031541-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486916795-scaled-e1682984031541-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486916795-scaled-e1682984031541-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486916795-scaled-e1682984031541.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A look so perfect, it would have rendered even Karl Lagerfeld speechless. \u003ccite>(Jamie McCarthy/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Holy crap. Michaela Coel looked so dazzling, I briefly stopped thinking about what a troll Karl Lagerfeld was.\u003c/p>\n\u003cp>Thank you, Michaela Coel, for allowing me to not think about Karl Lagerfeld for three minutes.\u003c/p>\n\u003ch2>Gisele Bündchen\u003c/h2>\n\u003cfigure id=\"attachment_13928514\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928514\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/GettyImages-1486917532-scaled-e1682982093446-800x570.jpg\" alt=\"A beautiful woman spins on the red carpet wearing a full-length crystal-beaded gown and a full length feather shrug.\" width=\"800\" height=\"570\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486917532-scaled-e1682982093446-800x570.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486917532-scaled-e1682982093446-1020x727.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486917532-scaled-e1682982093446-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486917532-scaled-e1682982093446-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486917532-scaled-e1682982093446-1536x1095.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486917532-scaled-e1682982093446.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gisele Bündchen wearing about 57,000 birds. \u003ccite>(Jamie McCarthy/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Giselle had a sparkly, swan-inspired moment on the red carpet, spinning her full-length feather cape for awaiting photographers. It was hard to see all those feathers without recalling the time in 2009 when Karl Lagerfeld insisted on \u003ca href=\"http://fashion.telegraph.co.uk/news-features/TMG4075783/Karl-Lagerfeld-defends-fur-industry-saying-beasts-would-kill-us-if-we-didnt-kill-them.html\">giving his two cents about the use of animal products\u003c/a> in couture.\u003c/p>\n\u003cp>“In a meat-eating world, wearing leather for shoes and clothes and even handbags, the discussion of fur is childish.” He was also careful to note that the dead animals in question were merely “beasts who would kill us if they could.”\u003c/p>\n\u003cp>Screw you, fluffy animals!\u003c/p>\n\u003ch2>Lizzo and Jared Leto\u003c/h2>\n\u003cfigure id=\"attachment_13928519\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928519\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/GettyImages-1486928126-scaled-e1682986187433-800x533.jpg\" alt=\"A plus-sized Black woman in a full-length black gown covered in strings of white pearls stands on a busy red carpet talking to someone in a giant fluffy cat costume.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486928126-scaled-e1682986187433-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486928126-scaled-e1682986187433-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486928126-scaled-e1682986187433-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486928126-scaled-e1682986187433-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486928126-scaled-e1682986187433-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486928126-scaled-e1682986187433.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jared Leto, dressed as Karl Lagerfeld’s cat Choupette, chats with Lizzo. \u003ccite>(Mike Coppola/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I was super into watching Lizzo converse with a human-sized cat until I:\u003c/p>\n\u003cp>(a) found out that the cat costume was, in fact, inhabited by \u003ca href=\"https://www.kqed.org/arts/13865555/thirty-seconds-to-mars-jared-leto-started-a-cult-because-of-course-he-did\">human pretension factory Jared Leto\u003c/a>, and,\u003c/p>\n\u003cp>(b) remembered that time Karl Lagerfeld said of another plus-sized songstress, Adele: “She’s a little too fat but she has a beautiful face.” Later Lagerfeld implied that his unsolicited comments about her physique actually did Adele a favor. “After that,” he said, “she lost eight kilos [17.6 pounds] so I think the message was not that bad.”\u003c/p>\n\u003cp>Give me strength, Lord.\u003c/p>\n\u003ch2>Doja Cat\u003c/h2>\n\u003cfigure id=\"attachment_13928523\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928523\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/GettyImages-1486937845-scaled-e1682989079658-800x533.jpg\" alt=\"A Black woman wearing face enhancements that make her look like a cat poses on the red carpet. She's wearing a silver gown with hood that has cat ear embellishments.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486937845-scaled-e1682989079658-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486937845-scaled-e1682989079658-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486937845-scaled-e1682989079658-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486937845-scaled-e1682989079658-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486937845-scaled-e1682989079658-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486937845-scaled-e1682989079658.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Doja Cat = Literal cat now. Cool. \u003ccite>(Theo Wargo/Getty Images for Karl Lagerfeld)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One time, offering unsolicited commentary about Lana Del Rey’s appearance, Karl Lagerfeld said: “In her photos, she is beautiful. Is she a construct with all her implants?”\u003c/p>\n\u003cp>How’s this for a construct, Karl? Doja Cat is an actual cat now.\u003c/p>\n\u003cp>Mic drop!\u003c/p>\n\u003ch2>Ashley Graham\u003c/h2>\n\u003cfigure id=\"attachment_13928515\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928515\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/GettyImages-1486923634-800x593.jpg\" alt=\"A beautiful white woman wearing a tight fitting pink and black off-the-shoulder gown with embellishments around her ankles, hips and elbows to emphasize her curves.\" width=\"800\" height=\"593\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486923634-800x593.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486923634-1020x757.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486923634-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486923634-768x570.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486923634-1536x1139.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486923634-2048x1519.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486923634-1920x1424.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ashley Graham in a stunning pink and black off-the-shoulder gown. \u003ccite>(Theo Wargo/Getty Images for Karl Lagerfeld)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Body positivity leader and plus-sized model Ashley Graham was stunning in a figure-hugging gown with embellishments that served to emphasize her curves. One can’t help but wonder how Karl Lagerfeld would receive this look today, given his 2009 statement that: “\u003ca href=\"https://www.smh.com.au/lifestyle/fashion/no-one-wants-to-see-curvy-women-karl-lagerfeld-20091012-gskk.html\">No one wants to see curvy women\u003c/a>.”\u003c/p>\n\u003cp>Get outta here, you!\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>May next year’s theme be much, much easier to not think about.\u003c/p>\n\n",
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"excerpt": "The most prestigious night in fashion pays homage to a guy who hated almost everyone and couldn't wait to talk about it. Stunning!",
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"title": "It's Met Gala 2023! Let's All Pretend Karl Lagerfeld Was Cool! | KQED",
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"headline": "It's Met Gala 2023! Let's All Pretend Karl Lagerfeld Was Cool!",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oh, hey, look everybody! It’s the first Monday in May! That can mean only one thing: Celebrities trying to out-fashion each other on the Metropolitan Museum’s red carpet in New York. Except that this year’s Met Gala also happened to fall on \u003ca href=\"https://www.britannica.com/topic/May-Day-international-observance\">May Day\u003c/a> — a day traditionally dedicated to the workers of the world uniting and pushing back against the powers that be. (Somewhere, in the back of a limo, someone’s assistant was wearing Fruit of the Loom underwear in solidarity.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Also making the 2023 Met Gala even weirder this year? The damn theme: \u003cem>Karl Lagerfeld: A Line of Beauty\u003c/em>. Lagerfeld was a hateful little man who proudly wore his misogyny, fatphobia and \u003ca href=\"https://www.theguardian.com/fashion/2017/nov/13/karl-lagerfeld-sparks-outrage-over-migrant-holocaust-comments\">Islamaphobia\u003c/a> on his impeccably tailored sleeve. He also spent 36 years of his life working for Chanel — the fashion house founded by \u003ca href=\"https://www.pbs.org/wgbh/roadshow/stories/articles/2022/1/3/coco-chanel-fashion-designer-and-nazi-informant#:~:text=Gabrielle%20%E2%80%9CCoco%E2%80%9D%20Chanel%20was%20a,a%20Nazi%20sympathizer%20and%20informer.\">known Nazi sympathizer and secret agent, Coco Chanel\u003c/a>. Oh, and then there was that time in 2013 when \u003ca href=\"https://theweek.com/articles/493757/claudia-schiffers-blackface-photos-defensible\">he put Claudia Schiffer in blackface and an afro\u003c/a>. Hurray!\u003c/p>\n\u003cp>Is everyone feeling super awkward and uncomfortable yet? Like Kim Kardashian in that \u003ca href=\"https://www.wmagazine.com/story/kim-kardashian-met-gala-corset-mugler-mr-pearl\">very corseted Thierry Mugler dress\u003c/a> at 2019’s Met Gala? Good. Then let’s take a look at the fashion!\u003c/p>\n\u003ch2>Penélope Cruz and Dua Lipa\u003c/h2>\n\u003cfigure id=\"attachment_13928511\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928511\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/GettyImages-1486910904-scaled-e1682979054617-800x533.jpg\" alt=\"Two women with pale flawless skin and dark brown hair stand side by side. One is wearing a corseted white dress with black stitching. The other is a wearing a plunging, belted white dress with a transparent white hood.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486910904-scaled-e1682979054617-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486910904-scaled-e1682979054617-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486910904-scaled-e1682979054617-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486910904-scaled-e1682979054617-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486910904-scaled-e1682979054617-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486910904-scaled-e1682979054617.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A nun and a milkmaid walk into a museum… \u003ccite>(Matt Winkelmeyer/MG23/Getty Images for The Met Museum/Vogue)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Penélope Cruz arrived in a Chanel take on Elsa from \u003cem>Frozen,\u003c/em> while Dua Lipa donned 1992 Chanel that was giving fancy-ass milkmaid. Cruz is a mom of two and therefore a reminder of that time Lagerfeld told a journalist at \u003cem>Interview \u003c/em>magazine\u003cem>: “\u003c/em>You’re lucky because [your children] are very beautiful. \u003ca href=\"https://www.interviewmagazine.com/fashion/carine-roitfeld\">It would have been difficult to have an ugly daughter\u003c/a>.” He continued: “If I were a woman, I would love to have lots of kids. But for men, I don’t believe in it.”\u003c/p>\n\u003cp>Nice!\u003c/p>\n\u003ch2>Salma Hayek\u003c/h2>\n\u003cfigure id=\"attachment_13928518\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928518\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/GettyImages-1486926230-scaled-e1682985176606-800x533.jpg\" alt=\"A striking movie star stands on a red carpet wearing a red, tiered gown and bodice, hand on her hip. Photographers are lined up behind her.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486926230-scaled-e1682985176606-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486926230-scaled-e1682985176606-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486926230-scaled-e1682985176606-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486926230-scaled-e1682985176606-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486926230-scaled-e1682985176606-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486926230-scaled-e1682985176606.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Salma Hayek: 10 out of 10, no notes. \u003ccite>(Jamie McCarthy/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The iconic actress provided a rare pop of color to the black and white-centric gala, in a stunning red, tiered, full-length gown and rubber bodice. For some reason — maybe because Hayek survived nightmarish harassment by Harvey Weinstein and \u003ca href=\"https://www.nytimes.com/interactive/2017/12/13/opinion/contributors/salma-hayek-harvey-weinstein.html?smid=tw-nytopinion&smtyp=cur&mtrref=t.co&assetType=opinion&mtrref=theplaylist.net&gwh=58685C1FA7FF98DAD582641F4BB2C2C9&gwt=pay&assetType=PAYWALL\">wrote a powerful essay about it\u003c/a>? — I can’t help but think about that time Karl Lagerfeld said he was “fed up” with the #MeToo movement.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“What shocks me most in all of this,” \u003ca href=\"https://www.hollywoodreporter.com/lifestyle/style/karl-lagerfeld-metoo-comments-you-don-t-want-your-pants-pulled-don-t-become-a-model-1102596/\">the designer said\u003c/a>, “are the starlets who have taken 20 years to remember what happened.”\u003c/p>\n\u003cp>Literally stunning!\u003c/p>\n\u003ch2>Cara Delevingne\u003c/h2>\n\u003cfigure id=\"attachment_13928520\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928520\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/GettyImages-1486932554-scaled-e1682987052540-800x533.jpg\" alt=\"A white woman with cropped shaggy silver hair stands on a red carpet surrounded by photographers, fanning out a huge white cape from a mini dress. Her legs are covered with black leather sheaths.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486932554-scaled-e1682987052540-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486932554-scaled-e1682987052540-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486932554-scaled-e1682987052540-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486932554-scaled-e1682987052540-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486932554-scaled-e1682987052540-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486932554-scaled-e1682987052540.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cara Delevingne being di(la)vine at the 2023 Met Gala. \u003ccite>(Jamie McCarthy/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cara Delevingne is one of the most in-demand models in the world not just because of her looks, but because of her tough persona and assertive edge. I wonder if she remembers that time in 2018 when \u003ca href=\"https://www.hollywoodreporter.com/lifestyle/style/karl-lagerfeld-metoo-comments-you-don-t-want-your-pants-pulled-don-t-become-a-model-1102596/\">Karl Lagerfeld wanted models to stop speaking up for themselves\u003c/a>?\u003c/p>\n\u003cp>“I read somewhere that now you must ask a model if she is comfortable with posing,” Lagerfeld said. “It’s simply too much; from now on, as a designer, you can’t do anything. It’s unbelievable. If you don’t want your pants pulled about, don’t become a model. Join a nunnery. There’ll always be a place for you in the convent.”\u003c/p>\n\u003cp>Sensational!\u003c/p>\n\u003ch2>Cardi B\u003c/h2>\n\u003cfigure id=\"attachment_13928522\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928522\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/GettyImages-1486936357-800x554.jpg\" alt=\"A Black woman wearing a dramatic black gown with white sleeveless collared shirt and black tie underneath, stands on the red carpet, gloved arms outstretched. She is wearing a long, straight, silver wig.\" width=\"800\" height=\"554\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486936357-800x554.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486936357-1020x707.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486936357-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486936357-768x532.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486936357-1536x1064.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486936357-2048x1419.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486936357-1920x1330.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Talented rapper and tattooed human, Cardi B. \u003ccite>(Matt Winkelmeyer/MG23/Getty Images for The Met Museum/Vogue)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The rapper arrived in a bell-shaped gown paired with boss-lady collared shirt and black tie. Cardi’s silver wig was a nod to Lagerfeld’s own strange mane, which is super fun when you think about that time the designer said: “I think tattoos are horrible. It’s like living in a Pucci dress full-time.”\u003c/p>\n\u003cp>Hope you like Pucci, Cardi!\u003c/p>\n\u003ch2>Janelle Monáe\u003c/h2>\n\u003cfigure id=\"attachment_13928521\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928521\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/GettyImages-1486933737-800x533.jpg\" alt=\"A Black woman wearing a stunned facial expression stands wearing an oversized conical black and white suit coat, held up by a wired underskirt.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486933737-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486933737-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486933737-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486933737-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486933737-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486933737-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486933737-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Janelle Monáe doing iconic weeble business. \u003ccite>(Dimitrios Kambouris/Getty Images for The Met Museum/Vogue)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Janelle Monáe upped the theatricality with an avant-garde, oversized, conical-shaped, black and white coat that she later whipped off to reveal a structured, mesh underskirt. While there is zero evidence to support this theory, I am hoping this illusion of largeness was a nod to the time Karl Lagerfeld said: “The hole in social security, it’s also [because of] all the diseases caught by people who are too fat.”\u003c/p>\n\u003cp>Cool!\u003c/p>\n\u003ch2>David Byrne\u003c/h2>\n\u003cfigure id=\"attachment_13928512\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928512\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/GettyImages-1486913679-800x533.jpg\" alt=\"A man in a crisp white suit and casual sneakers stands on a red carpet with a bicycle, smiling.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486913679-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486913679-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486913679-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486913679-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486913679-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486913679-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486913679-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Byrne and his bicycle. \u003ccite>(Mike Coppola/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Talking Heads legend David Byrne showed up in a crisp white suit with his bicycle — an excellent accessory, tailor-made to get grease all over your couture as you haul it up the stairs. Something about this striking look was reminiscent of the time Karl Lagerfeld declared: “\u003ca href=\"https://www.harpersbazaar.com/fashion/designers/a26405187/karl-lagerfeld-quotes/\">I hate intellectual conversation with intellectuals because I only care about my opinion\u003c/a>.”\u003c/p>\n\u003cp>Perfection!\u003c/p>\n\u003ch2>Lil Nas X\u003c/h2>\n\u003cfigure id=\"attachment_13928517\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928517\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/GettyImages-1486925234-800x559.jpg\" alt=\"A man in silver body paint and crystal-encrusted face mask strikes a pose in front of a white curtain. He is wearing only a loin cloth.\" width=\"800\" height=\"559\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486925234-800x559.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486925234-1020x712.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486925234-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486925234-768x536.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486925234-1536x1073.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486925234-2048x1431.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486925234-1920x1341.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lil Nas X in a typically understated silver ensemble. \u003ccite>(Matt Winkelmeyer/MG23/Getty Images for The Met Museum/Vogue)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lil Nas X showed up in a subtle silver number that emphasized his, uh, assets. Because of his status as a queer icon, it’s hard not to think about the time Karl Lagerfeld endorsed marriage equality on the runway, then immediately told everyone \u003ca href=\"https://www.theguardian.com/fashion/2013/jan/22/karl-lagerfeld-chanel-gay-marriage\">he was “less keen” on gay couples being allowed to adopt\u003c/a> children.\u003c/p>\n\u003cp>So awesome!\u003c/p>\n\u003ch2>Michaela Coel\u003c/h2>\n\u003cfigure id=\"attachment_13928516\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928516\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/GettyImages-1486916795-scaled-e1682984031541-800x533.jpg\" alt=\"A beautiful black woman with feline features and cornrows wears a heavily beaded gold gown.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486916795-scaled-e1682984031541-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486916795-scaled-e1682984031541-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486916795-scaled-e1682984031541-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486916795-scaled-e1682984031541-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486916795-scaled-e1682984031541-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486916795-scaled-e1682984031541.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A look so perfect, it would have rendered even Karl Lagerfeld speechless. \u003ccite>(Jamie McCarthy/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Holy crap. Michaela Coel looked so dazzling, I briefly stopped thinking about what a troll Karl Lagerfeld was.\u003c/p>\n\u003cp>Thank you, Michaela Coel, for allowing me to not think about Karl Lagerfeld for three minutes.\u003c/p>\n\u003ch2>Gisele Bündchen\u003c/h2>\n\u003cfigure id=\"attachment_13928514\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928514\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/GettyImages-1486917532-scaled-e1682982093446-800x570.jpg\" alt=\"A beautiful woman spins on the red carpet wearing a full-length crystal-beaded gown and a full length feather shrug.\" width=\"800\" height=\"570\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486917532-scaled-e1682982093446-800x570.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486917532-scaled-e1682982093446-1020x727.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486917532-scaled-e1682982093446-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486917532-scaled-e1682982093446-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486917532-scaled-e1682982093446-1536x1095.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486917532-scaled-e1682982093446.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gisele Bündchen wearing about 57,000 birds. \u003ccite>(Jamie McCarthy/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Giselle had a sparkly, swan-inspired moment on the red carpet, spinning her full-length feather cape for awaiting photographers. It was hard to see all those feathers without recalling the time in 2009 when Karl Lagerfeld insisted on \u003ca href=\"http://fashion.telegraph.co.uk/news-features/TMG4075783/Karl-Lagerfeld-defends-fur-industry-saying-beasts-would-kill-us-if-we-didnt-kill-them.html\">giving his two cents about the use of animal products\u003c/a> in couture.\u003c/p>\n\u003cp>“In a meat-eating world, wearing leather for shoes and clothes and even handbags, the discussion of fur is childish.” He was also careful to note that the dead animals in question were merely “beasts who would kill us if they could.”\u003c/p>\n\u003cp>Screw you, fluffy animals!\u003c/p>\n\u003ch2>Lizzo and Jared Leto\u003c/h2>\n\u003cfigure id=\"attachment_13928519\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928519\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/GettyImages-1486928126-scaled-e1682986187433-800x533.jpg\" alt=\"A plus-sized Black woman in a full-length black gown covered in strings of white pearls stands on a busy red carpet talking to someone in a giant fluffy cat costume.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486928126-scaled-e1682986187433-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486928126-scaled-e1682986187433-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486928126-scaled-e1682986187433-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486928126-scaled-e1682986187433-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486928126-scaled-e1682986187433-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486928126-scaled-e1682986187433.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jared Leto, dressed as Karl Lagerfeld’s cat Choupette, chats with Lizzo. \u003ccite>(Mike Coppola/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I was super into watching Lizzo converse with a human-sized cat until I:\u003c/p>\n\u003cp>(a) found out that the cat costume was, in fact, inhabited by \u003ca href=\"https://www.kqed.org/arts/13865555/thirty-seconds-to-mars-jared-leto-started-a-cult-because-of-course-he-did\">human pretension factory Jared Leto\u003c/a>, and,\u003c/p>\n\u003cp>(b) remembered that time Karl Lagerfeld said of another plus-sized songstress, Adele: “She’s a little too fat but she has a beautiful face.” Later Lagerfeld implied that his unsolicited comments about her physique actually did Adele a favor. “After that,” he said, “she lost eight kilos [17.6 pounds] so I think the message was not that bad.”\u003c/p>\n\u003cp>Give me strength, Lord.\u003c/p>\n\u003ch2>Doja Cat\u003c/h2>\n\u003cfigure id=\"attachment_13928523\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928523\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/GettyImages-1486937845-scaled-e1682989079658-800x533.jpg\" alt=\"A Black woman wearing face enhancements that make her look like a cat poses on the red carpet. She's wearing a silver gown with hood that has cat ear embellishments.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486937845-scaled-e1682989079658-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486937845-scaled-e1682989079658-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486937845-scaled-e1682989079658-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486937845-scaled-e1682989079658-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486937845-scaled-e1682989079658-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486937845-scaled-e1682989079658.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Doja Cat = Literal cat now. Cool. \u003ccite>(Theo Wargo/Getty Images for Karl Lagerfeld)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One time, offering unsolicited commentary about Lana Del Rey’s appearance, Karl Lagerfeld said: “In her photos, she is beautiful. Is she a construct with all her implants?”\u003c/p>\n\u003cp>How’s this for a construct, Karl? Doja Cat is an actual cat now.\u003c/p>\n\u003cp>Mic drop!\u003c/p>\n\u003ch2>Ashley Graham\u003c/h2>\n\u003cfigure id=\"attachment_13928515\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928515\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/GettyImages-1486923634-800x593.jpg\" alt=\"A beautiful white woman wearing a tight fitting pink and black off-the-shoulder gown with embellishments around her ankles, hips and elbows to emphasize her curves.\" width=\"800\" height=\"593\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486923634-800x593.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486923634-1020x757.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486923634-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486923634-768x570.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486923634-1536x1139.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486923634-2048x1519.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/GettyImages-1486923634-1920x1424.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ashley Graham in a stunning pink and black off-the-shoulder gown. \u003ccite>(Theo Wargo/Getty Images for Karl Lagerfeld)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Body positivity leader and plus-sized model Ashley Graham was stunning in a figure-hugging gown with embellishments that served to emphasize her curves. One can’t help but wonder how Karl Lagerfeld would receive this look today, given his 2009 statement that: “\u003ca href=\"https://www.smh.com.au/lifestyle/fashion/no-one-wants-to-see-curvy-women-karl-lagerfeld-20091012-gskk.html\">No one wants to see curvy women\u003c/a>.”\u003c/p>\n\u003cp>Get outta here, you!\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>May next year’s theme be much, much easier to not think about.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "stars-use-bet-awards-stage-to-criticize-roe-v-wade-ruling",
"title": "Stars Use BET Awards Stage to Criticize Roe v. Wade Ruling",
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"headTitle": "Stars Use BET Awards Stage to Criticize Roe v. Wade Ruling | KQED",
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"content": "\u003cp>Taraji P. Henson, Janelle Monae and Jazmine Sullivan were some of the big stars using the BET Awards stage to strongly criticize the \u003ca href=\"https://www.npr.org/2022/06/24/1102305878/supreme-court-abortion-roe-v-wade-decision-overturn\" target=\"_blank\" rel=\"noopener noreferrer\">Supreme Court’s recent decision\u003c/a> to strip away women’s constitutional protection for abortion.\u003c/p>\n\u003cp>Henson took the stage as the show’s host on Sunday with an uplifting message about “Black excellence” before she launched into the court’s overturning of the landmark Roe v. Wade ruling last week. The actor took the stage after Lizzo opened the show with a flute solo in a glittery-gold outfit performing her single “About Damn Time.”\u003c/p>\n\u003cp>“It’s about damn time we talk about the fact that guns have more rights than a woman. It’s a sad day in America,” said Henson, thanking Lizzo who along with Live Nation recently donated $1 million in tour proceeds to Planned Parenthood. “A weapon that can take lives has more power than a woman that can give life—if she chooses to.”\u003c/p>\n\u003cp>[aside postID='arts_13912860']Janelle Monae held up her middle finger toward the Supreme Court before she introduced nominees for best female R&B/pop artist. Her speech earned standing applause at the Microsoft Theater in Los Angeles.\u003c/p>\n\u003cp>“These artists are making art on our own terms, owning our truths and expressing ourselves freely and unapologetically in a world that tries to control and police our bodies, my body and our decisions, my body,” said the singer, who also paid homage to the LGBTQ+ community. “(explicit) you Supreme Court. I know we’re celebrating us right now as we should. We absolutely deserve to celebrate—especially now we should celebrate our art by protecting our right and our truths.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Afterwards, Monae introduced Sullivan as the category’s winner—who made a plea to men for their support of women.\u003c/p>\n\u003cp>“It’s a hard time for us,” Sullivan said. “I want to speak directly to the men: We need y’all. We need y’all to stand up, stand up for us, stand up with us. If you’ve ever benefitted from a woman making one of the toughest decisions of her life, which is to terminate a pregnancy, you need to be standing. This is not just a woman issue. This is everybody’s issue. We need your support more than ever.”\u003c/p>\n\u003cp>Latto gave an emotional speech after she won best new artist.\u003c/p>\n\u003cp>“It’s giving pro-choice,” said the rapper, who later performed her smash hit “Big Energy” with Mariah Carey. “It’s never giving a man policing my body.”\u003c/p>\n\u003cp>Singer Tems dedicated her best international act award to the many women who “dare to dream.”\u003c/p>\n\u003cp>“Where I’m from, things like this don’t happen,” said the Lagos, Nigeria-born singer who won best collaboration with Justin Bieber and Wizkid for their song “Essence.” “This is a dream. If you’re watching me, I want you to imagine yourself as me because you are meant to be here too.”\u003c/p>\n\u003cp>[aside postID='news_11917111']Doja Cat entered the show as the leading nominee with six. The chart-topping performer is up for best female R&B-pop artist, best female hip-hop artist, album of the year for her No. 1 hit “Planet Her” and BET Her for “Woman.” Her “Kiss Me More” with SZA is nominated for video of the year and best collaboration.\u003c/p>\n\u003cp>Sean “Diddy” Combs received the Lifetime Achievement Award—one of the highest honors at the ceremony. The music mogul is the founder of Bad Boy Records, has his own television network, fashion line and is a three-time Grammy winner who has worked with a slew of top-tier artists including Notorious B.I.G., Mary J. Blige, Usher, Lil Kim, Faith Evans and 112.\u003c/p>\n\u003cp>Drake and Ari Lennox were the second-most nominated acts, scoring four nods each. Three nominations went to several others including Baby Keem, Silk Sonic, Chloe Bailey, Future, H.E.R., Jazmine Sullivan, Ye (formerly known as Kanye West), Kendrick Lamar, Lil Baby, Mary J. Blige and Tems.\u003c/p>\n\u003cp>Jack Harlow performed “Poison” alongside Lil Wayne before Brandy hit the stage with him for his hit “First Class.” While Harlow and Brandy performed, the camera turned to her brother, Ray J, who was seen dancing in the audience.\u003c/p>\n\u003cp>Chance the Rapper and Joey Bada$$ performed “The Highs & the Lows.” In her pink gown, Muni Long opened her set with a snippet of “Time Machine” before her jam “Hrs & Hrs.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The winners in the 19 categories, including film and sports awards, are selected by BET’s Voting Academy, comprised of entertainment professionals and fans.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Doja Cat entered the show as the leading nominee with six. The chart-topping performer is up for best female R&B-pop artist, best female hip-hop artist, album of the year for her No. 1 hit “Planet Her” and BET Her for “Woman.” Her “Kiss Me More” with SZA is nominated for video of the year and best collaboration.\u003c/p>\n\u003cp>Sean “Diddy” Combs received the Lifetime Achievement Award—one of the highest honors at the ceremony. The music mogul is the founder of Bad Boy Records, has his own television network, fashion line and is a three-time Grammy winner who has worked with a slew of top-tier artists including Notorious B.I.G., Mary J. Blige, Usher, Lil Kim, Faith Evans and 112.\u003c/p>\n\u003cp>Drake and Ari Lennox were the second-most nominated acts, scoring four nods each. Three nominations went to several others including Baby Keem, Silk Sonic, Chloe Bailey, Future, H.E.R., Jazmine Sullivan, Ye (formerly known as Kanye West), Kendrick Lamar, Lil Baby, Mary J. Blige and Tems.\u003c/p>\n\u003cp>Jack Harlow performed “Poison” alongside Lil Wayne before Brandy hit the stage with him for his hit “First Class.” While Harlow and Brandy performed, the camera turned to her brother, Ray J, who was seen dancing in the audience.\u003c/p>\n\u003cp>Chance the Rapper and Joey Bada$$ performed “The Highs & the Lows.” In her pink gown, Muni Long opened her set with a snippet of “Time Machine” before her jam “Hrs & Hrs.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The winners in the 19 categories, including film and sports awards, are selected by BET’s Voting Academy, comprised of entertainment professionals and fans.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Our memories, our dreams and our emotions—these are the parts of us that exemplify our humanity. But in Janelle Monáe’s new collection of short stories, \u003cem>The Memory Librarian and Other Stories of Dirty Computer, \u003c/em>those are the things that contaminate us—they make us “dirty.”\u003c/p>\n\u003cp>[aside postid='arts_13910572']The Afrofuturistic world of \u003ca href=\"https://www.npr.org/sections/allsongs/2018/04/27/606066039/janelle-mon-e-strips-the-hardware-for-humanity\" target=\"_blank\" rel=\"noopener noreferrer\">“Dirty Computer,”\u003c/a> first explored in Monáe’s Grammy-nominated album from 2018, now fills the pages of a new book. Co-written with authors Alaya Dawn Johnson, Danny Lore, Eve L. Ewing, Yohanca Delgado and Sheree Renee Thomas, the five fictional narratives find Black and queer protagonists grappling with how to embrace their full selves in a world set on erasing their individuality.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/126833375/janelle-mon-e\">Janelle Monáe \u003c/a>spoke to NPR’s\u003cem> Weekend Edition\u003c/em> about the nightmare that sparked the sci-fi world of “Dirty Computer,” the oppressive revolution her characters live under, and creating art in a way that feels authentic.\u003c/p>\n\u003cp>\u003cem>The Memory Librarian \u003c/em>hits bookstore shelves on April 19.\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>On the inspiration behind “Dirty Computer”\u003c/strong>\u003c/p>\n\u003cp>It came to me in a nightmare, actually—a nightmare that I was kidnapped. I went to the movies, I got popcorn, was [sitting down] and everybody was scattering out of the theater. I was like, “I just want to watch a movie.” One of the ushers was trying to tell me to come through a back way so that they could protect me because they’re kidnapping people. I did not listen to the usher, and I was kidnapped. All of my memories were wiped clean. I didn’t know who I was. The only thing that I remembered [was] just showing up as somebody completely different.\u003c/p>\n\u003cp>[aside postid='arts_13847819']And so, I put all of that energy into the album: Why would somebody want to erase who I am? Why would they want to erase all of these folks’ memories? And I put that into, you know, representing a community full of people whose stories are being erased, whose identities are being erased.\u003c/p>\n\u003cp>\u003cstrong>On the “New Dawn Revolution” that has taken place in the short stories\u003c/strong>\u003c/p>\n\u003cp>New Dawn is evil. They are “divide and conquer” people—start with marginalized people first, make them hate themselves, erase their memories of who they are and create them into something we want them to be so we can control and we can have power.\u003c/p>\n\u003cp>\u003cstrong>On Seshet, the titular character in the short story, “The Memory Librarian”\u003c/strong>\u003c/p>\n\u003cp>This particular story explores the sort of precarious position of a Black queer woman trying to navigate her authority and her vulnerability within an institution of power. They tell her, “You can be powerful if you just do this.” And so, it touches on how identity is exploited by politics. Seshet oversees all of Little Delta, and Little Delta is an area that is the intersection of the New Dawn order and this sort of rebellious sub-world. Seshet is sort of like this insider-outsider that represents that intersection and conflict.\u003c/p>\n\u003cp>I came up with this particular story by asking myself: What if you were the person who knew everybody’s memories and you also knew everybody’s secrets? What does that mean when you want to fall in love, when you know everybody’s secrets? How do you fall in love? How are you truthful? Can you be truthful?\u003c/p>\n\u003cp>\u003cstrong>On being your authentic self as an artist\u003c/strong>\u003c/p>\n\u003cp>I think I’m becoming more and more authentic in the way that I express that truthfulness. I’m in this space where I’m just like [in] the most “I don’t have anything to prove” space in my life that I’ve ever been in. I think having conversations with women, with artists who’ve come into the industry—there have been moments, specifically at the beginning of their careers, where we have felt like, “Okay, we got to prove that we can do this, we can do that, we can do this, etc.”\u003c/p>\n\u003cp>[aside postid='arts_13824844']Sometimes what you really want to do can take a backseat because you feel like, “I have to prove this first and then I’ll get to that.” And I’m at a space where I’m making the most fun music I’ve ever made, just for the people that I love and care about around me, for us to vibe out to. [I’m] just curating my life in a way where I can do that. You know, giving myself permission—and I think with this book, I hope that people feel the permission to show up as their authentic selves. When the world tells you that everything about you—your queerness, your Blackness, you being a woman, you wanting to be an artist on your own terms—when people try and stop that process from happening to you, you then saying, “I give myself this permission.”\u003c/p>\n\u003cp>\u003cstrong>On whether the fictional Pynk Hotel—which exists outside the constructs of binaries, monogamy and capitalism—is a reflection of Monáe’s ideal world\u003c/strong>\u003c/p>\n\u003cp>It is a world that I would like to see more of. When Danny Lore and I were working on [the short story] “Nevermind,” we wanted to get an opportunity to talk about what it means to discuss sexuality plurality, gender plurality and nonconformity. What is personal identity versus national conformity? These are all themes within the story. What does it mean to search for acceptance and love? I think with “Nevermind,” where the Pynk Hotel exists—and you saw it in my video, Pynk—[the characters] survive a battle at the Pynk Hotel. Not only a battle for the hotel’s survival against New Dawn, but a battle over what its ideals of feminism mean as it stretches to embrace all identities.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PaYvlVR_BEc\u003c/p>\n\u003cp>\u003cstrong>On whether it’s possible to love someone with whom you fundamentally disagree\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I think we’re having those conversations within our communities. We’re having those conversations about a more radical approach to community, love and forgiveness. I don’t have all of those. That’s why I love books. I love sci-fi. I love fiction. I love being able to ask myself, “Hmm, which one of these characters am I? Would I make that decision? 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"content": "\u003cdiv class=\"post-body\">\u003cp>The Afrofuturistic world of \u003ca href=\"https://www.npr.org/sections/allsongs/2018/04/27/606066039/janelle-mon-e-strips-the-hardware-for-humanity\" target=\"_blank\" rel=\"noopener noreferrer\">“Dirty Computer,”\u003c/a> first explored in Monáe’s Grammy-nominated album from 2018, now fills the pages of a new book. Co-written with authors Alaya Dawn Johnson, Danny Lore, Eve L. Ewing, Yohanca Delgado and Sheree Renee Thomas, the five fictional narratives find Black and queer protagonists grappling with how to embrace their full selves in a world set on erasing their individuality.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/126833375/janelle-mon-e\">Janelle Monáe \u003c/a>spoke to NPR’s\u003cem> Weekend Edition\u003c/em> about the nightmare that sparked the sci-fi world of “Dirty Computer,” the oppressive revolution her characters live under, and creating art in a way that feels authentic.\u003c/p>\n\u003cp>\u003cem>The Memory Librarian \u003c/em>hits bookstore shelves on April 19.\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity\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>On the inspiration behind “Dirty Computer”\u003c/strong>\u003c/p>\n\u003cp>It came to me in a nightmare, actually—a nightmare that I was kidnapped. I went to the movies, I got popcorn, was [sitting down] and everybody was scattering out of the theater. I was like, “I just want to watch a movie.” One of the ushers was trying to tell me to come through a back way so that they could protect me because they’re kidnapping people. I did not listen to the usher, and I was kidnapped. All of my memories were wiped clean. I didn’t know who I was. The only thing that I remembered [was] just showing up as somebody completely different.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And so, I put all of that energy into the album: Why would somebody want to erase who I am? Why would they want to erase all of these folks’ memories? And I put that into, you know, representing a community full of people whose stories are being erased, whose identities are being erased.\u003c/p>\n\u003cp>\u003cstrong>On the “New Dawn Revolution” that has taken place in the short stories\u003c/strong>\u003c/p>\n\u003cp>New Dawn is evil. They are “divide and conquer” people—start with marginalized people first, make them hate themselves, erase their memories of who they are and create them into something we want them to be so we can control and we can have power.\u003c/p>\n\u003cp>\u003cstrong>On Seshet, the titular character in the short story, “The Memory Librarian”\u003c/strong>\u003c/p>\n\u003cp>This particular story explores the sort of precarious position of a Black queer woman trying to navigate her authority and her vulnerability within an institution of power. They tell her, “You can be powerful if you just do this.” And so, it touches on how identity is exploited by politics. Seshet oversees all of Little Delta, and Little Delta is an area that is the intersection of the New Dawn order and this sort of rebellious sub-world. Seshet is sort of like this insider-outsider that represents that intersection and conflict.\u003c/p>\n\u003cp>I came up with this particular story by asking myself: What if you were the person who knew everybody’s memories and you also knew everybody’s secrets? What does that mean when you want to fall in love, when you know everybody’s secrets? How do you fall in love? How are you truthful? Can you be truthful?\u003c/p>\n\u003cp>\u003cstrong>On being your authentic self as an artist\u003c/strong>\u003c/p>\n\u003cp>I think I’m becoming more and more authentic in the way that I express that truthfulness. I’m in this space where I’m just like [in] the most “I don’t have anything to prove” space in my life that I’ve ever been in. I think having conversations with women, with artists who’ve come into the industry—there have been moments, specifically at the beginning of their careers, where we have felt like, “Okay, we got to prove that we can do this, we can do that, we can do this, etc.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Sometimes what you really want to do can take a backseat because you feel like, “I have to prove this first and then I’ll get to that.” And I’m at a space where I’m making the most fun music I’ve ever made, just for the people that I love and care about around me, for us to vibe out to. [I’m] just curating my life in a way where I can do that. You know, giving myself permission—and I think with this book, I hope that people feel the permission to show up as their authentic selves. When the world tells you that everything about you—your queerness, your Blackness, you being a woman, you wanting to be an artist on your own terms—when people try and stop that process from happening to you, you then saying, “I give myself this permission.”\u003c/p>\n\u003cp>\u003cstrong>On whether the fictional Pynk Hotel—which exists outside the constructs of binaries, monogamy and capitalism—is a reflection of Monáe’s ideal world\u003c/strong>\u003c/p>\n\u003cp>It is a world that I would like to see more of. When Danny Lore and I were working on [the short story] “Nevermind,” we wanted to get an opportunity to talk about what it means to discuss sexuality plurality, gender plurality and nonconformity. What is personal identity versus national conformity? These are all themes within the story. What does it mean to search for acceptance and love? I think with “Nevermind,” where the Pynk Hotel exists—and you saw it in my video, Pynk—[the characters] survive a battle at the Pynk Hotel. Not only a battle for the hotel’s survival against New Dawn, but a battle over what its ideals of feminism mean as it stretches to embrace all identities.\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/PaYvlVR_BEc'\n title='//www.youtube.com/embed/PaYvlVR_BEc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>On whether it’s possible to love someone with whom you fundamentally disagree\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I think we’re having those conversations within our communities. We’re having those conversations about a more radical approach to community, love and forgiveness. I don’t have all of those. That’s why I love books. I love sci-fi. I love fiction. I love being able to ask myself, “Hmm, which one of these characters am I? Would I make that decision? Wow, maybe I should make that decision.” Maybe people in my community could benefit from me listening to some of these characters and implementing that into my own space.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Janelle+Mon%C3%A1e%27s+%27Dirty+Computer%27+comes+alive+in+a+new+collection+of+stories&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Janelle Monáe made a classic with her visual album \u003ca href=\"https://youtu.be/jdH2Sy-BlNE\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Dirty Computer\u003c/i>\u003c/a>, where she plays a queer android resisting against a dystopian regime. As punishment, the authoritarian government deems her “unclean” and decides she must have her memories erased. When the project came out in 2018—before artists like Lil Nas X moved the needle on LGBTQ+ inclusion in the mainstream music industry—\u003ci>Dirty Computer\u003c/i> made a generation of queer people feel seen and heard.\u003c/p>\n\u003cp>Monáe is an accomplished actor on top of being a forward-thinking pop star, and now she’s also about to become a published author. She expands upon the Afrofuturist themes of \u003ci>Dirty Computer\u003c/i> in her new book \u003ca href=\"https://www.harpercollins.com/pages/the-memory-librarian\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>The Memory Librarian\u003c/i>\u003c/a>, a collection of five short stories each written with a different co-author: Alaya Dawn Johnson, Danny Lore, Eve L. Ewing, Yohanca Delgado and Sheree Renée Thomas. Surveillance, artificial intelligence, queerness, memory and power are all themes in these stories of self-discovery and rebellion.\u003c/p>\n\u003cp>Monáe and \u003ca href=\"https://yohanca.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Delgado\u003c/a>, who is a Stanford fellow with work published in \u003ca href=\"http://www.johnjosephadams.com/best-american/projects/best-american-science-fiction-and-fantasy-2021/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Best American Science Fiction and Fantasy\u003c/i>\u003c/a>, will present \u003ci>The Memory Librarian\u003c/i> at City Arts & Lectures in San Francisco’s Sydney Goldstein Theater on April 24. They’ll be in conversation with George M. Johnson, a journalist, activist and author of \u003ca href=\"https://time.com/6120915/george-m-johnson-all-boys-arent-blue-book-bans/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>All Boys Aren’t Blue\u003c/i>\u003c/a>, which has been banned in school libraries in at least eight states because of anti-LGBTQ+ and anti-critical race theory laws. The evening is co-presented by Oakland’s \u003ca href=\"https://www.marcusbooks.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Marcus Books\u003c/a>, the nation’s oldest Black-owned bookstore, and Philadelphia’s \u003ca href=\"https://sistahscifi.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Sistah Scifi\u003c/a>, the first Black sci-fi and fantasy bookstore in the country.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.cityarts.net/event/janelle-monae/\" target=\"_blank\" rel=\"noopener noreferrer\">ticket pre-sale for City Arts & Lectures members\u003c/a> starts today, March 15, and goes for 24 hours before becoming available to the general public. After the event on April 24, the \u003ca href=\"https://www.cityarts.net/radio/\" target=\"_blank\" rel=\"noopener noreferrer\">conversation will broadcast on KQED at 88.5 FM\u003c/a> and other public radio stations across the country.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Janelle Monáe made a classic with her visual album \u003ca href=\"https://youtu.be/jdH2Sy-BlNE\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Dirty Computer\u003c/i>\u003c/a>, where she plays a queer android resisting against a dystopian regime. As punishment, the authoritarian government deems her “unclean” and decides she must have her memories erased. When the project came out in 2018—before artists like Lil Nas X moved the needle on LGBTQ+ inclusion in the mainstream music industry—\u003ci>Dirty Computer\u003c/i> made a generation of queer people feel seen and heard.\u003c/p>\n\u003cp>Monáe is an accomplished actor on top of being a forward-thinking pop star, and now she’s also about to become a published author. She expands upon the Afrofuturist themes of \u003ci>Dirty Computer\u003c/i> in her new book \u003ca href=\"https://www.harpercollins.com/pages/the-memory-librarian\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>The Memory Librarian\u003c/i>\u003c/a>, a collection of five short stories each written with a different co-author: Alaya Dawn Johnson, Danny Lore, Eve L. Ewing, Yohanca Delgado and Sheree Renée Thomas. Surveillance, artificial intelligence, queerness, memory and power are all themes in these stories of self-discovery and rebellion.\u003c/p>\n\u003cp>Monáe and \u003ca href=\"https://yohanca.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Delgado\u003c/a>, who is a Stanford fellow with work published in \u003ca href=\"http://www.johnjosephadams.com/best-american/projects/best-american-science-fiction-and-fantasy-2021/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Best American Science Fiction and Fantasy\u003c/i>\u003c/a>, will present \u003ci>The Memory Librarian\u003c/i> at City Arts & Lectures in San Francisco’s Sydney Goldstein Theater on April 24. They’ll be in conversation with George M. Johnson, a journalist, activist and author of \u003ca href=\"https://time.com/6120915/george-m-johnson-all-boys-arent-blue-book-bans/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>All Boys Aren’t Blue\u003c/i>\u003c/a>, which has been banned in school libraries in at least eight states because of anti-LGBTQ+ and anti-critical race theory laws. The evening is co-presented by Oakland’s \u003ca href=\"https://www.marcusbooks.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Marcus Books\u003c/a>, the nation’s oldest Black-owned bookstore, and Philadelphia’s \u003ca href=\"https://sistahscifi.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Sistah Scifi\u003c/a>, the first Black sci-fi and fantasy bookstore in the country.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.cityarts.net/event/janelle-monae/\" target=\"_blank\" rel=\"noopener noreferrer\">ticket pre-sale for City Arts & Lectures members\u003c/a> starts today, March 15, and goes for 24 hours before becoming available to the general public. After the event on April 24, the \u003ca href=\"https://www.cityarts.net/radio/\" target=\"_blank\" rel=\"noopener noreferrer\">conversation will broadcast on KQED at 88.5 FM\u003c/a> and other public radio stations across the country.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "The Best Celebrity Halloween Costumes of 2021",
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"content": "\u003cp>The only thing better than celebrating Halloween is catching up on the internet’s best costumes the next morning (preferably with some leftover candy in hand). Here’s a non-exhaustive list of some of Team Live Blog’s favorites.\u003c/p>\n\u003cp>Singer Lizzo was unrecognizable as \u003cem>The Mandalorian’s\u003c/em> Baby Yoda.\u003c/p>\n\u003cfigure id=\"attachment_13905671\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13905671\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Screen-Shot-2021-11-01-at-12.25.57-PM-800x792.png\" alt=\"\" width=\"800\" height=\"792\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-01-at-12.25.57-PM-800x792.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-01-at-12.25.57-PM-1020x1010.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-01-at-12.25.57-PM-160x158.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-01-at-12.25.57-PM-768x761.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-01-at-12.25.57-PM.png 1446w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Instagram @lizzobeating\u003c/figcaption>\u003c/figure>\n\u003cp>Cardi B killed the game as Morticia Addams, while Chrissy Teigen, John Legend and their kids also moonlighted as the Addams Family.\u003c/p>\n\u003cp>https://twitter.com/iamcardib/status/1455023326603132936\u003c/p>\n\u003cfigure id=\"attachment_13905670\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13905670\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Screen-Shot-2021-11-01-at-12.24.20-PM-800x693.png\" alt=\"\" width=\"800\" height=\"693\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-01-at-12.24.20-PM-800x693.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-01-at-12.24.20-PM-1020x884.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-01-at-12.24.20-PM-160x139.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-01-at-12.24.20-PM-768x665.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-01-at-12.24.20-PM.png 1212w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Instagram @chrissyteigen\u003c/figcaption>\u003c/figure>\n\u003cp>Horror film lover LeBron James dressed up as Freddy Kreuger, of whom \u003ca href=\"https://www.thefocus.news/sports/lebron-james-freddy-krueger-tattoo/\" target=\"_blank\" rel=\"noopener noreferrer\">he has an actual tattoo\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13905669\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13905669\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Screen-Shot-2021-11-01-at-12.22.38-PM-800x830.png\" alt=\"\" width=\"800\" height=\"830\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-01-at-12.22.38-PM-800x830.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-01-at-12.22.38-PM-1020x1058.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-01-at-12.22.38-PM-160x166.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-01-at-12.22.38-PM-768x797.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-01-at-12.22.38-PM.png 1130w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Instagram @kingjames\u003c/figcaption>\u003c/figure>\n\u003cp>Katy Perry and Orlando Bloom set the couples’ costume bar high, dressed as a vaccine and a healthcare worker.\u003c/p>\n\u003cfigure id=\"attachment_13905668\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13905668\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Screen-Shot-2021-11-01-at-12.20.54-PM-800x843.png\" alt=\"\" width=\"800\" height=\"843\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-01-at-12.20.54-PM-800x843.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-01-at-12.20.54-PM-1020x1074.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-01-at-12.20.54-PM-160x169.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-01-at-12.20.54-PM-768x809.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-01-at-12.20.54-PM.png 1086w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Instagram @katyperry\u003c/figcaption>\u003c/figure>\n\u003cp>Harry Styles performed at one of his “Harryween” shows dressed as \u003cem>The Wizard of Oz\u003c/em> heroine Dorothy (and a clown \u003ca href=\"https://variety.com/2021/music/news/harry-styles-britney-spears-toxic-clown-harryween-1235101657/\" target=\"_blank\" rel=\"noopener noreferrer\">at the other\u003c/a>).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/Harry_Styles/status/1454929592284815363\u003c/p>\n\u003cp>This \u003cem>Lizzie McGuire Movie\u003c/em> group costume from Sophie Turner, Joe Jonas and actress Olivia DeJonge got an \u003ca href=\"https://www.instagram.com/p/CVsAhkuF-PZ/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">enthusia\u003c/a>\u003ca href=\"https://www.instagram.com/p/CVsAhkuF-PZ/?utm_source=ig_web_copy_link\">s\u003c/a>\u003ca href=\"https://www.instagram.com/p/CVsAhkuF-PZ/?utm_source=ig_web_copy_link\">tic thumbs-up\u003c/a> from “Lizzie” herself.\u003c/p>\n\u003cp>https://twitter.com/jbrosnews/status/1454806035781259264\u003c/p>\n\u003cp>Lil Nas X went as Voldemort, or as he put it, “he who must be called by your name.” The rapper also \u003ca href=\"https://www.instagram.com/p/CVrTXaLNQeD/\" target=\"_blank\" rel=\"noopener noreferrer\">posed as Seth Powers\u003c/a> from \u003cem>Ned’s Declassified School Survival Guide\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13905663\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13905663\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Screen-Shot-2021-11-01-at-12.13.30-PM-800x825.png\" alt=\"\" width=\"800\" height=\"825\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-01-at-12.13.30-PM-800x825.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-01-at-12.13.30-PM-1020x1052.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-01-at-12.13.30-PM-160x165.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-01-at-12.13.30-PM-768x792.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-01-at-12.13.30-PM.png 1134w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Instragram @lilnasx\u003c/figcaption>\u003c/figure>\n\u003cp>Ariana Grande threw it back to the 1950s as “\u003ca href=\"https://www.instagram.com/p/CVtA237v6sk/\" target=\"_blank\" rel=\"noopener noreferrer\">Miss Creature from the Black Lagoon.\u003c/a>”\u003c/p>\n\u003cfigure id=\"attachment_13905664\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13905664\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Screen-Shot-2021-11-01-at-12.14.50-PM-800x742.png\" alt=\"\" width=\"800\" height=\"742\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-01-at-12.14.50-PM-800x742.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-01-at-12.14.50-PM-1020x947.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-01-at-12.14.50-PM-160x148.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-01-at-12.14.50-PM-768x713.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-01-at-12.14.50-PM.png 1196w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Instagram @arianagrande\u003c/figcaption>\u003c/figure>\n\u003cp>Singer Bebe Rexha transformed into the Anna Nicole Smith to recreate the late model’s infamous 1994 wedding to J. Howard Marshall II.\u003c/p>\n\u003cp>https://twitter.com/BebeRexha/status/1454569430243938309\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CVs33f8jKLi/\" target=\"_blank\" rel=\"noopener noreferrer\">Janelle Monáe \u003cem>is \u003c/em>The Grinch\u003c/a> (and \u003ca href=\"https://www.instagram.com/p/CVuLGs5rR9O/\" target=\"_blank\" rel=\"noopener noreferrer\">Dr. Jekyll \u003cem>and\u003c/em> Mr. Hyde\u003c/a>), thanks to a talented team of costumers, makeup artists and filmmakers.\u003c/p>\n\u003cfigure id=\"attachment_13905662\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13905662\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Screen-Shot-2021-11-01-at-12.09.28-PM-800x800.png\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-01-at-12.09.28-PM-800x800.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-01-at-12.09.28-PM-1020x1020.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-01-at-12.09.28-PM-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-01-at-12.09.28-PM-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-01-at-12.09.28-PM.png 1444w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Instagram @janellemonae\u003c/figcaption>\u003c/figure>\n\u003cp>And Steve Buscemi greeted some fellow kids while dressed \u003ca href=\"https://knowyourmeme.com/memes/how-do-you-do-fellow-kids\" target=\"_blank\" rel=\"noopener noreferrer\">as his own meme\u003c/a>.\u003c/p>\n\u003cp>https://twitter.com/DebraWexler_/status/1454968403106672642\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>This story originally appeared on the \u003ca href=\"https://www.npr.org/live-updates/morning-edition-2021-11-01#a-southwest-pilot-is-under-investigation-for-the-divisive-phrase-lets-go-brandon\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Morning Edition\u003c/em> live blog.\u003c/a>\u003c/p>\n\u003cdiv class=\"fullattribution\">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=The+best+celebrity+Halloween+costumes+of+2021&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Lizzo as Baby Yoda. Harry Styles as Dorothy. Janelle Monáe as the Grinch. Stars went all out for Halloween 2021.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The only thing better than celebrating Halloween is catching up on the internet’s best costumes the next morning (preferably with some leftover candy in hand). Here’s a non-exhaustive list of some of Team Live Blog’s favorites.\u003c/p>\n\u003cp>Singer Lizzo was unrecognizable as \u003cem>The Mandalorian’s\u003c/em> Baby Yoda.\u003c/p>\n\u003cfigure id=\"attachment_13905671\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13905671\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Screen-Shot-2021-11-01-at-12.25.57-PM-800x792.png\" alt=\"\" width=\"800\" height=\"792\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-01-at-12.25.57-PM-800x792.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-01-at-12.25.57-PM-1020x1010.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-01-at-12.25.57-PM-160x158.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-01-at-12.25.57-PM-768x761.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-01-at-12.25.57-PM.png 1446w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Instagram @lizzobeating\u003c/figcaption>\u003c/figure>\n\u003cp>Cardi B killed the game as Morticia Addams, while Chrissy Teigen, John Legend and their kids also moonlighted as the Addams Family.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Lil Nas X went as Voldemort, or as he put it, “he who must be called by your name.” The rapper also \u003ca href=\"https://www.instagram.com/p/CVrTXaLNQeD/\" target=\"_blank\" rel=\"noopener noreferrer\">posed as Seth Powers\u003c/a> from \u003cem>Ned’s Declassified School Survival Guide\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13905663\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13905663\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Screen-Shot-2021-11-01-at-12.13.30-PM-800x825.png\" alt=\"\" width=\"800\" height=\"825\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-01-at-12.13.30-PM-800x825.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-01-at-12.13.30-PM-1020x1052.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-01-at-12.13.30-PM-160x165.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-01-at-12.13.30-PM-768x792.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-01-at-12.13.30-PM.png 1134w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Instragram @lilnasx\u003c/figcaption>\u003c/figure>\n\u003cp>Ariana Grande threw it back to the 1950s as “\u003ca href=\"https://www.instagram.com/p/CVtA237v6sk/\" target=\"_blank\" rel=\"noopener noreferrer\">Miss Creature from the Black Lagoon.\u003c/a>”\u003c/p>\n\u003cfigure id=\"attachment_13905664\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13905664\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Screen-Shot-2021-11-01-at-12.14.50-PM-800x742.png\" alt=\"\" width=\"800\" height=\"742\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-01-at-12.14.50-PM-800x742.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-01-at-12.14.50-PM-1020x947.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-01-at-12.14.50-PM-160x148.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-01-at-12.14.50-PM-768x713.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-01-at-12.14.50-PM.png 1196w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Instagram @arianagrande\u003c/figcaption>\u003c/figure>\n\u003cp>Singer Bebe Rexha transformed into the Anna Nicole Smith to recreate the late model’s infamous 1994 wedding to J. Howard Marshall II.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CVs33f8jKLi/\" target=\"_blank\" rel=\"noopener noreferrer\">Janelle Monáe \u003cem>is \u003c/em>The Grinch\u003c/a> (and \u003ca href=\"https://www.instagram.com/p/CVuLGs5rR9O/\" target=\"_blank\" rel=\"noopener noreferrer\">Dr. Jekyll \u003cem>and\u003c/em> Mr. Hyde\u003c/a>), thanks to a talented team of costumers, makeup artists and filmmakers.\u003c/p>\n\u003cfigure id=\"attachment_13905662\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13905662\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Screen-Shot-2021-11-01-at-12.09.28-PM-800x800.png\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-01-at-12.09.28-PM-800x800.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-01-at-12.09.28-PM-1020x1020.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-01-at-12.09.28-PM-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-01-at-12.09.28-PM-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/Screen-Shot-2021-11-01-at-12.09.28-PM.png 1444w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Instagram @janellemonae\u003c/figcaption>\u003c/figure>\n\u003cp>And Steve Buscemi greeted some fellow kids while dressed \u003ca href=\"https://knowyourmeme.com/memes/how-do-you-do-fellow-kids\" target=\"_blank\" rel=\"noopener noreferrer\">as his own meme\u003c/a>.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>This story originally appeared on the \u003ca href=\"https://www.npr.org/live-updates/morning-edition-2021-11-01#a-southwest-pilot-is-under-investigation-for-the-divisive-phrase-lets-go-brandon\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Morning Edition\u003c/em> live blog.\u003c/a>\u003c/p>\n\u003cdiv class=\"fullattribution\">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=The+best+celebrity+Halloween+costumes+of+2021&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "David Byrne and Spike Lee Conjure Up a Joyous Vision of 'American Utopia'",
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"content": "\u003cp>Back when the Nazis were running roughshod over his homeland, \u003ca href=\"https://www.npr.org/artists/15294092/bertolt-brecht\" target=\"_blank\" rel=\"noopener noreferrer\">Bertolt Brecht\u003c/a> wrote a short poem that asked, “In the dark times, will there still be singing?” And it gave a reply: “Yes, there will be singing. About the dark times.”\u003c/p>\n\u003cp>Of course, there are many ways of singing about darkness. One is to celebrate hope. That’s what’s on offer in HBO’s \u003cem>David Byrne’s American Utopia\u003c/em>, a joyous blend of song, dance and revival meeting. The film, which captures a live performance of Byrne’s acclaimed Broadway show, was directed by \u003ca href=\"https://www.npr.org/2017/12/14/570761380/31-years-later-spike-lees-got-a-fresh-take-on-shes-gotta-have-it\" target=\"_blank\" rel=\"noopener noreferrer\">Spike Lee\u003c/a>.\u003c/p>\n\u003cp>Now, Spike might not be the first person you’d expect to click with Byrne, a guy I don’t exactly picture yelling courtside at a Knicks game. Yet Lee is terrific at filming live performances, and his swooping, shrewdly observant camera meshes perfectly with Byrne’s layered and rousing sense of musical theater. This is one show you can dance to.\u003c/p>\n\u003cp>\u003cem>American Utopia\u003c/em> starts with Byrne, barefoot in a silver-gray suit, holding a model of the brain and pondering different ideas of connection. He’s gradually joined by his equally barefoot co-stars, also uniformed in silver-gray suits, who sing, dance and play hand-held instruments as they perform nearly 20 Byrne songs, from his Talking Heads classics to his more recent solo work. Thanks to wireless technology, everyone moves around the stage in seemingly total freedom.\u003c/p>\n\u003cp>Byrne’s work has long been obsessed with the many ways of being imprisoned—in oneself, in an addiction to things, in a meaningless life—and equally attuned to different forms of escape. \u003cem>American Utopia\u003c/em> features a series of songs that ask questions about the meaning of home. The answers range from the welcoming good spirits of “Everybody’s Coming to My House” to the rowdier energies found in \u003ca href=\"https://www.npr.org/artists/15321830/talking-heads\" target=\"_blank\" rel=\"noopener noreferrer\">Talking Heads\u003c/a>‘ party song “Burning Down the House.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lg4hcgtjDPc\u003c/p>\n\u003cp>In fact, the show isn’t actually about burning anything down. It’s about conjuring an image of an American utopia. You’ll be relieved to hear that Byrne is not hectoring. Yes, he gives a little speech about the need to vote—but he doesn’t say who for. And yes, Byrne points out that many of his cast members are immigrants, as is he—a naturalized American born in Scotland. Yet his vision of utopia is not any kind of political program. It’s the show itself.\u003c/p>\n\u003cp>For Byrne, utopia is about embracing difference. It’s about men and women from a diversity of races and cultures coming together to create something new, alive and beautiful that helps people connect. While Byrne starts alone on the stage, by the grand finale, he and his co-stars are marching through the aisles singing the cheery song “Road to Nowhere.” Everybody’s together on-screen—even the audience.\u003c/p>\n\u003cp>In a way, the show echoes Byrne’s own artistic transformation. Back in his early, post-punk days, he was almost a parody of the nerdy, angst-riddled white guy. With his on-stage tics and spasms, he seemed a bit like \u003cem>Psycho\u003c/em>‘s \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=91947125\" target=\"_blank\" rel=\"noopener noreferrer\">Norman Bates,\u003c/a> if Norman hadn’t turned into his dead mother but instead gone to art school. What liberated him seems to have been his encounter with Black music, both American funk and the complex rhythms of Brazil. Byrne’s persona became sunnier and more communal, as you could see in Jonathan Demme’s great 1984 concert film \u003cem>Stop Making Sense\u003c/em>, where Byrne and his fellow Talking Heads exude sheer collective joy.\u003c/p>\n\u003cp>Now, the skeptic in me feels obliged to note one limitation of the show’s communitarian notion of utopia. Byrne writes and sings lead on all the songs—he’s obviously the star. Everybody else plays second fiddle, and while they clearly enjoy performing, I suspect being a backup is not how \u003cem>they\u003c/em> view utopia.\u003c/p>\n\u003cp>Yet if Byrne doesn’t always rise above stardom’s privilege, he is attuned to other ways he’s privileged. He realizes that the show’s upbeat vibe could easily turn into feelgood kitsch that feels disconnected from present-day reality. He puts some political steel in the show’s spine by including a startling rendition of the \u003ca href=\"https://www.npr.org/2020/05/18/856841290/janelle-mon-e-wants-to-represent-the-underdog-in-music-and-onscreen\" target=\"_blank\" rel=\"noopener noreferrer\">Janelle Monáe\u003c/a> protest song, “\u003ca href=\"https://www.npr.org/sections/allsongs/2015/08/18/385202798/janelle-mon-e-releases-visceral-protest-song-hell-you-talmbout\" target=\"_blank\" rel=\"noopener noreferrer\">Hell You Talmbout\u003c/a>,” whose lyrics are basically the names of African Americans who have died at police hands or from racial violence.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This powerful song is political in the way Byrne’s talk about voting is not. Yet its presence offers a necessary reminder that any utopia begins in a world that is painfully far from perfect. You can only sing yourself through the dark times if you don’t forget how dark they can be.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=David+Byrne+And+Spike+Lee+Conjure+Up+A+Joyous+Vision+Of+%27American+Utopia%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Back when the Nazis were running roughshod over his homeland, \u003ca href=\"https://www.npr.org/artists/15294092/bertolt-brecht\" target=\"_blank\" rel=\"noopener noreferrer\">Bertolt Brecht\u003c/a> wrote a short poem that asked, “In the dark times, will there still be singing?” And it gave a reply: “Yes, there will be singing. About the dark times.”\u003c/p>\n\u003cp>Of course, there are many ways of singing about darkness. One is to celebrate hope. That’s what’s on offer in HBO’s \u003cem>David Byrne’s American Utopia\u003c/em>, a joyous blend of song, dance and revival meeting. The film, which captures a live performance of Byrne’s acclaimed Broadway show, was directed by \u003ca href=\"https://www.npr.org/2017/12/14/570761380/31-years-later-spike-lees-got-a-fresh-take-on-shes-gotta-have-it\" target=\"_blank\" rel=\"noopener noreferrer\">Spike Lee\u003c/a>.\u003c/p>\n\u003cp>Now, Spike might not be the first person you’d expect to click with Byrne, a guy I don’t exactly picture yelling courtside at a Knicks game. Yet Lee is terrific at filming live performances, and his swooping, shrewdly observant camera meshes perfectly with Byrne’s layered and rousing sense of musical theater. This is one show you can dance to.\u003c/p>\n\u003cp>\u003cem>American Utopia\u003c/em> starts with Byrne, barefoot in a silver-gray suit, holding a model of the brain and pondering different ideas of connection. He’s gradually joined by his equally barefoot co-stars, also uniformed in silver-gray suits, who sing, dance and play hand-held instruments as they perform nearly 20 Byrne songs, from his Talking Heads classics to his more recent solo work. Thanks to wireless technology, everyone moves around the stage in seemingly total freedom.\u003c/p>\n\u003cp>Byrne’s work has long been obsessed with the many ways of being imprisoned—in oneself, in an addiction to things, in a meaningless life—and equally attuned to different forms of escape. \u003cem>American Utopia\u003c/em> features a series of songs that ask questions about the meaning of home. The answers range from the welcoming good spirits of “Everybody’s Coming to My House” to the rowdier energies found in \u003ca href=\"https://www.npr.org/artists/15321830/talking-heads\" target=\"_blank\" rel=\"noopener noreferrer\">Talking Heads\u003c/a>‘ party song “Burning Down the House.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"radiolab": {
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},
"selected-shorts": {
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"title": "Selected Shorts",
"info": "Spellbinding short stories by established and emerging writers take on a new life when they are performed by stars of the stage and screen.",
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"title": "Snap Judgment",
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