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"content": "\u003cp>The lineup for this year’s BottleRock festival in Napa is here, and it leans Boomerish, at least in the upper tier: Neil Young, Santana, Mumford and Sons, Imagine Dragons, Pharrell Williams and Logic top the three-day fest running May 24–26.\u003c/p>\n\u003cp>Down the list, there’s hip-hop represented by Big Boi, Too Short and Cypress Hill; punk bands like Against Me and Shannon & the Clams; ’90s techno in the form of Silent Disco DJ sets from Chemical Brothers and Paul Oakenfold; retro soul from the likes of Vintage Trouble and Con Brio; and even Jeff Goldblum singing cabaret jazz. Yes, \u003ca href=\"https://www.kqed.org/arts/13844589/jeff-goldblum-the-jazz-artist-life-uh-finds-a-way\" rel=\"noopener\" target=\"_blank\">that Jeff Goldblum\u003c/a>.\u003c/p>\n\u003cp>Three-day passes to BottleRock go on sale \u003ca href=\"https://www.bottlerocknapavalley.com/\" rel=\"noopener\" target=\"_blank\">right over here\u003c/a> Tuesday, Jan, 8, at 10am. Single-day tickets go on sale Thursday, Jan. 10, at 10am. \u003c/p>\n\u003cp>See the full lineup below. \u003c/p>\n\u003cp>\u003cstrong>Friday, May 24\u003c/strong>: Imagine Dragons, Logic, OneRepublic, Sylvan Esso, Flogging Molly, Jenny Lewis, AJR, Anderson East, The Dandy Warhols, lovelytheband, Paul Oakenfold (Silent Disco), Alec Benjamin, Neon Trees, Midland, Vintage Trouble, The War and Treaty, Just Loud, Shannon Shaw, flora cash, Yoke Lore, HalfNoise, The Dip, Dessa, Liz Cooper & The Stampede, Valley Queen, Jack West, Forgotten Dreamers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Saturday, May 25\u003c/strong>: Neil Young + Promise of the Real, Pharrell Williams, Nathaniel Rateliff & The Night Sweats, Gary Clark Jr., Juanes, Cypress Hill, Elle King, Marian Hill, Sir Sly, Chevy Metal, Against Me!, Madison Beer, Pink Sweat$, Shannon & the Clams, The Regrettes, White Panda (Silent Disco), Elley Duhé, Wilderado, Magic City Hippies, Moonalice, We Banjo 3, Slothrust, Jared & The Mill, Royal Jelly Jive, Rebecca Jade & The Cold Fact, The Blue Stones, The Silverado Pickups, Napa Valley Youth Symphony.\u003c/p>\n\u003cp>\u003cstrong>Sunday, May 26\u003c/strong>: Mumford & Sons, Santana, Tash Sultana, Lord Huron, Michael Franti & Spearhead, Big Boi, Citizen Cope, Bishop Briggs, Gang of Youths, Too $hort, Turkuaz, The Crystal Method (Silent Disco), Skylar Grey, Jeff Goldblum & The Mildred Snitzer Orchestra, Houses, Con Brio, The Soul Rebels, SHAED, Welles, The Teskey Brothers, Harry Hudson, Ocean Alley, Sweet Crude, John Craigie, Dustbowl Revival, Jes Frances, The Alive.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>BottleRock Napa Valley runs May 24–26 at the Napa Valley Expo. \u003ca href=\"https://www.bottlerocknapavalley.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The lineup for this year’s BottleRock festival in Napa is here, and it leans Boomerish, at least in the upper tier: Neil Young, Santana, Mumford and Sons, Imagine Dragons, Pharrell Williams and Logic top the three-day fest running May 24–26.\u003c/p>\n\u003cp>Down the list, there’s hip-hop represented by Big Boi, Too Short and Cypress Hill; punk bands like Against Me and Shannon & the Clams; ’90s techno in the form of Silent Disco DJ sets from Chemical Brothers and Paul Oakenfold; retro soul from the likes of Vintage Trouble and Con Brio; and even Jeff Goldblum singing cabaret jazz. Yes, \u003ca href=\"https://www.kqed.org/arts/13844589/jeff-goldblum-the-jazz-artist-life-uh-finds-a-way\" rel=\"noopener\" target=\"_blank\">that Jeff Goldblum\u003c/a>.\u003c/p>\n\u003cp>Three-day passes to BottleRock go on sale \u003ca href=\"https://www.bottlerocknapavalley.com/\" rel=\"noopener\" target=\"_blank\">right over here\u003c/a> Tuesday, Jan, 8, at 10am. Single-day tickets go on sale Thursday, Jan. 10, at 10am. \u003c/p>\n\u003cp>See the full lineup below. \u003c/p>\n\u003cp>\u003cstrong>Friday, May 24\u003c/strong>: Imagine Dragons, Logic, OneRepublic, Sylvan Esso, Flogging Molly, Jenny Lewis, AJR, Anderson East, The Dandy Warhols, lovelytheband, Paul Oakenfold (Silent Disco), Alec Benjamin, Neon Trees, Midland, Vintage Trouble, The War and Treaty, Just Loud, Shannon Shaw, flora cash, Yoke Lore, HalfNoise, The Dip, Dessa, Liz Cooper & The Stampede, Valley Queen, Jack West, Forgotten Dreamers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Noise Pop Lineup Announced: Princess Nokia, Beirut, Baths and More",
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"content": "\u003cp>\u003ca href=\"http://noisepopfest.com\" target=\"_blank\" rel=\"noopener\">Noise Pop\u003c/a> is preparing to take over Fillmore, Great American Music Hall, Starline Social Club and other Bay Area venues for a week of shows Feb. 25–Mar. 3, and the promotional outfit just announced its a big chunk of its lineup for the 2019 fest, with more acts to be revealed in January. Per usual, the concert series features an eclectic mix of hip-hop, R&B, indie rock, pop and experimental music. Best of all, unlike a weekend-long fest, you can choose your own adventure and attend the shows suited to your tastes.\u003c/p>\n\u003cp>Next year’s Noise Pop features some standout rising artists as well as established faves. \u003ca href=\"http://princessnokia.org/\" target=\"_blank\" rel=\"noopener\">Princess Nokia\u003c/a>, the trendsetting New York rapper who puts body positivity and her Afro-Caribbean roots at the forefront of her work, is one of those acts, as well as \u003ca href=\"https://www.beirutband.com/\" target=\"_blank\" rel=\"noopener\">Beirut\u003c/a>, the horn-forward indie rock band whose work draws from Eastern European folk music. \u003ca href=\"https://www.facebook.com/bathsmusic/\" target=\"_blank\" rel=\"noopener\">Baths\u003c/a>, the LA producer, makes colorful electronic compositions that are as whimsical as they are danceable. Venerated guitarist \u003ca href=\"https://bobmould.com/\" target=\"_blank\" rel=\"noopener\">Bob Mould\u003c/a>, known for his work with Hüsker Dü in the ’80s and Sugar in the ’90s, also performs.\u003c/p>\n\u003cp>Check out the complete Noise Pop lineup below, and visit the festival’s website for the full \u003ca href=\"http://schedule.noisepopfest.com/\" target=\"_blank\" rel=\"noopener\">schedule\u003c/a>.\u003c/p>\n\u003cp>Beirut\u003cbr>\nBob Mould\u003cbr>\nPrincess Nokia\u003cbr>\nPetit Biscuit\u003cbr>\nTeenage Fanclub\u003cbr>\nAlbert Hammond Jr\u003cbr>\nJason Lytle (of Grandaddy)\u003cbr>\nBaths\u003cbr>\nTourist\u003cbr>\nUffie\u003cbr>\nMen I Trust\u003cbr>\nDaughters\u003cbr>\nCurrent Joys\u003cbr>\nDarlingside\u003cbr>\nYves Tumor\u003cbr>\nVHS Collection\u003cbr>\nCaroline Rose\u003cbr>\nThe Marías\u003cbr>\nMNEK\u003cbr>\nMy Brightest Diamond\u003cbr>\nMNDSGN\u003cbr>\nKllo\u003cbr>\nHaley Heynderickx\u003cbr>\nCharlotte Lawrence\u003cbr>\nJerry Paper\u003cbr>\nKodie Shane\u003cbr>\nHelado Negro\u003cbr>\nKamaal Williams\u003cbr>\nTommy Newport\u003cbr>\nMarissa Nadler\u003cbr>\nQrion\u003cbr>\nOh Pep!\u003cbr>\nJitwam\u003cbr>\nKERA\u003cbr>\nThe Love Language\u003cbr>\nRiver Whyless\u003cbr>\nIlluminati Hotties\u003cbr>\nClub Night\u003cbr>\nawakebutstillinbed\u003cbr>\nPartner\u003cbr>\nDude York\u003cbr>\nBlanck Mass\u003cbr>\nGilligan Moss\u003cbr>\nTravis Hayes\u003cbr>\nLos Wálters\u003cbr>\nField Medic\u003cbr>\nChynna\u003cbr>\nKatzù Oso\u003cbr>\nH.C. McEntire\u003cbr>\nHana Vu\u003cbr>\nHilary Woods\u003cbr>\nSwarvy\u003cbr>\nOuri\u003cbr>\nSunsleeper\u003cbr>\nSundressed\u003cbr>\nAlien Boy\u003cbr>\nGap Girls\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://noisepopfest.com\" target=\"_blank\" rel=\"noopener\">Noise Pop\u003c/a> is preparing to take over Fillmore, Great American Music Hall, Starline Social Club and other Bay Area venues for a week of shows Feb. 25–Mar. 3, and the promotional outfit just announced its a big chunk of its lineup for the 2019 fest, with more acts to be revealed in January. Per usual, the concert series features an eclectic mix of hip-hop, R&B, indie rock, pop and experimental music. Best of all, unlike a weekend-long fest, you can choose your own adventure and attend the shows suited to your tastes.\u003c/p>\n\u003cp>Next year’s Noise Pop features some standout rising artists as well as established faves. \u003ca href=\"http://princessnokia.org/\" target=\"_blank\" rel=\"noopener\">Princess Nokia\u003c/a>, the trendsetting New York rapper who puts body positivity and her Afro-Caribbean roots at the forefront of her work, is one of those acts, as well as \u003ca href=\"https://www.beirutband.com/\" target=\"_blank\" rel=\"noopener\">Beirut\u003c/a>, the horn-forward indie rock band whose work draws from Eastern European folk music. \u003ca href=\"https://www.facebook.com/bathsmusic/\" target=\"_blank\" rel=\"noopener\">Baths\u003c/a>, the LA producer, makes colorful electronic compositions that are as whimsical as they are danceable. Venerated guitarist \u003ca href=\"https://bobmould.com/\" target=\"_blank\" rel=\"noopener\">Bob Mould\u003c/a>, known for his work with Hüsker Dü in the ’80s and Sugar in the ’90s, also performs.\u003c/p>\n\u003cp>Check out the complete Noise Pop lineup below, and visit the festival’s website for the full \u003ca href=\"http://schedule.noisepopfest.com/\" target=\"_blank\" rel=\"noopener\">schedule\u003c/a>.\u003c/p>\n\u003cp>Beirut\u003cbr>\nBob Mould\u003cbr>\nPrincess Nokia\u003cbr>\nPetit Biscuit\u003cbr>\nTeenage Fanclub\u003cbr>\nAlbert Hammond Jr\u003cbr>\nJason Lytle (of Grandaddy)\u003cbr>\nBaths\u003cbr>\nTourist\u003cbr>\nUffie\u003cbr>\nMen I Trust\u003cbr>\nDaughters\u003cbr>\nCurrent Joys\u003cbr>\nDarlingside\u003cbr>\nYves Tumor\u003cbr>\nVHS Collection\u003cbr>\nCaroline Rose\u003cbr>\nThe Marías\u003cbr>\nMNEK\u003cbr>\nMy Brightest Diamond\u003cbr>\nMNDSGN\u003cbr>\nKllo\u003cbr>\nHaley Heynderickx\u003cbr>\nCharlotte Lawrence\u003cbr>\nJerry Paper\u003cbr>\nKodie Shane\u003cbr>\nHelado Negro\u003cbr>\nKamaal Williams\u003cbr>\nTommy Newport\u003cbr>\nMarissa Nadler\u003cbr>\nQrion\u003cbr>\nOh Pep!\u003cbr>\nJitwam\u003cbr>\nKERA\u003cbr>\nThe Love Language\u003cbr>\nRiver Whyless\u003cbr>\nIlluminati Hotties\u003cbr>\nClub Night\u003cbr>\nawakebutstillinbed\u003cbr>\nPartner\u003cbr>\nDude York\u003cbr>\nBlanck Mass\u003cbr>\nGilligan Moss\u003cbr>\nTravis Hayes\u003cbr>\nLos Wálters\u003cbr>\nField Medic\u003cbr>\nChynna\u003cbr>\nKatzù Oso\u003cbr>\nH.C. McEntire\u003cbr>\nHana Vu\u003cbr>\nHilary Woods\u003cbr>\nSwarvy\u003cbr>\nOuri\u003cbr>\nSunsleeper\u003cbr>\nSundressed\u003cbr>\nAlien Boy\u003cbr>\nGap Girls\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>In 1991, rock critic Gina Arnold stood under the 115-degree Arizona sun at a stop of the pioneering touring festival, Lollapalooza. The event was in its first year; Nine Inch Nails, Siouxsie & the Banshees and Ice-T headlined; tickets were $27; and the organizers had “this hippyish belief in music to elevate people,” Arnold recalls.\u003c/p>\n\u003cp>Twenty-seven years later, music festivals have swelled into a big business. Save for a few exceptions, two companies run the show: Goldenvoice—whose repertoire includes Coachella, Stagecoach and Firefly—and Live Nation, which produces Bonnaroo, Austin City Limits, Sasquatch! and dozens of other fests around the country. Attendance costs have ballooned to several hundreds of dollars and that hippie spirit has given way to corporatization.\u003c/p>\n\u003cp>Arnold, who once wrote for \u003cem>Rolling Stone\u003c/em>, \u003cem>Spin\u003c/em> and \u003cem>East Bay Express\u003c/em>, and now teaches at the University of San Francisco, studies the communal power and changing nature of the rock festival in her new book, \u003ca href=\"https://www.uipress.uiowa.edu/books/9781609386085/half-a-million-strong\" target=\"_blank\" rel=\"noopener\">\u003cem>Half a Million Strong: Crowds and Power from Woodstock to Coachella\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13845467\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/half-a-million-strong-book-cover.jpg\" alt=\"\" width=\"334\" height=\"499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/half-a-million-strong-book-cover.jpg 334w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/half-a-million-strong-book-cover-160x239.jpg 160w\" sizes=\"(max-width: 334px) 100vw, 334px\">\u003c/p>\n\u003cp>A comprehensive history of every American rock festival would be too unwieldy, so Arnold gave herself strict parameters: the events in question couldn’t take place in stadiums and had to draw over 400,000 people in attendance. With these guidelines, Arnold maps out a social history of music festivals in the United States. \u003c/p>\n\u003cp>The rock festival, she argues, sells a promise of utopia. For one weekend, attendees can enjoy a respite from the individualistic, isolating culture of capitalism and the work week’s grind. But more often than not, the promise is doomed from the start.\u003c/p>\n\u003cp>“We go to the rock festival with these high ideals,” Arnold says. “It holds out to us things that we really want in life: community and a sense of connection. But when you get there, it’s actually a harsh environment with a lot of crowds, noise and distress. … Sometimes, it extends to much worse things, especially if you’re a non-male, non-white person. What does it mean if our idea of utopia isn’t enjoyable for non-white, [non]-males?”\u003c/p>\n\u003cp>With large-scale festivals, this utopia-for-sale is mostly accessible to the privileged among us. To attend the “best weekend of the summer,” as Los Angeles’ FYF Fest sells it, attendees shell out hundreds for admission, travel and Instagram-worthy outfits. Once there, a “no ins or outs” policy forces the purchase of beer, food and other wares at high markups. The respite is there—depending on your tax bracket.\u003c/p>\n\u003cfigure id=\"attachment_13842831\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842831\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/MG_4552-800x533.jpg\" alt=\"The crowd at Treasure Island Music Festival 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4552.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4552-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4552-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4552-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4552-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4552-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Treasure Island Music Festival 2018. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>In Half a Million Strong\u003c/em>, Arnold highlights the tension between festivals’ utopian aims and the quest for profit. She examines how heavyweights of the 1960s, like Woodstock, Altamont and the Monterey International Pop Festival, laid the idealistic foundation for the modern-day music festival. Raves get a chapter as the natural extension of those ’60s fests, but Arnold looks at how the capitalistic aims of promoters complicate their ambitions of peace, love, unity and respect.\u003c/p>\n\u003cp>While examining these tensions, Arnold also looks to lesser-known events that have uplifted marginalized communities and advocated for social good. Wattstax festival in Los Angeles in 1972, a benefit put on by Stax records on the seventh anniversary of the 1965 Watts riots, offers an example of a festival that—boasting a bill of Isaac Hayes, the Staples Singers, Richard Pryor and Carla Thomas—carved out a refuge for and by black folks.\u003c/p>\n\u003cp>That human need for a sense of community, Arnold explains, is why festivals are in more demand today than ever. “There’s just a real emptiness in people’s experiences now,” Arnold says of the increasingly private and isolating experience of our technology-driven society. “People just have a huge hunger for what I called in the book ‘listening together’—that sense of being a part of something larger.”[ad fullwidth]\u003c/p>\n\u003cp>Despite the changes the festival landscape has undergone, Arnold still believes that sense of belonging to something bigger can exist. She’s seen it.\u003c/p>\n\u003cp>In 1991, she flew to Olympia, Washington for the International Pop Underground Convention. Only 450 people showed to watch Fugazi, The Melvins, Bikini Kill, Bratmobile and Heavens to Betsy. The small, focused festival took place as an independent music scene in the Pacific Northwest was bubbling. Nirvana was on the precipice of breaking and the riot grrrl movement had begun to gain traction.\u003c/p>\n\u003cp>“It changed my life,” Arnold remembers. “It was definitely a moment where you went, ‘There are my people, and I’m going to be with these people for the rest of my life.’”\u003c/p>\n\u003cp>That festival worked because it was small and knew its audience. Today, Arnold argues, smaller, niche festivals might be better suited to quench our thirst for a collective musical experience than the carnival-like behemoths.\u003c/p>\n\u003cfigure id=\"attachment_13840941\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840941\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_1130-800x533.jpg\" alt=\"The crowd during Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1130.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1130-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1130-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1130-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1130-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1130-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd during Rolling Loud Bay Area on Sunday, September 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Production companies seem to realize this, too. This year, Goldenvoice put on the alternative, Latinx-focused Tropicalia in Long Beach. Santa Ana venue and promotion company The Observatory has spent the last year or so booking genre-focused events like the R&B-heavy Soulquarius, reggae fest One Love and Day N Night, a survey of internet rap.\u003c/p>\n\u003cp>“It’s the way they got out of the trap,” Arnold says of promoters’ move to downsize. “I think that’s the only way that it became sustainable.”\u003c/p>\n\u003cp>These specialized events hold the most potential to make good on the philosophical pledge. As for the giants, who knows.\u003c/p>\n\u003cp>“They don’t have this belief the that music will make people better,” Arnold says. “They just think of it like, ‘Well. you’ll have a fun weekend. We’ll make money, you’ll have a great time.’”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Gina Arnold reads from \u003c/em>Half a Million Strong: Crowds and Power from Woodstock to Coachella\u003cem> at the Santa Clara Valley Brewing Company on Dec. 1. Details \u003ca href=\"https://www.scvbrewing.com/event/book-release-half-a-million-strong-gina-arnold/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 1991, rock critic Gina Arnold stood under the 115-degree Arizona sun at a stop of the pioneering touring festival, Lollapalooza. The event was in its first year; Nine Inch Nails, Siouxsie & the Banshees and Ice-T headlined; tickets were $27; and the organizers had “this hippyish belief in music to elevate people,” Arnold recalls.\u003c/p>\n\u003cp>Twenty-seven years later, music festivals have swelled into a big business. Save for a few exceptions, two companies run the show: Goldenvoice—whose repertoire includes Coachella, Stagecoach and Firefly—and Live Nation, which produces Bonnaroo, Austin City Limits, Sasquatch! and dozens of other fests around the country. Attendance costs have ballooned to several hundreds of dollars and that hippie spirit has given way to corporatization.\u003c/p>\n\u003cp>Arnold, who once wrote for \u003cem>Rolling Stone\u003c/em>, \u003cem>Spin\u003c/em> and \u003cem>East Bay Express\u003c/em>, and now teaches at the University of San Francisco, studies the communal power and changing nature of the rock festival in her new book, \u003ca href=\"https://www.uipress.uiowa.edu/books/9781609386085/half-a-million-strong\" target=\"_blank\" rel=\"noopener\">\u003cem>Half a Million Strong: Crowds and Power from Woodstock to Coachella\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13845467\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/half-a-million-strong-book-cover.jpg\" alt=\"\" width=\"334\" height=\"499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/half-a-million-strong-book-cover.jpg 334w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/half-a-million-strong-book-cover-160x239.jpg 160w\" sizes=\"(max-width: 334px) 100vw, 334px\">\u003c/p>\n\u003cp>A comprehensive history of every American rock festival would be too unwieldy, so Arnold gave herself strict parameters: the events in question couldn’t take place in stadiums and had to draw over 400,000 people in attendance. With these guidelines, Arnold maps out a social history of music festivals in the United States. \u003c/p>\n\u003cp>The rock festival, she argues, sells a promise of utopia. For one weekend, attendees can enjoy a respite from the individualistic, isolating culture of capitalism and the work week’s grind. But more often than not, the promise is doomed from the start.\u003c/p>\n\u003cp>“We go to the rock festival with these high ideals,” Arnold says. “It holds out to us things that we really want in life: community and a sense of connection. But when you get there, it’s actually a harsh environment with a lot of crowds, noise and distress. … Sometimes, it extends to much worse things, especially if you’re a non-male, non-white person. What does it mean if our idea of utopia isn’t enjoyable for non-white, [non]-males?”\u003c/p>\n\u003cp>With large-scale festivals, this utopia-for-sale is mostly accessible to the privileged among us. To attend the “best weekend of the summer,” as Los Angeles’ FYF Fest sells it, attendees shell out hundreds for admission, travel and Instagram-worthy outfits. Once there, a “no ins or outs” policy forces the purchase of beer, food and other wares at high markups. The respite is there—depending on your tax bracket.\u003c/p>\n\u003cfigure id=\"attachment_13842831\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842831\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/MG_4552-800x533.jpg\" alt=\"The crowd at Treasure Island Music Festival 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4552.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4552-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4552-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4552-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4552-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_4552-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Treasure Island Music Festival 2018. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>In Half a Million Strong\u003c/em>, Arnold highlights the tension between festivals’ utopian aims and the quest for profit. She examines how heavyweights of the 1960s, like Woodstock, Altamont and the Monterey International Pop Festival, laid the idealistic foundation for the modern-day music festival. Raves get a chapter as the natural extension of those ’60s fests, but Arnold looks at how the capitalistic aims of promoters complicate their ambitions of peace, love, unity and respect.\u003c/p>\n\u003cp>While examining these tensions, Arnold also looks to lesser-known events that have uplifted marginalized communities and advocated for social good. Wattstax festival in Los Angeles in 1972, a benefit put on by Stax records on the seventh anniversary of the 1965 Watts riots, offers an example of a festival that—boasting a bill of Isaac Hayes, the Staples Singers, Richard Pryor and Carla Thomas—carved out a refuge for and by black folks.\u003c/p>\n\u003cp>That human need for a sense of community, Arnold explains, is why festivals are in more demand today than ever. “There’s just a real emptiness in people’s experiences now,” Arnold says of the increasingly private and isolating experience of our technology-driven society. “People just have a huge hunger for what I called in the book ‘listening together’—that sense of being a part of something larger.”\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Despite the changes the festival landscape has undergone, Arnold still believes that sense of belonging to something bigger can exist. She’s seen it.\u003c/p>\n\u003cp>In 1991, she flew to Olympia, Washington for the International Pop Underground Convention. Only 450 people showed to watch Fugazi, The Melvins, Bikini Kill, Bratmobile and Heavens to Betsy. The small, focused festival took place as an independent music scene in the Pacific Northwest was bubbling. Nirvana was on the precipice of breaking and the riot grrrl movement had begun to gain traction.\u003c/p>\n\u003cp>“It changed my life,” Arnold remembers. “It was definitely a moment where you went, ‘There are my people, and I’m going to be with these people for the rest of my life.’”\u003c/p>\n\u003cp>That festival worked because it was small and knew its audience. Today, Arnold argues, smaller, niche festivals might be better suited to quench our thirst for a collective musical experience than the carnival-like behemoths.\u003c/p>\n\u003cfigure id=\"attachment_13840941\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840941\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_1130-800x533.jpg\" alt=\"The crowd during Rolling Loud Bay Area on Sunday, September 16, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1130.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1130-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1130-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1130-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1130-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_1130-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd during Rolling Loud Bay Area on Sunday, September 16, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Production companies seem to realize this, too. This year, Goldenvoice put on the alternative, Latinx-focused Tropicalia in Long Beach. Santa Ana venue and promotion company The Observatory has spent the last year or so booking genre-focused events like the R&B-heavy Soulquarius, reggae fest One Love and Day N Night, a survey of internet rap.\u003c/p>\n\u003cp>“It’s the way they got out of the trap,” Arnold says of promoters’ move to downsize. “I think that’s the only way that it became sustainable.”\u003c/p>\n\u003cp>These specialized events hold the most potential to make good on the philosophical pledge. As for the giants, who knows.\u003c/p>\n\u003cp>“They don’t have this belief the that music will make people better,” Arnold says. “They just think of it like, ‘Well. you’ll have a fun weekend. We’ll make money, you’ll have a great time.’”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Gina Arnold reads from \u003c/em>Half a Million Strong: Crowds and Power from Woodstock to Coachella\u003cem> at the Santa Clara Valley Brewing Company on Dec. 1. Details \u003ca href=\"https://www.scvbrewing.com/event/book-release-half-a-million-strong-gina-arnold/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "Hardly Strictly 2018 Lineup: Ani DiFranco, Los Lobos, Graham Nash and More",
"headTitle": "Hardly Strictly 2018 Lineup: Ani DiFranco, Los Lobos, Graham Nash and More | KQED",
"content": "\u003cp>\u003ca href=\"http://www.hardlystrictlybluegrass.com/2018/\" target=\"_blank\" rel=\"noopener\">Hardly Strictly Bluegrass\u003c/a>, the annual free musical festival, returns to Golden Gate Park for its 18th edition for the weekend of Oct. 5–7. As its name suggests, the festival has branched outside of the bluegrass, folk and country realm in recent years, sprinkling their lineups with unusual surprises like last year’s set from New Orleans’ queen of bounce, Big Freedia, who brought audience members up on stage for a twerk contest.\u003c/p>\n\u003cp>This year’s Hardly Strictly lineup was chosen by a new curator, Chris Porter, following the departure of longtime talent booker Dawn Holliday. The event features over 80 acts on six stages.\u003c/p>\n\u003cp>A few highlights from this year’s Hardly Strictly lineup, announced Tuesday, include rising bluegrass band I’m With Her; veteran Angeleno rockers Los Lobos; New Orleans indie rock, neo-soul and folk band Hurray for the Riff Raff; singer-songwriter Ani DiFranco; Graham Nash of Crosby, Stills, Nash & Young; and Jeff Tweedy of Wilco.\u003c/p>\n\u003cp>https://youtu.be/T7xWl50pKyo\u003c/p>\n\u003cp>Check out the complete lineup below:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Aaron Lee Tasjan, Aki Kumar, Alison Krauss, Ana Tijoux, Andrea Gibson, Ani DiFranco, Bo & Lebo with Friends, Booker T. Jones Stax Revue, Buddy Miller’s Cavalcade of Stars featuring The Cave Singers, Tracy Nelson, Molly Tuttle, The War and Treaty, Buddy Miller, Courtney Marie Andrews, Dale Watson, Darlingside, Dave Alvin & Jimmie Dale Gilmore with The Guilty Ones, David Bromberg Quintet, David Luning, Deer Tick, Del McCoury Band, Don Was & Friends, Dry Branch Fire Squad, Eilen Jewell, Emmylou Harris & The Red Dirt Boys, Evolfo, Four Year Bender, Glorietta, Gomez, Graham Nash, Gregory Alan Isakov, Hip Spanic Allstars, Howlin Rain, Hurray For The Riff Raff, I’m With Her, JD McPherson, Jeff Tweedy, Jon Langford and the Sturdy Nelsons, Justin Townes Earle, Kacy & Clayton, Kevin & Dustin Welch, Kieran Kane & Rayna Gellert, Langhorne Slim, Laurie Lewis & The Right Hands, Live From Here with Chris Thile, Liz Brasher, Los Lobos, Marco and The Polos, Matador! Soul Sounds, Mavis Staples, Moonalice, Nancy & The Lambchops, Nick Lowe’s Quality Rock & Roll Revue with Los Straitjackets, Patty Griffin, Peter Rowan, Prairie Prince Presents “Tommy,” Raise Your Voice, Robert Finley, Robyn Hitchcock: Electrospective, Rodney Crowell, Roky Erickson, Sammy Brue, Sera Cahoone, Songcatching Hazel feat. Eli West, Ismay & Paper Wings, Steve Earle & The Dukes, Steve Forbert, The Brothers Gibb, The Dead South, The Family Crest, The Flatlanders, The Go To Hell Man Band, The Greyboy Allstars, The Letterboxers feat. SF Middle Schoolers, The Lone Bellow, The Mastersons, The Wailin’ Jennys, Tim Barry, Tim O’Brien, Trampled by Turtles, Vetiver, Ween.\u003c/p>\n\n",
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"excerpt": "The 18th annual more-than-just-bluegrass festival comes to Golden Gate Park Oct. 5–7. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.hardlystrictlybluegrass.com/2018/\" target=\"_blank\" rel=\"noopener\">Hardly Strictly Bluegrass\u003c/a>, the annual free musical festival, returns to Golden Gate Park for its 18th edition for the weekend of Oct. 5–7. As its name suggests, the festival has branched outside of the bluegrass, folk and country realm in recent years, sprinkling their lineups with unusual surprises like last year’s set from New Orleans’ queen of bounce, Big Freedia, who brought audience members up on stage for a twerk contest.\u003c/p>\n\u003cp>This year’s Hardly Strictly lineup was chosen by a new curator, Chris Porter, following the departure of longtime talent booker Dawn Holliday. The event features over 80 acts on six stages.\u003c/p>\n\u003cp>A few highlights from this year’s Hardly Strictly lineup, announced Tuesday, include rising bluegrass band I’m With Her; veteran Angeleno rockers Los Lobos; New Orleans indie rock, neo-soul and folk band Hurray for the Riff Raff; singer-songwriter Ani DiFranco; Graham Nash of Crosby, Stills, Nash & Young; and Jeff Tweedy of Wilco.\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/T7xWl50pKyo'\n title='//www.youtube.com/embed/T7xWl50pKyo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Check out the complete lineup below:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Aaron Lee Tasjan, Aki Kumar, Alison Krauss, Ana Tijoux, Andrea Gibson, Ani DiFranco, Bo & Lebo with Friends, Booker T. Jones Stax Revue, Buddy Miller’s Cavalcade of Stars featuring The Cave Singers, Tracy Nelson, Molly Tuttle, The War and Treaty, Buddy Miller, Courtney Marie Andrews, Dale Watson, Darlingside, Dave Alvin & Jimmie Dale Gilmore with The Guilty Ones, David Bromberg Quintet, David Luning, Deer Tick, Del McCoury Band, Don Was & Friends, Dry Branch Fire Squad, Eilen Jewell, Emmylou Harris & The Red Dirt Boys, Evolfo, Four Year Bender, Glorietta, Gomez, Graham Nash, Gregory Alan Isakov, Hip Spanic Allstars, Howlin Rain, Hurray For The Riff Raff, I’m With Her, JD McPherson, Jeff Tweedy, Jon Langford and the Sturdy Nelsons, Justin Townes Earle, Kacy & Clayton, Kevin & Dustin Welch, Kieran Kane & Rayna Gellert, Langhorne Slim, Laurie Lewis & The Right Hands, Live From Here with Chris Thile, Liz Brasher, Los Lobos, Marco and The Polos, Matador! Soul Sounds, Mavis Staples, Moonalice, Nancy & The Lambchops, Nick Lowe’s Quality Rock & Roll Revue with Los Straitjackets, Patty Griffin, Peter Rowan, Prairie Prince Presents “Tommy,” Raise Your Voice, Robert Finley, Robyn Hitchcock: Electrospective, Rodney Crowell, Roky Erickson, Sammy Brue, Sera Cahoone, Songcatching Hazel feat. Eli West, Ismay & Paper Wings, Steve Earle & The Dukes, Steve Forbert, The Brothers Gibb, The Dead South, The Family Crest, The Flatlanders, The Go To Hell Man Band, The Greyboy Allstars, The Letterboxers feat. SF Middle Schoolers, The Lone Bellow, The Mastersons, The Wailin’ Jennys, Tim Barry, Tim O’Brien, Trampled by Turtles, Vetiver, Ween.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "jackson-monae-feminist-pop-sunday-outside-lands",
"title": "Jackson, Monáe Connect Past and Present of Feminist Pop at Outside Lands' Close",
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"content": "\u003cp>With songs speaking out against sexual harassment and domestic violence dating back to the ’80s and ’90s, Janet Jackson was lightyears ahead of the current conversations about gender equality as far as pop stars are concerned. Her headlining set at Outside Lands Sunday night was not only an expertly crafted spectacle, but a powerful, timely statement that vindicated her legacy and reignited her relevance in the current political moment.\u003c/p>\n\u003cp>[contextly_sidebar id=”aS0D4cEJIv3NvCXBJ9mQDpYYtEn0DmTJ”]\u003c/p>\n\u003cp>As white supremacist “Unite the Right” rallies took place around the country over the weekend, Jackson opened her set with her 1989 song “The Knowledge,” declaring, “Prejudice—no! / Ignorance—no! Bigotry—no!” over a funky breakbeat as a giant Black Power fist flashed onscreen.\u003c/p>\n\u003cp>Her strong opening statement set the tone for the rest of the show: throughout, Jackson celebrated female sexuality (did you know 1986’s seemingly PG “When I Think of You” is actually about masturbation?) and decried abuses against women through a potent combination of lyrics, choreo and multimedia.\u003c/p>\n\u003cp>Over the course of the energetic 90-minute performance spanning three decades of hits, Jackson never stopped moving her feet. She channeled rage, vulnerability and sensuality, bringing the audience to giddy, nostalgic highs and plunging them into deep moments of catharsis.\u003c/p>\n\u003cfigure id=\"attachment_13838861\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838861\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8564-800x533.jpg\" alt=\"Janet Jackson performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8564.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8564-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8564-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8564-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8564-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8564-520x346.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Janet Jackson performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While much of Jackson’s music coats her feminist message in sassiness and humor (“No, my first name ain’t ‘baby’ / It’s Janet / Miss Jackson if you’re nasty,” she sings in 1986’s hip-shaking hit, “Nasty”), her set also occasionally treaded into shocking territory. During Jackson’s performance of “What About,” her angry 1997 ballad about an abusive relationship, a white, male dancer mimed attacking a black, female dancer, even putting his hands on her face. As Jackson sang the chorus (“What about the times you lied to me / What about the times you said no one would want me”), she sat the man in a chair as she danced fiercely behind him, mimicking knocking him to the ground.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When Jackson finished the song, tears flooded her eyes and trickled down her cheeks. For a second, she looked overcome with emotion—a touching, genuine moment. “I am done with you,” she declared to the male dancer—and what felt like the patriarchy as a whole—as she shoved him out of his chair.\u003c/p>\n\u003cp>It seemed like no accident that at this point in the show, Jackson changed into an Alexander Wang football jersey, evoking the 2004 Super Bowl halftime show that many critics \u003ca href=\"https://www.usatoday.com/story/life/entertainthis/2017/10/23/why-justin-timberlake-owes-janet-jackson-super-bowl-sized-apology/790290001/\" target=\"_blank\" rel=\"noopener\">now argue\u003c/a> unfairly sidelined her from the music industry in a case of sexist double standards. Jackson appears keenly self-aware of how perceptions of her music have shifted in today’s cultural moment of reckoning with misogyny and abuse. Her forthcoming single, also announced Sunday, is called “Made For Now.” Riding on a high of headlining festivals and receiving the Billboard Icon Award this year, she knows the time for her comeback is ripe, and rightfully so.\u003c/p>\n\u003cfigure id=\"attachment_13838834\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838834\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8235-800x533.jpg\" alt=\"Janelle Monáe performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8235.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8235-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8235-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8235-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8235-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8235-520x346.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Janelle Monáe performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jackson’s Outside Lands set was also a reminder of how she’s inspired younger generations. Just a few hours earlier on the main stage, Janelle Monáe delivered a boldly feminist performance of her own, taking her seat atop a red, velvet throne as she rapped “Django Jane” from her new album, \u003cem>Dirty Computer\u003c/em>, with her Kansas drawl: “Black girl magic, y’all can’t stand it / Y’all can’t ban it, made out like a bandit.” Witnessing her ultra-confident body language as she regally took her seat was contagiously empowering, and her screaming fans seemed just about ready to hail her as their queen.\u003c/p>\n\u003cp>With her tight choreography, androgynous, wide-shouldered outfit and funky, all-woman band that included an expert horn section, Monáe’s set channeled a legacy of futuristic black pop that Janet and Michael Jackson and Prince pioneered over thirty years prior. In many ways, Monáe’s body of work builds on the themes Janet Jackson put forth in her music; Monáe’s work expands upon that legacy, adding queerness to the conversation as well.\u003c/p>\n\u003cp>\u003cem>Dirty Computer\u003c/em> (the album and short film) is arguably the most impactful pro-LGBTQ statement we’ve seen in mainstream pop all year, and Monáe’s expressions of queerness also celebrate and center blackness and femininity. That mindfulness of the intersections of our identities and how they shape life experience translated to her set. “You all learned about how I choose to love,” Monáe declared, alluding to the \u003cem>Rolling Stone\u003c/em> interview where she formally came out as pansexual. “No matter how you choose to love, what god you serve or what class you come from, you are welcome here.”\u003c/p>\n\u003cfigure id=\"attachment_13838833\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838833\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8229-800x533.jpg\" alt=\"Janelle Monáe performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8229.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8229-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8229-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8229-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8229-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8229-520x346.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Janelle Monáe performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jackson and Monáe’s sets, hours apart on the big Lands End stage, connected a legacy of black feminism past and present. And as Jackson later revealed on her Instagram, Monáe was in the audience cheering her on in a “Made For Now” T-shirt—a sweet display of camaraderie between the two artists.\u003c/p>\n\u003cp>Just a few years ago, it would have been hard to believe that Outside Lands—a fest traditionally associated with mostly white, male indie rock—would become the site of these powerful black feminist performances. But this year, as the festival put forth its most diverse lineup yet, it set the stage for a impactful statement, and Jackson and Monáe went above and beyond, eclipsing the rest of the day’s sets with their larger-than-life shows and empowering messages.\u003c/p>\n\u003cp>“With music by our side / To break the color lines / Let’s work together / To improve our way of life,” Jackson sang in her closing number, 1989’s “Rhythm Nation.” On Sunday at Outside Lands, she offered a glimmer of hope that that dream is still possible.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>More photos from Outside Lands\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13838872\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838872\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8495-800x533.jpg\" alt=\"Janet Jackson performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8495-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8495-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8495-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8495-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8495-520x346.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Janet Jackson performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838855\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838855\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8481-800x533.jpg\" alt=\"Salt N Pepa performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8481.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8481-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8481-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8481-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8481-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8481-520x346.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Salt N Pepa performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838852\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838852\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8442-Edit-800x533.jpg\" alt=\"James Blake performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8442-Edit.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8442-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8442-Edit-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8442-Edit-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8442-Edit-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8442-Edit-520x346.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">James Blake performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838841\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838841\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8332-800x533.jpg\" alt=\"The Internet performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8332.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8332-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8332-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8332-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8332-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8332-520x346.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Internet performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838839\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838839\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8316-800x533.jpg\" alt=\"The crowd at the Outside Lands music festival in San Francisco, Aug. 12, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8316.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8316-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8316-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8316-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8316-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8316-520x346.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the Outside Lands music festival in San Francisco, Aug. 12, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838848\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838848\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8385-800x533.jpg\" alt=\"LP performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8385.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8385-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8385-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8385-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8385-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8385-520x346.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">LP backstage at the Outside Lands music festival in San Francisco, Aug. 12, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838863\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838863\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8588-800x533.jpg\" alt=\"The crowd at the Outside Lands music festival in San Francisco, Aug. 12, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8588.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8588-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8588-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8588-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8588-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8588-520x346.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the Outside Lands music festival in San Francisco, Aug. 12, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838846\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8379-800x533.jpg\" alt=\"Portugal. The Man performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8379.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8379-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8379-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8379-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8379-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8379-520x346.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Portugal. The Man performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"excerpt": "Jackson's headlining set on Sunday was a powerful, timely statement that vindicated her legacy and reignited her relevance in the current political moment.",
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"title": "Jackson, Monáe Connect Past and Present of Feminist Pop at Outside Lands' Close | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With songs speaking out against sexual harassment and domestic violence dating back to the ’80s and ’90s, Janet Jackson was lightyears ahead of the current conversations about gender equality as far as pop stars are concerned. Her headlining set at Outside Lands Sunday night was not only an expertly crafted spectacle, but a powerful, timely statement that vindicated her legacy and reignited her relevance in the current political moment.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>As white supremacist “Unite the Right” rallies took place around the country over the weekend, Jackson opened her set with her 1989 song “The Knowledge,” declaring, “Prejudice—no! / Ignorance—no! Bigotry—no!” over a funky breakbeat as a giant Black Power fist flashed onscreen.\u003c/p>\n\u003cp>Her strong opening statement set the tone for the rest of the show: throughout, Jackson celebrated female sexuality (did you know 1986’s seemingly PG “When I Think of You” is actually about masturbation?) and decried abuses against women through a potent combination of lyrics, choreo and multimedia.\u003c/p>\n\u003cp>Over the course of the energetic 90-minute performance spanning three decades of hits, Jackson never stopped moving her feet. She channeled rage, vulnerability and sensuality, bringing the audience to giddy, nostalgic highs and plunging them into deep moments of catharsis.\u003c/p>\n\u003cfigure id=\"attachment_13838861\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838861\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8564-800x533.jpg\" alt=\"Janet Jackson performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8564.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8564-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8564-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8564-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8564-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8564-520x346.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Janet Jackson performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While much of Jackson’s music coats her feminist message in sassiness and humor (“No, my first name ain’t ‘baby’ / It’s Janet / Miss Jackson if you’re nasty,” she sings in 1986’s hip-shaking hit, “Nasty”), her set also occasionally treaded into shocking territory. During Jackson’s performance of “What About,” her angry 1997 ballad about an abusive relationship, a white, male dancer mimed attacking a black, female dancer, even putting his hands on her face. As Jackson sang the chorus (“What about the times you lied to me / What about the times you said no one would want me”), she sat the man in a chair as she danced fiercely behind him, mimicking knocking him to the ground.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When Jackson finished the song, tears flooded her eyes and trickled down her cheeks. For a second, she looked overcome with emotion—a touching, genuine moment. “I am done with you,” she declared to the male dancer—and what felt like the patriarchy as a whole—as she shoved him out of his chair.\u003c/p>\n\u003cp>It seemed like no accident that at this point in the show, Jackson changed into an Alexander Wang football jersey, evoking the 2004 Super Bowl halftime show that many critics \u003ca href=\"https://www.usatoday.com/story/life/entertainthis/2017/10/23/why-justin-timberlake-owes-janet-jackson-super-bowl-sized-apology/790290001/\" target=\"_blank\" rel=\"noopener\">now argue\u003c/a> unfairly sidelined her from the music industry in a case of sexist double standards. Jackson appears keenly self-aware of how perceptions of her music have shifted in today’s cultural moment of reckoning with misogyny and abuse. Her forthcoming single, also announced Sunday, is called “Made For Now.” Riding on a high of headlining festivals and receiving the Billboard Icon Award this year, she knows the time for her comeback is ripe, and rightfully so.\u003c/p>\n\u003cfigure id=\"attachment_13838834\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838834\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8235-800x533.jpg\" alt=\"Janelle Monáe performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8235.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8235-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8235-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8235-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8235-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8235-520x346.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Janelle Monáe performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jackson’s Outside Lands set was also a reminder of how she’s inspired younger generations. Just a few hours earlier on the main stage, Janelle Monáe delivered a boldly feminist performance of her own, taking her seat atop a red, velvet throne as she rapped “Django Jane” from her new album, \u003cem>Dirty Computer\u003c/em>, with her Kansas drawl: “Black girl magic, y’all can’t stand it / Y’all can’t ban it, made out like a bandit.” Witnessing her ultra-confident body language as she regally took her seat was contagiously empowering, and her screaming fans seemed just about ready to hail her as their queen.\u003c/p>\n\u003cp>With her tight choreography, androgynous, wide-shouldered outfit and funky, all-woman band that included an expert horn section, Monáe’s set channeled a legacy of futuristic black pop that Janet and Michael Jackson and Prince pioneered over thirty years prior. In many ways, Monáe’s body of work builds on the themes Janet Jackson put forth in her music; Monáe’s work expands upon that legacy, adding queerness to the conversation as well.\u003c/p>\n\u003cp>\u003cem>Dirty Computer\u003c/em> (the album and short film) is arguably the most impactful pro-LGBTQ statement we’ve seen in mainstream pop all year, and Monáe’s expressions of queerness also celebrate and center blackness and femininity. That mindfulness of the intersections of our identities and how they shape life experience translated to her set. “You all learned about how I choose to love,” Monáe declared, alluding to the \u003cem>Rolling Stone\u003c/em> interview where she formally came out as pansexual. “No matter how you choose to love, what god you serve or what class you come from, you are welcome here.”\u003c/p>\n\u003cfigure id=\"attachment_13838833\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838833\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8229-800x533.jpg\" alt=\"Janelle Monáe performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8229.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8229-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8229-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8229-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8229-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8229-520x346.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Janelle Monáe performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jackson and Monáe’s sets, hours apart on the big Lands End stage, connected a legacy of black feminism past and present. And as Jackson later revealed on her Instagram, Monáe was in the audience cheering her on in a “Made For Now” T-shirt—a sweet display of camaraderie between the two artists.\u003c/p>\n\u003cp>Just a few years ago, it would have been hard to believe that Outside Lands—a fest traditionally associated with mostly white, male indie rock—would become the site of these powerful black feminist performances. But this year, as the festival put forth its most diverse lineup yet, it set the stage for a impactful statement, and Jackson and Monáe went above and beyond, eclipsing the rest of the day’s sets with their larger-than-life shows and empowering messages.\u003c/p>\n\u003cp>“With music by our side / To break the color lines / Let’s work together / To improve our way of life,” Jackson sang in her closing number, 1989’s “Rhythm Nation.” On Sunday at Outside Lands, she offered a glimmer of hope that that dream is still possible.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>More photos from Outside Lands\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13838872\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838872\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8495-800x533.jpg\" alt=\"Janet Jackson performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8495-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8495-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8495-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8495-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8495-520x346.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Janet Jackson performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838855\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838855\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8481-800x533.jpg\" alt=\"Salt N Pepa performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8481.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8481-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8481-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8481-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8481-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8481-520x346.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Salt N Pepa performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838852\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838852\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8442-Edit-800x533.jpg\" alt=\"James Blake performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8442-Edit.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8442-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8442-Edit-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8442-Edit-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8442-Edit-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8442-Edit-520x346.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">James Blake performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838841\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838841\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8332-800x533.jpg\" alt=\"The Internet performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8332.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8332-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8332-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8332-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8332-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8332-520x346.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Internet performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838839\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838839\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8316-800x533.jpg\" alt=\"The crowd at the Outside Lands music festival in San Francisco, Aug. 12, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8316.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8316-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8316-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8316-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8316-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8316-520x346.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the Outside Lands music festival in San Francisco, Aug. 12, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838848\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838848\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8385-800x533.jpg\" alt=\"LP performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8385.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8385-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8385-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8385-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8385-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8385-520x346.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">LP backstage at the Outside Lands music festival in San Francisco, Aug. 12, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838863\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838863\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8588-800x533.jpg\" alt=\"The crowd at the Outside Lands music festival in San Francisco, Aug. 12, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8588.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8588-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8588-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8588-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8588-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8588-520x346.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the Outside Lands music festival in San Francisco, Aug. 12, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838846\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8379-800x533.jpg\" alt=\"Portugal. The Man performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8379.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8379-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8379-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8379-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8379-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8379-520x346.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Portugal. The Man performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"title": "Five Local Bands Not to Miss at Outside Lands—And Other Essential Tips",
"headTitle": "Five Local Bands Not to Miss at Outside Lands—And Other Essential Tips | KQED",
"content": "\u003cp>A lot is different about \u003ca href=\"https://www.sfoutsidelands.com/lineup/#/\" target=\"_blank\" rel=\"noopener\">Outside Lands\u003c/a> this year. The music and arts festival kicks off its 11th edition on Aug. 10, when thousands of concertgoers will descend upon Golden Gate Park for three days of music, comedy, food, beer and art.\u003c/p>\n\u003cp>For one, the fest finally booked female headliners for the first time in its history: Florence + the Machine on Saturday and Janet Jackson on Sunday.\u003c/p>\n\u003cp>And in addition to its food and beverage offerings, this year’s edition will introduce \u003ca href=\"https://www.sfoutsidelands.com/grass-lands/\" target=\"_blank\" rel=\"noopener\">Grass Lands\u003c/a>, a town square-style showcase of Northern California’s cannabis offerings. (This is just to look and smell. You still can’t buy weed at the fest—sorry.)\u003c/p>\n\u003cp>Entertainment other than music is becoming more prominent at Outside Lands as well: \u003ca href=\"https://www.sfoutsidelands.com/lineup/#/lineup_groupings/the-barbary\" target=\"_blank\" rel=\"noopener\">The Barbary\u003c/a>, its improv and comedy stage, stars \u003cem>Brooklyn Nine-Nine\u003c/em>‘s Chelsea Peretti, as well as Michelle Wolf, the \u003cem>Daily Show\u003c/em> contributor and \u003ca href=\"https://www.washingtonpost.com/news/reliable-source/wp/2018/04/29/the-many-reactions-to-michelle-wolfs-speech-from-trump-saying-she-bombed-to-kumail-nanjianis-support/?utm_term=.cd5626d5420f\" target=\"_blank\" rel=\"noopener\">nemesis of the Trump administration\u003c/a>. And the \u003ca href=\"https://www.sfoutsidelands.com/gastromagic/\" target=\"_blank\" rel=\"noopener\">Gastro Magic Stage\u003c/a>, which is all about food, features outspoken Brooklyn chef and author Eddie Huang (whose memoir inspired the hit series \u003cem>Fresh Off the Boat\u003c/em>) and Matty Matheson, whose Vice show makes him seem like an extremely entertaining dining companion.\u003c/p>\n\u003cp>While dressing for the cold and dusty terrain of Golden Gate Park and the struggle to find parking are givens (check out our \u003ca href=\"https://www.kqed.org/arts/10139926/how-to-survive-outside-lands-a-veterans-guide\" target=\"_blank\" rel=\"noopener\">Outside Lands survival guide\u003c/a>), there’s another big change: this year, Outside Lands has introduced a clear bag policy. Word to the wise: either bring your PKW (that’s phone, keys and wallet) in your pockets, or invest in a clear backpack or purse from Amazon, Target or just about any school supply store. The clear bag policy is becoming a staple of other festivals, including June’s Clusterfest in Civic Center, so it will likely come in handy again.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But, back to the music. In addition to tons of exciting mainstream acts at \u003ca href=\"https://www.kqed.org/arts/13828518/outside-lands-lineup-announced-janet-jackson-the-weeknd-headline\" target=\"_blank\" rel=\"noopener\">this year’s Outside Lands\u003c/a> (Janelle Monae! Future! The Internet! N.E.R.D.!), there’s a wealth of local talent represented on the lineup.\u003c/p>\n\u003cp>https://youtu.be/WM5yCRiSQPY\u003c/p>\n\u003cp>Don’t miss SOB x RBE, the Vallejo upstarts whose “Anti” blasted from what sounded like every car window throughout 2016 and 2017. The four-piece has since risen to national prominence through their fiery track on the \u003cem>Black Panther\u003c/em> soundtrack, “\u003ca href=\"https://youtu.be/W2_A89qTgwM\" target=\"_blank\" rel=\"noopener\">Paramedic\u003c/a>.” Recently, the group’s biggest star, Yhung T.O., inked a solo deal with Interscope. It’s unclear what lies ahead for SOB x RBE as a collective, so Outside Lands will be a good opportunity to catch them live as a unit. They perform at the Twin Peaks stage on Saturday, Aug. 11, at 5:20pm.\u003c/p>\n\u003cp>https://youtu.be/Hm3cf3jsWNw\u003c/p>\n\u003cp>Shannon and the Clams are also hitting the Outside Lands stage for the first time this year. The group came up in Oakland’s warehouse scene, performing in clandestine venues and dusty basements for years before getting their big break. Recently, they worked with Dan Auerbach of the Black Keys at his Easy Eye Sound label. Shannon and the Clams’ Outside Lands set will be a victory for these mainstays of the local punk scene. They perform at the Twin Peaks stage on Friday, Aug. 10, at 12:40 pm.\u003c/p>\n\u003cp>https://youtu.be/tJBqGe88-9A\u003c/p>\n\u003cp>Similar to Shannon and the Clams’ retro sensibilities, Oakland’s Dick Stusso lends a modern twist to his blues and rock’n’roll guitar stylings, which conjure long road trips in an old-school Cadillac. He performs Sunday, Aug. 12 at noon at the Panhandle Stage.\u003c/p>\n\u003cp>https://youtu.be/N4nhBG8NDC0\u003c/p>\n\u003cp>The T Sisters have been blessing the Bay Area with their beautiful three-part harmonies and bluegrass, folk and indie instrumentation for years now. They perform on the Sutro Stage on Sunday, Aug. 12, at noon.\u003c/p>\n\u003cp>https://youtu.be/8dHAWTzD5SE\u003c/p>\n\u003cp>Caleborate has been winning Bay Area hip-hop fans’ hearts and minds since 2015, when he came onto the scene with his confessional debut, \u003cem>Hella Good\u003c/em>. The Sacramento native raps about coming of age in his adopted home of Berkeley. His latest album, \u003cem>Real Person\u003c/em>, is endearingly confessional and candid. After slaying local clubs, he’s ready for the big festival stage. Caleborate performs on the Panhandle Stage on Friday, Aug. 10, at 4:30pm.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Outside Lands takes place Aug. 10–12 in Golden Gate Park. Details \u003ca href=\"https://www.sfoutsidelands.com/lineup/#/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A lot is different about \u003ca href=\"https://www.sfoutsidelands.com/lineup/#/\" target=\"_blank\" rel=\"noopener\">Outside Lands\u003c/a> this year. The music and arts festival kicks off its 11th edition on Aug. 10, when thousands of concertgoers will descend upon Golden Gate Park for three days of music, comedy, food, beer and art.\u003c/p>\n\u003cp>For one, the fest finally booked female headliners for the first time in its history: Florence + the Machine on Saturday and Janet Jackson on Sunday.\u003c/p>\n\u003cp>And in addition to its food and beverage offerings, this year’s edition will introduce \u003ca href=\"https://www.sfoutsidelands.com/grass-lands/\" target=\"_blank\" rel=\"noopener\">Grass Lands\u003c/a>, a town square-style showcase of Northern California’s cannabis offerings. (This is just to look and smell. You still can’t buy weed at the fest—sorry.)\u003c/p>\n\u003cp>Entertainment other than music is becoming more prominent at Outside Lands as well: \u003ca href=\"https://www.sfoutsidelands.com/lineup/#/lineup_groupings/the-barbary\" target=\"_blank\" rel=\"noopener\">The Barbary\u003c/a>, its improv and comedy stage, stars \u003cem>Brooklyn Nine-Nine\u003c/em>‘s Chelsea Peretti, as well as Michelle Wolf, the \u003cem>Daily Show\u003c/em> contributor and \u003ca href=\"https://www.washingtonpost.com/news/reliable-source/wp/2018/04/29/the-many-reactions-to-michelle-wolfs-speech-from-trump-saying-she-bombed-to-kumail-nanjianis-support/?utm_term=.cd5626d5420f\" target=\"_blank\" rel=\"noopener\">nemesis of the Trump administration\u003c/a>. And the \u003ca href=\"https://www.sfoutsidelands.com/gastromagic/\" target=\"_blank\" rel=\"noopener\">Gastro Magic Stage\u003c/a>, which is all about food, features outspoken Brooklyn chef and author Eddie Huang (whose memoir inspired the hit series \u003cem>Fresh Off the Boat\u003c/em>) and Matty Matheson, whose Vice show makes him seem like an extremely entertaining dining companion.\u003c/p>\n\u003cp>While dressing for the cold and dusty terrain of Golden Gate Park and the struggle to find parking are givens (check out our \u003ca href=\"https://www.kqed.org/arts/10139926/how-to-survive-outside-lands-a-veterans-guide\" target=\"_blank\" rel=\"noopener\">Outside Lands survival guide\u003c/a>), there’s another big change: this year, Outside Lands has introduced a clear bag policy. Word to the wise: either bring your PKW (that’s phone, keys and wallet) in your pockets, or invest in a clear backpack or purse from Amazon, Target or just about any school supply store. The clear bag policy is becoming a staple of other festivals, including June’s Clusterfest in Civic Center, so it will likely come in handy again.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But, back to the music. In addition to tons of exciting mainstream acts at \u003ca href=\"https://www.kqed.org/arts/13828518/outside-lands-lineup-announced-janet-jackson-the-weeknd-headline\" target=\"_blank\" rel=\"noopener\">this year’s Outside Lands\u003c/a> (Janelle Monae! Future! The Internet! N.E.R.D.!), there’s a wealth of local talent represented on the lineup.\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/WM5yCRiSQPY'\n title='//www.youtube.com/embed/WM5yCRiSQPY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Don’t miss SOB x RBE, the Vallejo upstarts whose “Anti” blasted from what sounded like every car window throughout 2016 and 2017. The four-piece has since risen to national prominence through their fiery track on the \u003cem>Black Panther\u003c/em> soundtrack, “\u003ca href=\"https://youtu.be/W2_A89qTgwM\" target=\"_blank\" rel=\"noopener\">Paramedic\u003c/a>.” Recently, the group’s biggest star, Yhung T.O., inked a solo deal with Interscope. It’s unclear what lies ahead for SOB x RBE as a collective, so Outside Lands will be a good opportunity to catch them live as a unit. They perform at the Twin Peaks stage on Saturday, Aug. 11, at 5:20pm.\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/Hm3cf3jsWNw'\n title='//www.youtube.com/embed/Hm3cf3jsWNw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Shannon and the Clams are also hitting the Outside Lands stage for the first time this year. The group came up in Oakland’s warehouse scene, performing in clandestine venues and dusty basements for years before getting their big break. Recently, they worked with Dan Auerbach of the Black Keys at his Easy Eye Sound label. Shannon and the Clams’ Outside Lands set will be a victory for these mainstays of the local punk scene. They perform at the Twin Peaks stage on Friday, Aug. 10, at 12:40 pm.\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/tJBqGe88-9A'\n title='//www.youtube.com/embed/tJBqGe88-9A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Similar to Shannon and the Clams’ retro sensibilities, Oakland’s Dick Stusso lends a modern twist to his blues and rock’n’roll guitar stylings, which conjure long road trips in an old-school Cadillac. He performs Sunday, Aug. 12 at noon at the Panhandle Stage.\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/N4nhBG8NDC0'\n title='//www.youtube.com/embed/N4nhBG8NDC0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The T Sisters have been blessing the Bay Area with their beautiful three-part harmonies and bluegrass, folk and indie instrumentation for years now. They perform on the Sutro Stage on Sunday, Aug. 12, at noon.\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/8dHAWTzD5SE'\n title='//www.youtube.com/embed/8dHAWTzD5SE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Caleborate has been winning Bay Area hip-hop fans’ hearts and minds since 2015, when he came onto the scene with his confessional debut, \u003cem>Hella Good\u003c/em>. The Sacramento native raps about coming of age in his adopted home of Berkeley. His latest album, \u003cem>Real Person\u003c/em>, is endearingly confessional and candid. After slaying local clubs, he’s ready for the big festival stage. Caleborate performs on the Panhandle Stage on Friday, Aug. 10, at 4:30pm.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Outside Lands takes place Aug. 10–12 in Golden Gate Park. Details \u003ca href=\"https://www.sfoutsidelands.com/lineup/#/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Janelle Monae to Host 'Dirty Computer' Screening at Feels 6 Art Preview",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://www.eventbrite.com/e/feels-6-with-kelis-princess-nokia-mykki-blanco-more-tickets-45007616994\" target=\"_blank\" rel=\"noopener\">Feels 6\u003c/a>, an Oakland-born art and music fest, is resurfacing in Richmond on June 16 after a two year lull, with headliners Kelis, Princess Nokia and Mykki Blanco. And Wine & Bowties, the creative collective behind the event, announced Friday morning that the visual art preview on June 15 will feature \u003ca href=\"https://www.eventbrite.com/e/janelle-monaes-dirty-computer-pop-up-screening-at-feels-6-tickets-47097938201\" target=\"_blank\" rel=\"noopener\">a screening\u003c/a> of Janelle Monáe’s “emotion picture,” or short film, \u003cem>Dirty Computer\u003c/em>, hosted by the artist herself.\u003c/span>\u003c/p>\n\u003cp>Previously, the June 15 art preview was for VIP ticket holders only, but there are now a limited number of free spots to attend the screening with Monáe, and \u003ca href=\"https://www.eventbrite.com/e/janelle-monaes-dirty-computer-pop-up-screening-at-feels-6-tickets-47097938201\" target=\"_blank\" rel=\"noopener\">RSVP\u003c/a> is required. The June 15 event also features a solo performance from experimental singer-songwriter Lonnie Holley and short film screenings from filmmakers Yetunde Olagbaju, Summer Mason, Mark Sabb, Laneya Billingsley and more.\u003c/p>\n\u003cp>This year’s Feels is unlike previous editions. Once held at the industrial warehouse American Steel in West Oakland, the party made the move to Craneway Pavilion, a glass-paneled, 45,000-square-foot concert hall with views of the San Francisco Bay, following the sale of its previous location.\u003c/p>\n\u003cfigure id=\"attachment_13829093\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829093\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/spellling-at-feels-bampfa-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/spellling-at-feels-bampfa-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/spellling-at-feels-bampfa-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/spellling-at-feels-bampfa-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/spellling-at-feels-bampfa-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/spellling-at-feels-bampfa.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/spellling-at-feels-bampfa-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/spellling-at-feels-bampfa-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/spellling-at-feels-bampfa-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/spellling-at-feels-bampfa-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/spellling-at-feels-bampfa-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Spellling performs at Wine & Bowties’ Feels 6 announcement party at the Berkeley Art Museum and Pacific Film Archive on Apr. 10, 2018. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This year’s event has a notable majority of female and LGBTQ performers on its musical lineup. Rappers Queens D. Light and Siri; DJs Fela Kutchii, B-Side Brujas, Namaste Shawty and Russell E.L. Butler; and experimental singer-songwriter Spellling are featured on the bill, in addition to rising rappers Allblack and Rexx Life Raj and electronic musician Yves Tumor.\u003c/p>\n\u003cp>The visual arts lineup includes Chaz Bear, Kesh, Sadie Barnette, Zack Fox, Dicko Chan, Jeffrey Cheung, Sofía Córdova, Muae Sesay, Ali Madigan, Azha Ayanna Luckman, David Huffman, House of Milico, Sko Habibi, Ezra Miller, Mark Sabb, Oliva Krause, Rewina Beshue, Jjaahz, Laneya Billingsley and Flatspot. Details \u003ca href=\"http://feels6.tv/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://www.eventbrite.com/e/feels-6-with-kelis-princess-nokia-mykki-blanco-more-tickets-45007616994\" target=\"_blank\" rel=\"noopener\">Feels 6\u003c/a>, an Oakland-born art and music fest, is resurfacing in Richmond on June 16 after a two year lull, with headliners Kelis, Princess Nokia and Mykki Blanco. And Wine & Bowties, the creative collective behind the event, announced Friday morning that the visual art preview on June 15 will feature \u003ca href=\"https://www.eventbrite.com/e/janelle-monaes-dirty-computer-pop-up-screening-at-feels-6-tickets-47097938201\" target=\"_blank\" rel=\"noopener\">a screening\u003c/a> of Janelle Monáe’s “emotion picture,” or short film, \u003cem>Dirty Computer\u003c/em>, hosted by the artist herself.\u003c/span>\u003c/p>\n\u003cp>Previously, the June 15 art preview was for VIP ticket holders only, but there are now a limited number of free spots to attend the screening with Monáe, and \u003ca href=\"https://www.eventbrite.com/e/janelle-monaes-dirty-computer-pop-up-screening-at-feels-6-tickets-47097938201\" target=\"_blank\" rel=\"noopener\">RSVP\u003c/a> is required. The June 15 event also features a solo performance from experimental singer-songwriter Lonnie Holley and short film screenings from filmmakers Yetunde Olagbaju, Summer Mason, Mark Sabb, Laneya Billingsley and more.\u003c/p>\n\u003cp>This year’s Feels is unlike previous editions. Once held at the industrial warehouse American Steel in West Oakland, the party made the move to Craneway Pavilion, a glass-paneled, 45,000-square-foot concert hall with views of the San Francisco Bay, following the sale of its previous location.\u003c/p>\n\u003cfigure id=\"attachment_13829093\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829093\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/spellling-at-feels-bampfa-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/spellling-at-feels-bampfa-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/spellling-at-feels-bampfa-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/spellling-at-feels-bampfa-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/spellling-at-feels-bampfa-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/spellling-at-feels-bampfa.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/spellling-at-feels-bampfa-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/spellling-at-feels-bampfa-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/spellling-at-feels-bampfa-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/spellling-at-feels-bampfa-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/spellling-at-feels-bampfa-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Spellling performs at Wine & Bowties’ Feels 6 announcement party at the Berkeley Art Museum and Pacific Film Archive on Apr. 10, 2018. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This year’s event has a notable majority of female and LGBTQ performers on its musical lineup. Rappers Queens D. Light and Siri; DJs Fela Kutchii, B-Side Brujas, Namaste Shawty and Russell E.L. Butler; and experimental singer-songwriter Spellling are featured on the bill, in addition to rising rappers Allblack and Rexx Life Raj and electronic musician Yves Tumor.\u003c/p>\n\u003cp>The visual arts lineup includes Chaz Bear, Kesh, Sadie Barnette, Zack Fox, Dicko Chan, Jeffrey Cheung, Sofía Córdova, Muae Sesay, Ali Madigan, Azha Ayanna Luckman, David Huffman, House of Milico, Sko Habibi, Ezra Miller, Mark Sabb, Oliva Krause, Rewina Beshue, Jjaahz, Laneya Billingsley and Flatspot. Details \u003ca href=\"http://feels6.tv/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "nine-new-murals-to-see-in-oakland-this-summer",
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"content": "\u003cp>After last month’s \u003ca href=\"http://bamfestival.boomity.com/home\" target=\"_blank\" rel=\"noopener\">Oakland Mural Festival\u003c/a>, Oakland’s already-rich street art scene gained nine more stunning surfaces coated with public art. KQED Arts takes you on a tour to find out more about the artists and inspirations behind the murals.\u003c/p>\n\u003cfigure id=\"attachment_13834332\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13834332 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/OakMural-7-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-7-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-7-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-7-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-7-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-7-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-7-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-7-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-7-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-7.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Turfin” mural featuring the likeness of turf dancer No Noiz aka Noh Justice by Lower Bottoms Collective as part of Oakland Mural Festival 2018. \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Turfin”\u003c/h2>\n\u003cp>\u003cb>Martin Luther King Jr Way and Embarcadero West\u003cbr>\n\u003ca href=\"http://www.creativeshields.com/\" target=\"_blank\" rel=\"noopener\">Creative Shields\u003c/a> a.k.a. Lower Bottoms Collective\u003c/b>\u003c/p>\n\u003cp>High above the train tracks on MLK and Embarcadero West, a turf dancer moves across a glowing Oakland skyline. Rocks quake under the weight of his steps and as he slides his way over massive concrete slabs and takes his first step right out of the frame.\u003c/p>\n\u003cp>“The mission of this was to represent authentic Oakland culture. We saw that possibility through turf dancing and showing that movement on the canvas,” explains James Shields, founder of Creative Shields and creator of the \u003ci>Hip Hop Coloring Book\u003c/i>. But why this mural, and why now?\u003c/p>\n\u003cp>“I feel like we have been losing the true authenticity in Oakland by having so many people come in and take over our equity out here—our space,” says Timothy B., an artist born and raised in Oakland.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The muse behind the mural is turf dancer Noh Justice (a.k.a. Nonoiz). When talking about his dance style, Noh Justice sums it up simply with what he calls “a hood ballet.” With turf dance, the creative process starts with anything around him: “Mainly our stories and our lives and things we don’t like to talk about.” It’s not the first mural he’s found himself starring in; he routinely (and proudly) points out another three Oakland walls to his kids.\u003c/p>\n\u003cp>The rocks floating around the dancer capture the force of his moves. “It shows he’s making an impact,” says Timothy, referencing the Hindu god Shiva, who destroys and recreates the world around him. “To me, he’s dancing for change. He’s making an impact and destroying his surroundings to create change for a new way of being.”\u003c/p>\n\u003cp>\u003cem>Follow their work on Instagram: \u003ca href=\"https://www.instagram.com/creativeshields/\" target=\"_blank\" rel=\"noopener\">@creativeshields\u003c/a>, \u003ca href=\"https://www.instagram.com/timothyb_art/\">@timothyb_art\u003c/a>, \u003ca href=\"https://www.instagram.com/chuckinglights/\" target=\"_blank\" rel=\"noopener\">@chuckinglights\u003c/a> and \u003ca href=\"https://www.instagram.com/berj.j.berj/\">@berj.j.berj\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13834333\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834333\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/OakMural-4-800x464.jpg\" alt=\"\" width=\"800\" height=\"464\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-4-800x464.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-4-160x93.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-4-768x445.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-4-1020x591.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-4-960x556.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-4-240x139.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-4-375x217.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-4-520x301.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-4.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artists Jack and Alise Eastgate review their completed work ‘Warmer Waters’ on the final day of Oakland Mural Festival 2018. \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Warmer Waters’\u003c/h2>\n\u003cp>\u003cb>Martin Luther King Jr Way and 2nd\u003cbr>\n\u003ca href=\"http://www.aliseeastgate.com\" target=\"_blank\" rel=\"noopener\">Alise\u003c/a> and\u003ca href=\"http://www.jackeastgate.com\"> Jack\u003c/a> Eastgate\u003c/b>\u003c/p>\n\u003cp>Just blocks from the Jack London Inner Harbor, a little girl valiantly rides a whale moving westward. In \u003ci>Warmer Waters\u003c/i> (also known fondly as “Whale Rider”), artists Alise and Jack Eastgate play with movement across time and space. The whale reflects the presence of ancestors, while the little girl, adorned with symbols native to Fiji, stands between the present and future.\u003c/p>\n\u003cp>And their work is timely. Just days before completion, news broke of a beached whale found in the Jack London estuary. The industrialization of the oceans and the waning rights of people to freely move across borders inspire the Oakland-based muralists.\u003c/p>\n\u003cp>“A lot of things felt right about this wall,” says Alise. Located at 679 2nd Street, the two noted the serendipity of the address. 679 is the area code for Fiji, Jack’s birthplace, while the blooming magnolia tree just overhead brings a sense of nostalgia to Louisiana-born Alise.\u003c/p>\n\u003cp>\u003cem>Follow Alise & Jack Eastgate’s work on Instagram at \u003ca href=\"https://www.instagram.com/eastrandstudios/\">@eastrandstudios\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13834334\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834334\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/OakMural-6-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-6-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-6-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-6-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-6-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-6-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-6-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-6-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-6-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-6.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Know Your Ancestors’ by Mike “Bam” Tyau and Jesus Rodriguez overlooks Martin Luther King Way and 2nd Street near the Port of Oakland. \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Know Your Ancestors’\u003c/h2>\n\u003cp>\u003cb>Martin Luther King Jr Way and Embarcadero West\u003cbr>\n\u003ca href=\"http://miketyau.com\" target=\"_blank\" rel=\"noopener\">Mike “Bam” Tyau\u003c/a> and \u003ca href=\"https://www.josedejesusrodriguez.com\" target=\"_blank\" rel=\"noopener\">Jesus Rodriguez\u003c/a>\u003c/b>\u003c/p>\n\u003cp>In their latest collaboration, Mike “Bam” Tyau and Jesus Rodriguez pay vibrant homage to their roots. “Besides the Olmec and Chinese motifs as ancestral guardian totems, we painted these to remind people to go to their pillars of support during these trying times,” Mike wrote in an Instagram post at the end of the seven-day-long Oakland Mural Festival.\u003c/p>\n\u003cp>Foliage and mountains encompass two figures, references to the artists’ ancestral homelands. For Tyau, the leaves of the plants ground the composition with symbols pointing back to Mother Earth.\u003c/p>\n\u003cp>\u003cem>Follow Mike “Bam” Tyau and Jesus Rodriguez on Instagram at \u003ca href=\"https://www.instagram.com/miketyau/\" target=\"_blank\" rel=\"noopener\">@miketyau\u003c/a> and \u003ca href=\"https://www.instagram.com/ease_us/\" target=\"_blank\" rel=\"noopener\">@ease_us\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13834338\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13834338 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/OakMural-10-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-10-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-10-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-10-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-10-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-10-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-10-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-10-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-10-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-10.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">New work ‘Embassy of the Refugee’ by Caleb Duarte coming soon to Broadway and 2nd Street. \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Embassy Of The Refugee’\u003c/h2>\n\u003cp>\u003cb>2nd and Broadway\u003cbr>\n\u003ca href=\"http://www.calebduarte.org/\" target=\"_blank\" rel=\"noopener\">Caleb Duarte\u003c/a> and Youth from Embassy of the Refugee Project\u003c/b>\u003c/p>\n\u003cp>“Our ability to create myth in order to understand certain realities; is what we do,” Duarte wrote on Instagram, under the image of his latest work. “Those of us with no political or economic power, exiles or displaced working people, turn to the creation of the ‘embassy of the refugee’… as a form of exercising a magical realism in order to thrive.”\u003c/p>\n\u003cp>Straddling a busy street that connects some of Oakland’s homeless encampments with million-dollar condos, Duarte’s silhouette of a figure pushing a shopping cart posits a powerful statement on the pursuit of finding “home.”\u003c/p>\n\u003cp>\u003cem>Follow Caleb Duarte on Instagram at \u003ca href=\"https://www.instagram.com/caleb_arte_/\" target=\"_blank\" rel=\"noopener\">@caleb_arte_\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13834339\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834339\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/OakMural-5-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-5-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-5-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-5-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-5-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-5-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-5-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-5-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-5.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Trust Your Struggle collective unveiled their newest collaboration ‘Oakland Dreams’ as part of Oakland Mural Festival 2018. \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Oakland Dreams’\u003c/h2>\n\u003cp>\u003cb>4th and Webster\u003cbr>\n\u003ca href=\"http://trustyourstruggle.com\" target=\"_blank\" rel=\"noopener\">Trust Your Struggle Collective\u003c/a>\u003c/b>\u003c/p>\n\u003cp>Two hands rise, palms open, up a wall. For the artists of Trust Your Struggle Collective, they simultaneously signify the power to hold on to, and reach for, your dreams.\u003c/p>\n\u003cp>Perhaps the most visually striking element of the collective’s mural are the two large words spanning the sun-soaked wall: “Oakland Dreams.” The second word pays homage to one of the founding members of the TDK (Those Damn Kids) aerosol collective, Mike “Dream” Francisco, who lost his life to gun violence in a senseless street robbery in 2000.\u003c/p>\n\u003cp>Images of flora and fauna run subtly throughout the mural. A lotus—a symbol often associated with transcendence—blooms from the sidewalk while a yellow hummingbird emerges from a red triangle glistening in the sun. Some interpretations of the hummingbird link back to the Aztec god Huitzilopochtli, a deity associated with the resurrection of a fallen warrior.\u003c/p>\n\u003cp>\u003cem>Follow Trust Your Struggle Collective on Instagram at \u003ca href=\"https://www.instagram.com/trustyourstrugglecollective/\" target=\"_blank\" rel=\"noopener\">@TrustYourStruggleCollective\u003c/a>, \u003ca href=\"https://www.instagram.com/erinyoshi/\" target=\"_blank\" rel=\"noopener\">@erinyoshi\u003c/a>, \u003ca href=\"https://www.instagram.com/nisha.k.sethi/\" target=\"_blank\" rel=\"noopener\">@Nisha.k.Sethi\u003c/a> and \u003ca href=\"https://www.instagram.com/misterbouncer/\" target=\"_blank\" rel=\"noopener\">@misterbouncer\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13834340\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13834340 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/OakMural-2-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-2-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-2.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">This mural of a giant rooster and the symbol ‘Han’ by Dave Young Kim and Erik T Burke is imbued with the symbolism of resistance. \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Han’\u003c/h2>\n\u003cp>\u003cb>3rd and Webster\u003cbr>\n\u003ca href=\"https://www.daveyoungkim.com/\" target=\"_blank\" rel=\"noopener\">Dave Young Kim\u003c/a> and \u003ca href=\"http://eriktburke.com\" target=\"_blank\" rel=\"noopener\">Erik Burke\u003c/a>\u003c/b>\u003c/p>\n\u003cp>Even though this mural revolves around just three core elements—a way-larger-than-life rooster, a Chinese character and a “rising sun”—Dave Young Kim and Erik Burke’s newest work is anything but simple.\u003c/p>\n\u003cp>“The rooster traditionally symbolizes tenaciousness, never giving up,” Kim shared in an Instagram post. And in the composition, the rooster reigns supreme in spite of the Chinese symbol “恨,” pronounced “han” in Korean, that towers over its head.\u003c/p>\n\u003cp>To Kim, the symbol represents a feeling that being downtrodden could be both a burden and a source of empowerment. “It could crush you, or you could rise up and fight til the end,” he says.\u003c/p>\n\u003cp>Fittingly, the mural also gives a nod to Jack London, the prolific author who spent most of his childhood frequenting the waterfront district that now bears his name. Instead of a sun, a circular frame depicts a lone figure in a snowy landscape, facing a radiant fire for warmth. It’s painted after a photograph Burke fixated on for a long time, inspired by a scene in London’s short story “To Build A Fire.”\u003c/p>\n\u003cp>Reflecting on \u003ci>Han\u003c/i>, Kim says he found his “mural soulmate” when working with Burke. They had plenty of time to bond in the two-and-a-half days of long working hours.\u003c/p>\n\u003cp>\u003cem>Follow Dave Young Kim and Erik Burke on Instagram at \u003ca href=\"https://www.instagram.com/daveyoungkim/\" target=\"_blank\" rel=\"noopener\">@daveyoungkim\u003c/a> and \u003ca href=\"https://www.instagram.com/ou35/\" target=\"_blank\" rel=\"noopener\">@ou35\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13834341\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834341\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/OakMural-3-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-3-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-3-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-3-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-3-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-3.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A collaborative work between Los Pobres Artistas muralist collective and students of Oakland International High School present two words ‘Earth’ and ‘Sanctuary.’ \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Sanctuary Earth’\u003c/h2>\n\u003cp>\u003cb>4th and Webster\u003cbr>\n\u003ca href=\"http://lospobresartistas.com\" target=\"_blank\" rel=\"noopener\">Los Pobres Artists\u003c/a> and students from Oakland International High School\u003c/b>\u003c/p>\n\u003cp>Seven students and members of Los Pobres Artistas focused their creative energies on distilling images from the global refugee crisis. Sprawled across the right and the left sides of the mural are two words in all caps “EARTH” and “SANCTUARY.” At the center, giant hands support a raft filled with female refugees. In the foreground, schools of orange fish rise and fall as if to guide the raft safely to shore.\u003c/p>\n\u003cp>According to Los Pobres co-founder Thomas Jones, the mural stands for the idea that Earth can be a sanctuary for everybody.\u003c/p>\n\u003cp>\u003cem>Follow their work on Instagram \u003ca href=\"https://www.instagram.com/lospobresartistas/\" target=\"_blank\" rel=\"noopener\">@lospobresartistsas\u003c/a>, \u003ca href=\"https://www.instagram.com/hooperarts/\" target=\"_blank\" rel=\"noopener\">@hooperart\u003c/a>, \u003ca href=\"https://www.instagram.com/kilimunoz/\" target=\"_blank\" rel=\"noopener\">@kilimunoz\u003c/a>, \u003ca href=\"https://www.instagram.com/frederickoalvarado/\" target=\"_blank\" rel=\"noopener\">@frederickoalvarado\u003c/a> and \u003ca href=\"https://www.instagram.com/thomasjones_m/\" target=\"_blank\" rel=\"noopener\">@thomasjones_m\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13834342\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834342\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/OakMural-15-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-15-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-15-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-15-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-15-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-15-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-15-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-15-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-15-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-15.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The unnamed work by Susan Green and Art Forces spans the back wall of SeaWolf Public House. \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Unnamed\u003c/h2>\n\u003cp>\u003cb>4th and Webster\u003cbr>\n\u003ca href=\"http://susangreene.org/art-forces/\" target=\"_blank\" rel=\"noopener\">Susan Greene and Art Forces\u003c/a>\u003c/b>\u003c/p>\n\u003cp>Spanning the rear wall of Seawolf Public House, catch a golden-hued scene in which Cheemah, the “Mother of the Spirit-Fire” descends onto the Port of Oakland atop a giant eagle. Locals might instantly recognize the figure from a bronze statue placed in Jack London Square. Originally sculpted by Osprey Orielle Lake, the mythic being stands for “cultural diversity, world unity and care for the earth.”\u003c/p>\n\u003cp>And while the moment might look idyllic, a somewhat menacing clue stands out in the foreground. Two ships, halfway to shore, allude to the terrible reality of a colonized past.\u003c/p>\n\u003cp>\u003cem>Follow them on Instagram at \u003ca href=\"https://www.instagram.com/artforces/\" target=\"_blank\" rel=\"noopener\">@artforces\u003c/a>, \u003ca href=\"https://www.instagram.com/_attril/\" target=\"_blank\" rel=\"noopener\">@_attril\u003c/a>, \u003ca href=\"https://www.instagram.com/maxallbee/\" target=\"_blank\" rel=\"noopener\">@maxallbee\u003c/a>, \u003ca href=\"https://www.instagram.com/francolafresh/\" target=\"_blank\" rel=\"noopener\">@francolafresh\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13834343\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834343\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/OakMural-13-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-13-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-13-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-13-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-13-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-13-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-13-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-13-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-13-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-13.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A tribute to Oakland’s elders and youth in one sprawling work by David Burke and friends.\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Love Letter To Oakland’\u003c/h2>\n\u003cp>\u003cb>4th and Oak\u003cbr>\n\u003ca href=\"http://www.dburke.org/\">David Burke\u003c/a>\u003c/b>\u003c/p>\n\u003cp>In the photo-realistic \u003ci>A Love Letter to Oakland\u003c/i>, Burke and his collaborators bridge two generations. On the left, two Oakland artists, Tureeda Mikell and James Gayles, reach out across the downtown Oakland skyline toward two emerging local heroes — well-known muralist DJ Agana and youth activist Samuel Getachew. Between them, a glow lights their faces.\u003c/p>\n\u003cp>A satellite view of Oakland streets extends across the concrete canvas like roots—an enduring symbol of the city. In an interview with the \u003cem>East Bay Express\u003c/em>, Burke calls out the importance of the festival that allowed for his most recent collaboration: “[The mural] becomes part of their collective experience,” Burke said, “and must reflect the stories, the diversity, the values and the histories of that community.”\u003c/p>\n\u003cp>\u003cem>Follow David Burke and his collaborators on Instagram at \u003ca href=\"https://www.instagram.com/davidburke_studio/\" target=\"_blank\" rel=\"noopener\">@DavidBurke_Studio\u003c/a>, \u003ca href=\"https://www.instagram.com/joevicyeban/\" target=\"_blank\" rel=\"noopener\">@joevicyeban\u003c/a>, \u003ca href=\"https://www.instagram.com/dorias_brannon/\" target=\"_blank\" rel=\"noopener\">@dorias_brannon\u003c/a>, \u003ca href=\"https://www.instagram.com/blacksphinxofquartz/\" target=\"_blank\" rel=\"noopener\">@blacksphinxofquartz\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cb>To make seeing these beautiful works easier, here’s a map to all the locations:\u003c/b>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.google.com/maps/d/embed?mid=1RyJwtH-ua5rYKrDET0kKYSXgdfhyMUZ1\" width=\"640\" height=\"480\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\n",
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"excerpt": "Thanks to the Oakland Mural Fest, the Town now has even more public art to purview.",
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"title": "Nine New Murals To See in Oakland This Summer | KQED",
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"headline": "Nine New Murals To See in Oakland This Summer",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After last month’s \u003ca href=\"http://bamfestival.boomity.com/home\" target=\"_blank\" rel=\"noopener\">Oakland Mural Festival\u003c/a>, Oakland’s already-rich street art scene gained nine more stunning surfaces coated with public art. KQED Arts takes you on a tour to find out more about the artists and inspirations behind the murals.\u003c/p>\n\u003cfigure id=\"attachment_13834332\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13834332 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/OakMural-7-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-7-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-7-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-7-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-7-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-7-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-7-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-7-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-7-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-7.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Turfin” mural featuring the likeness of turf dancer No Noiz aka Noh Justice by Lower Bottoms Collective as part of Oakland Mural Festival 2018. \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Turfin”\u003c/h2>\n\u003cp>\u003cb>Martin Luther King Jr Way and Embarcadero West\u003cbr>\n\u003ca href=\"http://www.creativeshields.com/\" target=\"_blank\" rel=\"noopener\">Creative Shields\u003c/a> a.k.a. Lower Bottoms Collective\u003c/b>\u003c/p>\n\u003cp>High above the train tracks on MLK and Embarcadero West, a turf dancer moves across a glowing Oakland skyline. Rocks quake under the weight of his steps and as he slides his way over massive concrete slabs and takes his first step right out of the frame.\u003c/p>\n\u003cp>“The mission of this was to represent authentic Oakland culture. We saw that possibility through turf dancing and showing that movement on the canvas,” explains James Shields, founder of Creative Shields and creator of the \u003ci>Hip Hop Coloring Book\u003c/i>. But why this mural, and why now?\u003c/p>\n\u003cp>“I feel like we have been losing the true authenticity in Oakland by having so many people come in and take over our equity out here—our space,” says Timothy B., an artist born and raised in Oakland.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The muse behind the mural is turf dancer Noh Justice (a.k.a. Nonoiz). When talking about his dance style, Noh Justice sums it up simply with what he calls “a hood ballet.” With turf dance, the creative process starts with anything around him: “Mainly our stories and our lives and things we don’t like to talk about.” It’s not the first mural he’s found himself starring in; he routinely (and proudly) points out another three Oakland walls to his kids.\u003c/p>\n\u003cp>The rocks floating around the dancer capture the force of his moves. “It shows he’s making an impact,” says Timothy, referencing the Hindu god Shiva, who destroys and recreates the world around him. “To me, he’s dancing for change. He’s making an impact and destroying his surroundings to create change for a new way of being.”\u003c/p>\n\u003cp>\u003cem>Follow their work on Instagram: \u003ca href=\"https://www.instagram.com/creativeshields/\" target=\"_blank\" rel=\"noopener\">@creativeshields\u003c/a>, \u003ca href=\"https://www.instagram.com/timothyb_art/\">@timothyb_art\u003c/a>, \u003ca href=\"https://www.instagram.com/chuckinglights/\" target=\"_blank\" rel=\"noopener\">@chuckinglights\u003c/a> and \u003ca href=\"https://www.instagram.com/berj.j.berj/\">@berj.j.berj\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13834333\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834333\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/OakMural-4-800x464.jpg\" alt=\"\" width=\"800\" height=\"464\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-4-800x464.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-4-160x93.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-4-768x445.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-4-1020x591.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-4-960x556.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-4-240x139.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-4-375x217.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-4-520x301.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-4.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artists Jack and Alise Eastgate review their completed work ‘Warmer Waters’ on the final day of Oakland Mural Festival 2018. \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Warmer Waters’\u003c/h2>\n\u003cp>\u003cb>Martin Luther King Jr Way and 2nd\u003cbr>\n\u003ca href=\"http://www.aliseeastgate.com\" target=\"_blank\" rel=\"noopener\">Alise\u003c/a> and\u003ca href=\"http://www.jackeastgate.com\"> Jack\u003c/a> Eastgate\u003c/b>\u003c/p>\n\u003cp>Just blocks from the Jack London Inner Harbor, a little girl valiantly rides a whale moving westward. In \u003ci>Warmer Waters\u003c/i> (also known fondly as “Whale Rider”), artists Alise and Jack Eastgate play with movement across time and space. The whale reflects the presence of ancestors, while the little girl, adorned with symbols native to Fiji, stands between the present and future.\u003c/p>\n\u003cp>And their work is timely. Just days before completion, news broke of a beached whale found in the Jack London estuary. The industrialization of the oceans and the waning rights of people to freely move across borders inspire the Oakland-based muralists.\u003c/p>\n\u003cp>“A lot of things felt right about this wall,” says Alise. Located at 679 2nd Street, the two noted the serendipity of the address. 679 is the area code for Fiji, Jack’s birthplace, while the blooming magnolia tree just overhead brings a sense of nostalgia to Louisiana-born Alise.\u003c/p>\n\u003cp>\u003cem>Follow Alise & Jack Eastgate’s work on Instagram at \u003ca href=\"https://www.instagram.com/eastrandstudios/\">@eastrandstudios\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13834334\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834334\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/OakMural-6-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-6-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-6-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-6-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-6-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-6-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-6-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-6-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-6-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-6.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Know Your Ancestors’ by Mike “Bam” Tyau and Jesus Rodriguez overlooks Martin Luther King Way and 2nd Street near the Port of Oakland. \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Know Your Ancestors’\u003c/h2>\n\u003cp>\u003cb>Martin Luther King Jr Way and Embarcadero West\u003cbr>\n\u003ca href=\"http://miketyau.com\" target=\"_blank\" rel=\"noopener\">Mike “Bam” Tyau\u003c/a> and \u003ca href=\"https://www.josedejesusrodriguez.com\" target=\"_blank\" rel=\"noopener\">Jesus Rodriguez\u003c/a>\u003c/b>\u003c/p>\n\u003cp>In their latest collaboration, Mike “Bam” Tyau and Jesus Rodriguez pay vibrant homage to their roots. “Besides the Olmec and Chinese motifs as ancestral guardian totems, we painted these to remind people to go to their pillars of support during these trying times,” Mike wrote in an Instagram post at the end of the seven-day-long Oakland Mural Festival.\u003c/p>\n\u003cp>Foliage and mountains encompass two figures, references to the artists’ ancestral homelands. For Tyau, the leaves of the plants ground the composition with symbols pointing back to Mother Earth.\u003c/p>\n\u003cp>\u003cem>Follow Mike “Bam” Tyau and Jesus Rodriguez on Instagram at \u003ca href=\"https://www.instagram.com/miketyau/\" target=\"_blank\" rel=\"noopener\">@miketyau\u003c/a> and \u003ca href=\"https://www.instagram.com/ease_us/\" target=\"_blank\" rel=\"noopener\">@ease_us\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13834338\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13834338 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/OakMural-10-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-10-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-10-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-10-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-10-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-10-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-10-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-10-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-10-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-10.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">New work ‘Embassy of the Refugee’ by Caleb Duarte coming soon to Broadway and 2nd Street. \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Embassy Of The Refugee’\u003c/h2>\n\u003cp>\u003cb>2nd and Broadway\u003cbr>\n\u003ca href=\"http://www.calebduarte.org/\" target=\"_blank\" rel=\"noopener\">Caleb Duarte\u003c/a> and Youth from Embassy of the Refugee Project\u003c/b>\u003c/p>\n\u003cp>“Our ability to create myth in order to understand certain realities; is what we do,” Duarte wrote on Instagram, under the image of his latest work. “Those of us with no political or economic power, exiles or displaced working people, turn to the creation of the ‘embassy of the refugee’… as a form of exercising a magical realism in order to thrive.”\u003c/p>\n\u003cp>Straddling a busy street that connects some of Oakland’s homeless encampments with million-dollar condos, Duarte’s silhouette of a figure pushing a shopping cart posits a powerful statement on the pursuit of finding “home.”\u003c/p>\n\u003cp>\u003cem>Follow Caleb Duarte on Instagram at \u003ca href=\"https://www.instagram.com/caleb_arte_/\" target=\"_blank\" rel=\"noopener\">@caleb_arte_\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13834339\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834339\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/OakMural-5-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-5-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-5-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-5-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-5-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-5-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-5-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-5-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-5.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Trust Your Struggle collective unveiled their newest collaboration ‘Oakland Dreams’ as part of Oakland Mural Festival 2018. \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Oakland Dreams’\u003c/h2>\n\u003cp>\u003cb>4th and Webster\u003cbr>\n\u003ca href=\"http://trustyourstruggle.com\" target=\"_blank\" rel=\"noopener\">Trust Your Struggle Collective\u003c/a>\u003c/b>\u003c/p>\n\u003cp>Two hands rise, palms open, up a wall. For the artists of Trust Your Struggle Collective, they simultaneously signify the power to hold on to, and reach for, your dreams.\u003c/p>\n\u003cp>Perhaps the most visually striking element of the collective’s mural are the two large words spanning the sun-soaked wall: “Oakland Dreams.” The second word pays homage to one of the founding members of the TDK (Those Damn Kids) aerosol collective, Mike “Dream” Francisco, who lost his life to gun violence in a senseless street robbery in 2000.\u003c/p>\n\u003cp>Images of flora and fauna run subtly throughout the mural. A lotus—a symbol often associated with transcendence—blooms from the sidewalk while a yellow hummingbird emerges from a red triangle glistening in the sun. Some interpretations of the hummingbird link back to the Aztec god Huitzilopochtli, a deity associated with the resurrection of a fallen warrior.\u003c/p>\n\u003cp>\u003cem>Follow Trust Your Struggle Collective on Instagram at \u003ca href=\"https://www.instagram.com/trustyourstrugglecollective/\" target=\"_blank\" rel=\"noopener\">@TrustYourStruggleCollective\u003c/a>, \u003ca href=\"https://www.instagram.com/erinyoshi/\" target=\"_blank\" rel=\"noopener\">@erinyoshi\u003c/a>, \u003ca href=\"https://www.instagram.com/nisha.k.sethi/\" target=\"_blank\" rel=\"noopener\">@Nisha.k.Sethi\u003c/a> and \u003ca href=\"https://www.instagram.com/misterbouncer/\" target=\"_blank\" rel=\"noopener\">@misterbouncer\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13834340\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13834340 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/OakMural-2-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-2-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-2.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">This mural of a giant rooster and the symbol ‘Han’ by Dave Young Kim and Erik T Burke is imbued with the symbolism of resistance. \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Han’\u003c/h2>\n\u003cp>\u003cb>3rd and Webster\u003cbr>\n\u003ca href=\"https://www.daveyoungkim.com/\" target=\"_blank\" rel=\"noopener\">Dave Young Kim\u003c/a> and \u003ca href=\"http://eriktburke.com\" target=\"_blank\" rel=\"noopener\">Erik Burke\u003c/a>\u003c/b>\u003c/p>\n\u003cp>Even though this mural revolves around just three core elements—a way-larger-than-life rooster, a Chinese character and a “rising sun”—Dave Young Kim and Erik Burke’s newest work is anything but simple.\u003c/p>\n\u003cp>“The rooster traditionally symbolizes tenaciousness, never giving up,” Kim shared in an Instagram post. And in the composition, the rooster reigns supreme in spite of the Chinese symbol “恨,” pronounced “han” in Korean, that towers over its head.\u003c/p>\n\u003cp>To Kim, the symbol represents a feeling that being downtrodden could be both a burden and a source of empowerment. “It could crush you, or you could rise up and fight til the end,” he says.\u003c/p>\n\u003cp>Fittingly, the mural also gives a nod to Jack London, the prolific author who spent most of his childhood frequenting the waterfront district that now bears his name. Instead of a sun, a circular frame depicts a lone figure in a snowy landscape, facing a radiant fire for warmth. It’s painted after a photograph Burke fixated on for a long time, inspired by a scene in London’s short story “To Build A Fire.”\u003c/p>\n\u003cp>Reflecting on \u003ci>Han\u003c/i>, Kim says he found his “mural soulmate” when working with Burke. They had plenty of time to bond in the two-and-a-half days of long working hours.\u003c/p>\n\u003cp>\u003cem>Follow Dave Young Kim and Erik Burke on Instagram at \u003ca href=\"https://www.instagram.com/daveyoungkim/\" target=\"_blank\" rel=\"noopener\">@daveyoungkim\u003c/a> and \u003ca href=\"https://www.instagram.com/ou35/\" target=\"_blank\" rel=\"noopener\">@ou35\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13834341\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834341\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/OakMural-3-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-3-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-3-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-3-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-3-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-3.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A collaborative work between Los Pobres Artistas muralist collective and students of Oakland International High School present two words ‘Earth’ and ‘Sanctuary.’ \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Sanctuary Earth’\u003c/h2>\n\u003cp>\u003cb>4th and Webster\u003cbr>\n\u003ca href=\"http://lospobresartistas.com\" target=\"_blank\" rel=\"noopener\">Los Pobres Artists\u003c/a> and students from Oakland International High School\u003c/b>\u003c/p>\n\u003cp>Seven students and members of Los Pobres Artistas focused their creative energies on distilling images from the global refugee crisis. Sprawled across the right and the left sides of the mural are two words in all caps “EARTH” and “SANCTUARY.” At the center, giant hands support a raft filled with female refugees. In the foreground, schools of orange fish rise and fall as if to guide the raft safely to shore.\u003c/p>\n\u003cp>According to Los Pobres co-founder Thomas Jones, the mural stands for the idea that Earth can be a sanctuary for everybody.\u003c/p>\n\u003cp>\u003cem>Follow their work on Instagram \u003ca href=\"https://www.instagram.com/lospobresartistas/\" target=\"_blank\" rel=\"noopener\">@lospobresartistsas\u003c/a>, \u003ca href=\"https://www.instagram.com/hooperarts/\" target=\"_blank\" rel=\"noopener\">@hooperart\u003c/a>, \u003ca href=\"https://www.instagram.com/kilimunoz/\" target=\"_blank\" rel=\"noopener\">@kilimunoz\u003c/a>, \u003ca href=\"https://www.instagram.com/frederickoalvarado/\" target=\"_blank\" rel=\"noopener\">@frederickoalvarado\u003c/a> and \u003ca href=\"https://www.instagram.com/thomasjones_m/\" target=\"_blank\" rel=\"noopener\">@thomasjones_m\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13834342\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834342\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/OakMural-15-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-15-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-15-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-15-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-15-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-15-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-15-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-15-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-15-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-15.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The unnamed work by Susan Green and Art Forces spans the back wall of SeaWolf Public House. \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Unnamed\u003c/h2>\n\u003cp>\u003cb>4th and Webster\u003cbr>\n\u003ca href=\"http://susangreene.org/art-forces/\" target=\"_blank\" rel=\"noopener\">Susan Greene and Art Forces\u003c/a>\u003c/b>\u003c/p>\n\u003cp>Spanning the rear wall of Seawolf Public House, catch a golden-hued scene in which Cheemah, the “Mother of the Spirit-Fire” descends onto the Port of Oakland atop a giant eagle. Locals might instantly recognize the figure from a bronze statue placed in Jack London Square. Originally sculpted by Osprey Orielle Lake, the mythic being stands for “cultural diversity, world unity and care for the earth.”\u003c/p>\n\u003cp>And while the moment might look idyllic, a somewhat menacing clue stands out in the foreground. Two ships, halfway to shore, allude to the terrible reality of a colonized past.\u003c/p>\n\u003cp>\u003cem>Follow them on Instagram at \u003ca href=\"https://www.instagram.com/artforces/\" target=\"_blank\" rel=\"noopener\">@artforces\u003c/a>, \u003ca href=\"https://www.instagram.com/_attril/\" target=\"_blank\" rel=\"noopener\">@_attril\u003c/a>, \u003ca href=\"https://www.instagram.com/maxallbee/\" target=\"_blank\" rel=\"noopener\">@maxallbee\u003c/a>, \u003ca href=\"https://www.instagram.com/francolafresh/\" target=\"_blank\" rel=\"noopener\">@francolafresh\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13834343\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834343\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/OakMural-13-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-13-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-13-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-13-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-13-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-13-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-13-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-13-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-13-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-13.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A tribute to Oakland’s elders and youth in one sprawling work by David Burke and friends.\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Love Letter To Oakland’\u003c/h2>\n\u003cp>\u003cb>4th and Oak\u003cbr>\n\u003ca href=\"http://www.dburke.org/\">David Burke\u003c/a>\u003c/b>\u003c/p>\n\u003cp>In the photo-realistic \u003ci>A Love Letter to Oakland\u003c/i>, Burke and his collaborators bridge two generations. On the left, two Oakland artists, Tureeda Mikell and James Gayles, reach out across the downtown Oakland skyline toward two emerging local heroes — well-known muralist DJ Agana and youth activist Samuel Getachew. Between them, a glow lights their faces.\u003c/p>\n\u003cp>A satellite view of Oakland streets extends across the concrete canvas like roots—an enduring symbol of the city. In an interview with the \u003cem>East Bay Express\u003c/em>, Burke calls out the importance of the festival that allowed for his most recent collaboration: “[The mural] becomes part of their collective experience,” Burke said, “and must reflect the stories, the diversity, the values and the histories of that community.”\u003c/p>\n\u003cp>\u003cem>Follow David Burke and his collaborators on Instagram at \u003ca href=\"https://www.instagram.com/davidburke_studio/\" target=\"_blank\" rel=\"noopener\">@DavidBurke_Studio\u003c/a>, \u003ca href=\"https://www.instagram.com/joevicyeban/\" target=\"_blank\" rel=\"noopener\">@joevicyeban\u003c/a>, \u003ca href=\"https://www.instagram.com/dorias_brannon/\" target=\"_blank\" rel=\"noopener\">@dorias_brannon\u003c/a>, \u003ca href=\"https://www.instagram.com/blacksphinxofquartz/\" target=\"_blank\" rel=\"noopener\">@blacksphinxofquartz\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cb>To make seeing these beautiful works easier, here’s a map to all the locations:\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>With the debut of the \u003ca href=\"https://www.kqed.org/arts/13832104/sza-brockhampton-kamaiyah-bring-blurry-vision-into-focus-in-oakland\" target=\"_blank\" rel=\"noopener\">Blurry Vision Fest\u003c/a> in Oakland earlier this month and \u003ca href=\"http://www.bottlerocknapavalley.com/\" target=\"_blank\" rel=\"noopener\">Bottlerock Napa Valley\u003c/a> and \u003ca href=\"http://www.carnavalsanfrancisco.org/\" target=\"_blank\" rel=\"noopener\">Carnaval San Francisco\u003c/a> around the corner, \u003ca href=\"https://www.kqed.org/arts/13831900/summertime-feeling-9-outdoor-concerts-and-festivals-in-the-bay-area\" target=\"_blank\" rel=\"noopener\">music festival season\u003c/a> is officially underway in the Bay Area.\u003c/p>\n\u003cp>This mixtape features music from local artists performing at festivals around the region in the coming months. San Francisco’s \u003ca href=\"https://www.facebook.com/LaClandestinabay/\" target=\"_blank\" rel=\"noopener\">Outside Lands\u003c/a> is certainly the biggest summer music festival in the area; its 2018 lineup is particularly notable for its overdue inclusion of \u003ca href=\"https://www.kqed.org/arts/13828348/janet-jackson-to-play-outside-lands-ending-10-year-run-of-no-female-headliners\" target=\"_blank\" rel=\"noopener\">female headliners\u003c/a> (Janet Jackson!) and a ton of local performers. But the Bay Area has many other festivals to offer, and this mix reflects the variety of concert-going experiences available in Northern California.\u003c/p>\n\u003cp>Between now and the end of the summer, one can check out beloved legacy events \u003ca href=\"https://www.sterngrove.org/\" target=\"_blank\" rel=\"noopener\">Stern Grove Festival\u003c/a> and Carnaval, exciting new fests like \u003ca href=\"https://www.feels6.tv/\" target=\"_blank\" rel=\"noopener\">Feels 6\u003c/a> and \u003ca href=\"http://www.theuniverseislit.com/\" target=\"_blank\" rel=\"noopener\">The Multivrs Is Illuminated\u003c/a> and the road trip-worthy \u003ca href=\"https://sonoma.huichica.com/\" target=\"_blank\" rel=\"noopener\">Huichica Music Festival\u003c/a> and \u003ca href=\"http://hickeyfest.com/\" target=\"_blank\" rel=\"noopener\">Hickey Fest\u003c/a>.\u003c/p>\n\u003cp>Listen to the mixtape to learn more about all eleven bands and their corresponding festivals.\u003c/p>\n\u003cp>\u003cstrong>Track List\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"http://www.thaoandthegetdownstaydown.com/\" target=\"_blank\" rel=\"noopener\">Thao & The Get Down Stay Down\u003c/a>, “Astonished Man”\u003cbr>\n\u003cem>The beloved local indie rock band opens for M. Ward at the \u003ca href=\"https://www.sterngrove.org/\" target=\"_blank\" rel=\"noopener\">Stern Grove Festival\u003c/a> on July 1.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/thatblackkidthatraps/\" target=\"_blank\" rel=\"noopener\">Caleborate\u003c/a>, “Soul”\u003cbr>\n\u003cem>Berkeley’s Caleborate is one of many local artists at \u003ca href=\"https://www.facebook.com/LaClandestinabay/\" target=\"_blank\" rel=\"noopener\">Outside Lands 2018\u003c/a>, joining SOB x RBE, Shannon and the Clams, Monophonics and more Aug. 10–12.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://www.martyoreilly.com/\" target=\"_blank\" rel=\"noopener\">Marty O’Reilly & the Old Soul Orchestra\u003c/a>, “Off and On Again”\u003cbr>\n\u003cem>The Santa Cruz quartet plays on May 27 at \u003ca href=\"http://www.bottlerocknapavalley.com/\" target=\"_blank\" rel=\"noopener\">Bottlerock Napa Valley\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/LaClandestinabay/\" target=\"_blank\" rel=\"noopener\">La Clandestina\u003c/a>, “Voy Para Arriba”\u003cbr>\n\u003cem>The Latin jazz ensemble performs at the 40th annual \u003ca href=\"http://www.carnavalsanfrancisco.org/\" target=\"_blank\" rel=\"noopener\">Carnaval San Francisco\u003c/a> on May 27 with LoCura, Bayonics, Bang Data and more.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://omgdrama.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Drama\u003c/a>, “Parking Meter”\u003cbr>\n\u003cem>The punk band plays \u003ca href=\"http://www.theuniverseislit.com/\" target=\"_blank\" rel=\"noopener\">The Multivrs Is Illuminated\u003c/a>, which runs from August 9–12 in San Francisco and Oakland.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://www.birdmanrecords.com/grisgris/index.html\" target=\"_blank\" rel=\"noopener\">Gris Gris\u003c/a>, “Year Zero”\u003cbr>\n\u003cem>On July 1, the Bay Area psych band joins The Damned, Le Shok and many more at Oakland’s \u003ca href=\"http://burgerboogaloo.com/\" target=\"_blank\" rel=\"noopener\">Burger Boogaloo\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://spellling.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Spelling\u003c/a>, “Blue (American Dream)”\u003cbr>\n\u003cem>Performing with Siri, AllBlack, Raxx Life Raj and more at \u003ca href=\"https://www.feels6.tv/\" target=\"_blank\" rel=\"noopener\">Feels 6\u003c/a> on June 16 at the Craneway Pavilion in Richmond.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://www.sonnysmith.com/\" target=\"_blank\" rel=\"noopener\">Sonny Smith\u003c/a>, “Pictures of You”\u003cbr>\n\u003cem>The San Francisco musician heads to Sonoma Valley to join Wooden Shjips, Jonathan Richman and Steve Gunn at the \u003ca href=\"https://sonoma.huichica.com/\" target=\"_blank\" rel=\"noopener\">Huichica Music Festival\u003c/a> on June 9.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://soldevelopmentmusic.com/\" target=\"_blank\" rel=\"noopener\">Sol Development\u003c/a>, “Sunny Days (ft. Mark Knoxx)”\u003cbr>\n\u003cem>The hip-hop-jazz ensemble performs alongside Mino Yanci on Aug. 2 at the \u003ca href=\"https://ybgfestival.org/\" target=\"_blank\" rel=\"noopener\">Yerba Buena Gardens Festival\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://meernaa.com/\" target=\"_blank\" rel=\"noopener\">Meernaa\u003c/a>, “Good Luck”\u003cbr>\n\u003cem>Oakland’s Meernaa travels to Mendocino to perform at \u003ca href=\"http://hickeyfest.com/\" target=\"_blank\" rel=\"noopener\">Hickey Fest\u003c/a> on June 15.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.trebuchetmusic.com/\" target=\"_blank\" rel=\"noopener\">Trebuchet\u003c/a>, “A Confession”\u003cbr>\n\u003cem>The Petaluma band joins Frankie Boots, Mickelson, Ismay and 20 other artists at Santa Rosa’s \u003ca href=\"http://www.railroadsquaremusicfestival.com/\" target=\"_blank\" rel=\"noopener\">Railroad Square Music Festival\u003c/a> on June 10.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Music festival season is officially underway in the Bay Area and now is your chance to learn more about local artists performing at festivals in the coming months.",
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"title": "Mixtape: Local Artists at 11 Upcoming Bay Area Music Festivals | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With the debut of the \u003ca href=\"https://www.kqed.org/arts/13832104/sza-brockhampton-kamaiyah-bring-blurry-vision-into-focus-in-oakland\" target=\"_blank\" rel=\"noopener\">Blurry Vision Fest\u003c/a> in Oakland earlier this month and \u003ca href=\"http://www.bottlerocknapavalley.com/\" target=\"_blank\" rel=\"noopener\">Bottlerock Napa Valley\u003c/a> and \u003ca href=\"http://www.carnavalsanfrancisco.org/\" target=\"_blank\" rel=\"noopener\">Carnaval San Francisco\u003c/a> around the corner, \u003ca href=\"https://www.kqed.org/arts/13831900/summertime-feeling-9-outdoor-concerts-and-festivals-in-the-bay-area\" target=\"_blank\" rel=\"noopener\">music festival season\u003c/a> is officially underway in the Bay Area.\u003c/p>\n\u003cp>This mixtape features music from local artists performing at festivals around the region in the coming months. San Francisco’s \u003ca href=\"https://www.facebook.com/LaClandestinabay/\" target=\"_blank\" rel=\"noopener\">Outside Lands\u003c/a> is certainly the biggest summer music festival in the area; its 2018 lineup is particularly notable for its overdue inclusion of \u003ca href=\"https://www.kqed.org/arts/13828348/janet-jackson-to-play-outside-lands-ending-10-year-run-of-no-female-headliners\" target=\"_blank\" rel=\"noopener\">female headliners\u003c/a> (Janet Jackson!) and a ton of local performers. But the Bay Area has many other festivals to offer, and this mix reflects the variety of concert-going experiences available in Northern California.\u003c/p>\n\u003cp>Between now and the end of the summer, one can check out beloved legacy events \u003ca href=\"https://www.sterngrove.org/\" target=\"_blank\" rel=\"noopener\">Stern Grove Festival\u003c/a> and Carnaval, exciting new fests like \u003ca href=\"https://www.feels6.tv/\" target=\"_blank\" rel=\"noopener\">Feels 6\u003c/a> and \u003ca href=\"http://www.theuniverseislit.com/\" target=\"_blank\" rel=\"noopener\">The Multivrs Is Illuminated\u003c/a> and the road trip-worthy \u003ca href=\"https://sonoma.huichica.com/\" target=\"_blank\" rel=\"noopener\">Huichica Music Festival\u003c/a> and \u003ca href=\"http://hickeyfest.com/\" target=\"_blank\" rel=\"noopener\">Hickey Fest\u003c/a>.\u003c/p>\n\u003cp>Listen to the mixtape to learn more about all eleven bands and their corresponding festivals.\u003c/p>\n\u003cp>\u003cstrong>Track List\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.thaoandthegetdownstaydown.com/\" target=\"_blank\" rel=\"noopener\">Thao & The Get Down Stay Down\u003c/a>, “Astonished Man”\u003cbr>\n\u003cem>The beloved local indie rock band opens for M. Ward at the \u003ca href=\"https://www.sterngrove.org/\" target=\"_blank\" rel=\"noopener\">Stern Grove Festival\u003c/a> on July 1.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/thatblackkidthatraps/\" target=\"_blank\" rel=\"noopener\">Caleborate\u003c/a>, “Soul”\u003cbr>\n\u003cem>Berkeley’s Caleborate is one of many local artists at \u003ca href=\"https://www.facebook.com/LaClandestinabay/\" target=\"_blank\" rel=\"noopener\">Outside Lands 2018\u003c/a>, joining SOB x RBE, Shannon and the Clams, Monophonics and more Aug. 10–12.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://www.martyoreilly.com/\" target=\"_blank\" rel=\"noopener\">Marty O’Reilly & the Old Soul Orchestra\u003c/a>, “Off and On Again”\u003cbr>\n\u003cem>The Santa Cruz quartet plays on May 27 at \u003ca href=\"http://www.bottlerocknapavalley.com/\" target=\"_blank\" rel=\"noopener\">Bottlerock Napa Valley\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/LaClandestinabay/\" target=\"_blank\" rel=\"noopener\">La Clandestina\u003c/a>, “Voy Para Arriba”\u003cbr>\n\u003cem>The Latin jazz ensemble performs at the 40th annual \u003ca href=\"http://www.carnavalsanfrancisco.org/\" target=\"_blank\" rel=\"noopener\">Carnaval San Francisco\u003c/a> on May 27 with LoCura, Bayonics, Bang Data and more.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://omgdrama.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Drama\u003c/a>, “Parking Meter”\u003cbr>\n\u003cem>The punk band plays \u003ca href=\"http://www.theuniverseislit.com/\" target=\"_blank\" rel=\"noopener\">The Multivrs Is Illuminated\u003c/a>, which runs from August 9–12 in San Francisco and Oakland.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://www.birdmanrecords.com/grisgris/index.html\" target=\"_blank\" rel=\"noopener\">Gris Gris\u003c/a>, “Year Zero”\u003cbr>\n\u003cem>On July 1, the Bay Area psych band joins The Damned, Le Shok and many more at Oakland’s \u003ca href=\"http://burgerboogaloo.com/\" target=\"_blank\" rel=\"noopener\">Burger Boogaloo\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://spellling.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Spelling\u003c/a>, “Blue (American Dream)”\u003cbr>\n\u003cem>Performing with Siri, AllBlack, Raxx Life Raj and more at \u003ca href=\"https://www.feels6.tv/\" target=\"_blank\" rel=\"noopener\">Feels 6\u003c/a> on June 16 at the Craneway Pavilion in Richmond.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://www.sonnysmith.com/\" target=\"_blank\" rel=\"noopener\">Sonny Smith\u003c/a>, “Pictures of You”\u003cbr>\n\u003cem>The San Francisco musician heads to Sonoma Valley to join Wooden Shjips, Jonathan Richman and Steve Gunn at the \u003ca href=\"https://sonoma.huichica.com/\" target=\"_blank\" rel=\"noopener\">Huichica Music Festival\u003c/a> on June 9.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://soldevelopmentmusic.com/\" target=\"_blank\" rel=\"noopener\">Sol Development\u003c/a>, “Sunny Days (ft. Mark Knoxx)”\u003cbr>\n\u003cem>The hip-hop-jazz ensemble performs alongside Mino Yanci on Aug. 2 at the \u003ca href=\"https://ybgfestival.org/\" target=\"_blank\" rel=\"noopener\">Yerba Buena Gardens Festival\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://meernaa.com/\" target=\"_blank\" rel=\"noopener\">Meernaa\u003c/a>, “Good Luck”\u003cbr>\n\u003cem>Oakland’s Meernaa travels to Mendocino to perform at \u003ca href=\"http://hickeyfest.com/\" target=\"_blank\" rel=\"noopener\">Hickey Fest\u003c/a> on June 15.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.trebuchetmusic.com/\" target=\"_blank\" rel=\"noopener\">Trebuchet\u003c/a>, “A Confession”\u003cbr>\n\u003cem>The Petaluma band joins Frankie Boots, Mickelson, Ismay and 20 other artists at Santa Rosa’s \u003ca href=\"http://www.railroadsquaremusicfestival.com/\" target=\"_blank\" rel=\"noopener\">Railroad Square Music Festival\u003c/a> on June 10.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "summertime-feeling-9-outdoor-concerts-and-festivals-in-the-bay-area",
"title": "Summertime Feeling: 9 Outdoor Concerts and Festivals in the Bay Area",
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"content": "\u003cp>Ah, summer — when we make the switch from winter coats to light jackets, post up with beers and picnics on our favorite grassy knolls and, of course, hit up the many day parties, festivals and outdoor concerts the Bay Area has to offer.\u003c/p>\n\u003cp>While some multi-day festivals require bigger budgets, there are plenty of ways to see good music for free or cheap in the Bay Area, whether you’re looking to party or enjoy some family-friendly entertainment. We’ve rounded up a variety of our favorite outdoor music experiences to help you plan your summer calendar.\u003c/p>\n\u003ch2>Festivals\u003c/h2>\n\u003cfigure id=\"attachment_13832386\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832386\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/GettyImages-911548780-1-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/GettyImages-911548780-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/GettyImages-911548780-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/GettyImages-911548780-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/GettyImages-911548780-1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/GettyImages-911548780-1-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/GettyImages-911548780-1-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Recording artist Bruno Mars performs during the 60th Annual GRAMMY Awards at Madison Square Garden on January 28, 2018 in New York City. \u003ccite>( Kevin Winter/Getty Images for NARAS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>BottleRock\u003c/h3>\n\u003cp>\u003cem>May 25–27. Napa County Fairgrounds, Napa. Details \u003ca href=\"http://www.bottlerocknapavalley.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003cbr>\nBottleRock is a festival with intergenerational, cross-genre appeal; this year’s edition features chart-toppers like Bruno Mars, the Chainsmokers, Bleachers and Halsey alongside Incubus, Earth Wind & Fire, Billy Idol, E-40 and Snoop Dogg. Rising artists not to miss also include Tank and the Bangas, the whimsical, soulful band that won NPR’s 2017 Tiny Desk Concert, plus Colombian electronic duo Bomba Estereo and pianist-turned-producer Nombe.\u003c/p>\n\u003cfigure id=\"attachment_10902418\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10902418\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/vetiver_byTerriLoewenthal_4-800x450.jpg\" alt=\"Vetiver's Andy Cabic. (Photo: Terri Loewenthal)\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/vetiver_byTerriLoewenthal_4-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/vetiver_byTerriLoewenthal_4-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/vetiver_byTerriLoewenthal_4-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/vetiver_byTerriLoewenthal_4.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vetiver’s Andy Cabic. (Photo: Terri Loewenthal) \u003ccite>(Terri Loewenthal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Huichica Music Festival\u003c/h3>\n\u003cp>\u003cem>June 8 and 9. Gundlach Bundschu Winery, Sonoma. Details \u003ca href=\"https://huichica.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003cbr>\nTaking place in a rural, wine-country setting, Huichica Music Festival is a relaxing antidote to more popular fests like Outside Lands, where wading through crowds is a prerequisite to catching your favorite bands. The lineup generally revolves around indie rock and folk, and acts to look forward to this year include Vetiver performing their album \u003cem>Thing of the Past\u003c/em> in full; Jonathan Richman of proto-punk band the Modern Lovers; psychedelic jam band Wooden Shjips; and longtime San Francisco indie rockers the Fresh & Onlys and Sonny Smith.\u003c/p>\n\u003cfigure id=\"attachment_10820718\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10820718\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/TheMummies1-800x450.jpg\" alt=\"Garage punk band The Mummies headlined the July 4 lineup at Burger Boogaloo.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TheMummies1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TheMummies1-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TheMummies1-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TheMummies1-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TheMummies1.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Garage-punk band The Mummies play the 2016 edition of Burger Boogaloo. \u003ccite>((Photo: Rebecca Bowe/KQED))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Burger Boogaloo\u003c/h3>\n\u003cp>\u003cem>June 30 – July 1. Mosswood Park, Oakland. Details \u003ca href=\"http://burgerboogaloo.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003cbr>\nHosted by gay icon and filmmaker John Waters, Burger Boogaloo is a punk and garage extravaganza that Burger Records throws each summer at Mosswood Park, a location that normally gets little action other than pick-up basketball games on weekends. This year’s headliners are synth-pop greats Devo and early punk band the Damned, plus performances by the Traditional Fools (featuring central garage rock revivalist Ty Segall), Hunx and his Punx, electropunk band Le Shok and Boogaloo mainstay the Mummies.\u003c/p>\n\u003cfigure id=\"attachment_13832377\" class=\"wp-caption alignleft\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13832377\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/universe-is-lit.jpg\" alt=\"Provoke performing at The Universe Is Lit in 2017.\" width=\"750\" height=\"581\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/universe-is-lit.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/universe-is-lit-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/universe-is-lit-240x186.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/universe-is-lit-375x291.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/universe-is-lit-520x403.jpg 520w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Provoke performing at The Universe Is Lit in 2017. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>The Multivrs is Illuminated\u003c/h3>\n\u003cp>\u003cem>Aug. 9–12. Various locations, San Francisco and Oakland. Details \u003ca href=\"http://www.theuniverseislit.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003cbr>\nLast year’s The Universe Is Lit brought an eclectic lineup of underground punk, noise, hardcore and experimental bands from all over the country for a weekend-long fest that took place at venues like The Lab in the Mission and One Fam in Oakland. All of the acts on the bill were fronted by people of color, aligning today’s punk scene with a long history of black and brown avant-garde. The party continues this year with The Multivrs is Illuminated, a four-day fest featuring bands, DJs, a film screening, panels and workshops. Artists announced so far include Drama (Bay Area), Precolumbian (Philadelphia), Sister Mantos (Los Angeles), JAX (Haiti), Softie (New Orleans), Squid Ink (Fresno) and No Babies (Oakland). The festival is donation-based, with no one turned away for lack of funds.\u003c/p>\n\u003cfigure id=\"attachment_13828384\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828384\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/JanetJacksonMAIN-800x450.jpg\" alt=\"Janet Jackson performing in 2016 in the United Arab Emirate of Dubai. Janet Jackson has been announced as a performer at the 2018 Outside Lands festival in San Francisco.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/JanetJacksonMAIN-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/JanetJacksonMAIN-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/JanetJacksonMAIN-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/JanetJacksonMAIN-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/JanetJacksonMAIN.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/JanetJacksonMAIN-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/JanetJacksonMAIN-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/JanetJacksonMAIN-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/JanetJacksonMAIN-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/JanetJacksonMAIN-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Janet Jackson performing in 2016 in the United Arab Emirate of Dubai. Janet Jackson has been announced as a performer at the 2018 Outside Lands festival in San Francisco. \u003ccite>(KARIM SAHIB/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Outside Lands\u003c/h3>\n\u003cp>\u003cem>Aug. 10–12. Golden Gate Park, San Francisco. Details \u003ca href=\"https://www.sfoutsidelands.com/lineup/#/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003cbr>\nJanet Jackson makes a welcome return into the public eye with a headlining set at this year’s Outside Lands, topping the bill alongside The Weeknd and indie favorites Florence & the Machine. Janelle Monae, whose newest album \u003cem>Dirty Computer\u003c/em> challenges pop’s depictions of queerness, is also on the bill, along with Atlanta rap star Future, Pharrell’s recently revived N.E.R.D., rising Vallejo rap group SOB x RBE, Oakland garage rockers Shannon & the Clams, super-producer DJ Snake, cult pop star Carly Rae Jepson and more. This is one of the most diverse Outside Lands lineups yet.\u003c/p>\n\u003cfigure id=\"attachment_13832399\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832399\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/GettyImages-865608976-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/GettyImages-865608976.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/GettyImages-865608976-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/GettyImages-865608976-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/GettyImages-865608976-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/GettyImages-865608976-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/GettyImages-865608976-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kool & the Gang perform at Gabrielle’s Angel Foundation’s Angel Ball 2017 at Cipriani Wall Street on Oct. 23, 2017 in New York City. \u003ccite>(Dimitrios Kambouris/Getty Images for Gabrielle's Angel Foundation For Cancer Research)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>San Jose Jazz Summer Fest\u003c/h3>\n\u003cp>\u003cem>Aug. 10–12. Plaza de César Chavez Park, San Jose. Details \u003ca href=\"https://summerfest.sanjosejazz.org/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003cbr>\nSan Jose Jazz Summer Fest is a playground for those who appreciate the instrumental virtuosity and eclecticism of one of America’s finest musical traditions. Taking place over three days and featuring 12 stages, the festival includes contemporary jazz, big band, salsa, R&B, funk, soul and more. “Closer” singer Goapele headlines on Aug. 10; organist and producer Booker T. performs with a 10-piece band, showcasing his storied career at Stax Records; funk superstars Kool & the Gang close out the festival on Aug. 12.\u003c/p>\n\u003ch2>Day Parties\u003c/h2>\n\u003cfigure id=\"attachment_13832379\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832379\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/atrak-800x533.jpg\" alt=\"A-Trak performs on February 11, 2017 in Los Angeles, California. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/atrak.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/atrak-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/atrak-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/atrak-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/atrak-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/atrak-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A-Trak performs on Feb. 11, 2017 in Los Angeles, California. \u003ccite>(Christopher Polk/Getty Images for Mastercard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Poolside Day Parties at the Phoenix Hotel\u003c/h3>\n\u003cp>\u003cem>May 6 – Sept. 30. Phoenix Hotel, San Francisco. Details \u003ca href=\"https://www.phoenixsf.com/culture/hotel-events/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003cbr>\nHip electronic acts one might see at clubs like 1015 Folsom get a chance to perform in a more relaxed environment at the Phoenix Hotel’s poolside parties, which take place on select Sundays through the end of summer. Snakehips, a UK production duo that makes dreamy R&B, perform on May 27, followed by Andre Power, co-founder of influential indie label Soulection, on July 15. Cult house act Crystal Waters of “Gypsy Woman (She’s Homeless)” fame performs a special live set for Pride weekend on June 24. A-Trak, co-founder of hip-hop and electronic label Fool’s Gold, closes out the series on Sept. 30; he’s known for mixing everything from Jimi Hendrix to Kanye West on his turntables.\u003c/p>\n\u003cfigure id=\"attachment_13832381\" class=\"wp-caption alignleft\" style=\"max-width: 553px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13832381\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/lady-ryan.jpg\" alt=\"\" width=\"553\" height=\"317\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/lady-ryan.jpg 553w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/lady-ryan-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/lady-ryan-240x138.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/lady-ryan-375x215.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/lady-ryan-520x298.jpg 520w\" sizes=\"(max-width: 553px) 100vw, 553px\">\u003cfigcaption class=\"wp-caption-text\">DJ LadyRyan. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Souloveley\u003c/h3>\n\u003cp>\u003cem>Second Sundays, May 13 – Oct. 14. Lost & Found, Oakland. Details \u003ca href=\"https://www.facebook.com/wearesoulovely/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003cbr>\nSoulovely is a feel-good daytime dance party that centers queer and trans women of color, and everyone is welcome. Veteran Bay Area DJs Lady Ryan and Emancipacion heat the dance floor with hip-hop, R&B and house, with a good dose of nostalgic throwbacks. The DJs intentionally avoid music with misogynistic lyrics, and the party attracts an intergenerational, diverse crowd, with rapper Aima the Dreamer as the host. This year’s edition of Soulovely takes place at the beer garden Lost and Found; pop-up Tacos y Chelas has food for sale, and there are plenty of craft beers on tap and games to play in the garden.\u003c/p>\n\u003ch2>Free Stuff\u003c/h2>\n\u003cfigure id=\"attachment_13832395\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832395\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/gamelan-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gamelan-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gamelan-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gamelan-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gamelan-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gamelan-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gamelan.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gamelan-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gamelan-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gamelan-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gamelan-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gamelan-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gamelan Sekar Jaya. \u003ccite>(YouTube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Yerba Buena Gardens Festival\u003c/h3>\n\u003cp>\u003cem>May 12 – Oct. 31. Yerba Buena Gardens, San Francisco. Details \u003ca href=\"https://ybgfestival.org/events/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003cbr>\nYerba Buena Gardens festival is a free event series jam-packed with music, dance and performing arts from many international traditions. Grammy-winning percussionist Jose Cabanillas performs with his Latin jazz, mambo and salsa orchestra Cabanijazz Project on May 17. On June 9, Gamelan Sekar Jaya plays enchanting, percussion-driven Balinese music. And on June 30, Iranian-born musician Dina Zarif presents Music of the Banned, featuring artists from Muslim-majority countries affected by Trump’s travel ban as a gesture of defiance and solidarity. For the dozens of other events, make sure to check \u003ca href=\"https://ybgfestival.org/event/music-of-the-banned/\" target=\"_blank\" rel=\"noopener\">Yerba Buena’s calendar\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13832392\" class=\"wp-caption alignleft\" style=\"max-width: 738px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13832392\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/carnaval.jpg\" alt=\"\" width=\"738\" height=\"415\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/carnaval.jpg 738w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/carnaval-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/carnaval-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/carnaval-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/carnaval-520x292.jpg 520w\" sizes=\"(max-width: 738px) 100vw, 738px\">\u003cfigcaption class=\"wp-caption-text\">Carnaval. \u003ccite>(Trinibwoy Rog)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Carnaval San Francisco\u003c/h3>\n\u003cp>\u003cem>May 26 and 27. Harrison Street between 16th and 24th Streets. Details \u003ca href=\"http://www.carnavalsanfrancisco.org/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003cbr>\nCarnaval San Francisco started in the ’70s as a celebration of Latin American culture from all over the diaspora, with music, food, dance ensembles and more. This year, Latin soul band El Chicano, known for classics like “Sabor a Mi” and “Tell Her She’s Lovely,” performs, along with Latin Grammy-winning salsa singer India, Latin rock band Malo of “Suavecito” fame and more. There’s still time to brush up on your dance moves.\u003c/p>\n\u003cfigure id=\"attachment_13830792\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13830792\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/June24_ZiggyMarley2-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/June24_ZiggyMarley2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/June24_ZiggyMarley2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/June24_ZiggyMarley2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/June24_ZiggyMarley2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/June24_ZiggyMarley2-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/June24_ZiggyMarley2-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/June24_ZiggyMarley2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/June24_ZiggyMarley2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/June24_ZiggyMarley2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/June24_ZiggyMarley2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/June24_ZiggyMarley2-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/June24_ZiggyMarley2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ziggy Marley performs at Stern Grove Festival on June 24. \u003ccite>(Gregory Bojorquez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Stern Grove Festival\u003c/h3>\n\u003cp>\u003cem>June 17 – Aug. 19. 19th Avenue and Sloat Boulevard, San Francisco. Details \u003ca href=\"https://www.sterngrove.org/2018-concerts/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003cbr>\nFor the past 81 summers, San Franciscans have gathered in Balboa Terrace for Stern Grove, a free festival with a roster of A-list live acts one would normally catch at the Regency Ballroom or Fox Theater. Acts to look forward to include Ziggy Marley on June 24, indie rockers Thao & the Get Down Stay Down on July 1 and Afrobeat band Femi Kuti and the Positive Force (along with Oakland hip-hop jazz ensemble Sol Development) on Aug. 5.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "From multi-day festivals to free outdoor concerts, we've got your summer music calendar covered.",
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"title": "Summertime Feeling: 9 Outdoor Concerts and Festivals in the Bay Area | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ah, summer — when we make the switch from winter coats to light jackets, post up with beers and picnics on our favorite grassy knolls and, of course, hit up the many day parties, festivals and outdoor concerts the Bay Area has to offer.\u003c/p>\n\u003cp>While some multi-day festivals require bigger budgets, there are plenty of ways to see good music for free or cheap in the Bay Area, whether you’re looking to party or enjoy some family-friendly entertainment. We’ve rounded up a variety of our favorite outdoor music experiences to help you plan your summer calendar.\u003c/p>\n\u003ch2>Festivals\u003c/h2>\n\u003cfigure id=\"attachment_13832386\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832386\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/GettyImages-911548780-1-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/GettyImages-911548780-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/GettyImages-911548780-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/GettyImages-911548780-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/GettyImages-911548780-1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/GettyImages-911548780-1-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/GettyImages-911548780-1-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Recording artist Bruno Mars performs during the 60th Annual GRAMMY Awards at Madison Square Garden on January 28, 2018 in New York City. \u003ccite>( Kevin Winter/Getty Images for NARAS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>BottleRock\u003c/h3>\n\u003cp>\u003cem>May 25–27. Napa County Fairgrounds, Napa. Details \u003ca href=\"http://www.bottlerocknapavalley.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003cbr>\nBottleRock is a festival with intergenerational, cross-genre appeal; this year’s edition features chart-toppers like Bruno Mars, the Chainsmokers, Bleachers and Halsey alongside Incubus, Earth Wind & Fire, Billy Idol, E-40 and Snoop Dogg. Rising artists not to miss also include Tank and the Bangas, the whimsical, soulful band that won NPR’s 2017 Tiny Desk Concert, plus Colombian electronic duo Bomba Estereo and pianist-turned-producer Nombe.\u003c/p>\n\u003cfigure id=\"attachment_10902418\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10902418\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/vetiver_byTerriLoewenthal_4-800x450.jpg\" alt=\"Vetiver's Andy Cabic. (Photo: Terri Loewenthal)\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/vetiver_byTerriLoewenthal_4-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/vetiver_byTerriLoewenthal_4-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/vetiver_byTerriLoewenthal_4-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/vetiver_byTerriLoewenthal_4.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vetiver’s Andy Cabic. (Photo: Terri Loewenthal) \u003ccite>(Terri Loewenthal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Huichica Music Festival\u003c/h3>\n\u003cp>\u003cem>June 8 and 9. Gundlach Bundschu Winery, Sonoma. Details \u003ca href=\"https://huichica.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003cbr>\nTaking place in a rural, wine-country setting, Huichica Music Festival is a relaxing antidote to more popular fests like Outside Lands, where wading through crowds is a prerequisite to catching your favorite bands. The lineup generally revolves around indie rock and folk, and acts to look forward to this year include Vetiver performing their album \u003cem>Thing of the Past\u003c/em> in full; Jonathan Richman of proto-punk band the Modern Lovers; psychedelic jam band Wooden Shjips; and longtime San Francisco indie rockers the Fresh & Onlys and Sonny Smith.\u003c/p>\n\u003cfigure id=\"attachment_10820718\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10820718\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/TheMummies1-800x450.jpg\" alt=\"Garage punk band The Mummies headlined the July 4 lineup at Burger Boogaloo.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TheMummies1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TheMummies1-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TheMummies1-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TheMummies1-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TheMummies1.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Garage-punk band The Mummies play the 2016 edition of Burger Boogaloo. \u003ccite>((Photo: Rebecca Bowe/KQED))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Burger Boogaloo\u003c/h3>\n\u003cp>\u003cem>June 30 – July 1. Mosswood Park, Oakland. Details \u003ca href=\"http://burgerboogaloo.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003cbr>\nHosted by gay icon and filmmaker John Waters, Burger Boogaloo is a punk and garage extravaganza that Burger Records throws each summer at Mosswood Park, a location that normally gets little action other than pick-up basketball games on weekends. This year’s headliners are synth-pop greats Devo and early punk band the Damned, plus performances by the Traditional Fools (featuring central garage rock revivalist Ty Segall), Hunx and his Punx, electropunk band Le Shok and Boogaloo mainstay the Mummies.\u003c/p>\n\u003cfigure id=\"attachment_13832377\" class=\"wp-caption alignleft\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13832377\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/universe-is-lit.jpg\" alt=\"Provoke performing at The Universe Is Lit in 2017.\" width=\"750\" height=\"581\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/universe-is-lit.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/universe-is-lit-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/universe-is-lit-240x186.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/universe-is-lit-375x291.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/universe-is-lit-520x403.jpg 520w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Provoke performing at The Universe Is Lit in 2017. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>The Multivrs is Illuminated\u003c/h3>\n\u003cp>\u003cem>Aug. 9–12. Various locations, San Francisco and Oakland. Details \u003ca href=\"http://www.theuniverseislit.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003cbr>\nLast year’s The Universe Is Lit brought an eclectic lineup of underground punk, noise, hardcore and experimental bands from all over the country for a weekend-long fest that took place at venues like The Lab in the Mission and One Fam in Oakland. All of the acts on the bill were fronted by people of color, aligning today’s punk scene with a long history of black and brown avant-garde. The party continues this year with The Multivrs is Illuminated, a four-day fest featuring bands, DJs, a film screening, panels and workshops. Artists announced so far include Drama (Bay Area), Precolumbian (Philadelphia), Sister Mantos (Los Angeles), JAX (Haiti), Softie (New Orleans), Squid Ink (Fresno) and No Babies (Oakland). The festival is donation-based, with no one turned away for lack of funds.\u003c/p>\n\u003cfigure id=\"attachment_13828384\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828384\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/JanetJacksonMAIN-800x450.jpg\" alt=\"Janet Jackson performing in 2016 in the United Arab Emirate of Dubai. Janet Jackson has been announced as a performer at the 2018 Outside Lands festival in San Francisco.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/JanetJacksonMAIN-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/JanetJacksonMAIN-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/JanetJacksonMAIN-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/JanetJacksonMAIN-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/JanetJacksonMAIN.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/JanetJacksonMAIN-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/JanetJacksonMAIN-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/JanetJacksonMAIN-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/JanetJacksonMAIN-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/JanetJacksonMAIN-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Janet Jackson performing in 2016 in the United Arab Emirate of Dubai. Janet Jackson has been announced as a performer at the 2018 Outside Lands festival in San Francisco. \u003ccite>(KARIM SAHIB/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Outside Lands\u003c/h3>\n\u003cp>\u003cem>Aug. 10–12. Golden Gate Park, San Francisco. Details \u003ca href=\"https://www.sfoutsidelands.com/lineup/#/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003cbr>\nJanet Jackson makes a welcome return into the public eye with a headlining set at this year’s Outside Lands, topping the bill alongside The Weeknd and indie favorites Florence & the Machine. Janelle Monae, whose newest album \u003cem>Dirty Computer\u003c/em> challenges pop’s depictions of queerness, is also on the bill, along with Atlanta rap star Future, Pharrell’s recently revived N.E.R.D., rising Vallejo rap group SOB x RBE, Oakland garage rockers Shannon & the Clams, super-producer DJ Snake, cult pop star Carly Rae Jepson and more. This is one of the most diverse Outside Lands lineups yet.\u003c/p>\n\u003cfigure id=\"attachment_13832399\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832399\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/GettyImages-865608976-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/GettyImages-865608976.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/GettyImages-865608976-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/GettyImages-865608976-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/GettyImages-865608976-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/GettyImages-865608976-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/GettyImages-865608976-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kool & the Gang perform at Gabrielle’s Angel Foundation’s Angel Ball 2017 at Cipriani Wall Street on Oct. 23, 2017 in New York City. \u003ccite>(Dimitrios Kambouris/Getty Images for Gabrielle's Angel Foundation For Cancer Research)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>San Jose Jazz Summer Fest\u003c/h3>\n\u003cp>\u003cem>Aug. 10–12. Plaza de César Chavez Park, San Jose. Details \u003ca href=\"https://summerfest.sanjosejazz.org/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003cbr>\nSan Jose Jazz Summer Fest is a playground for those who appreciate the instrumental virtuosity and eclecticism of one of America’s finest musical traditions. Taking place over three days and featuring 12 stages, the festival includes contemporary jazz, big band, salsa, R&B, funk, soul and more. “Closer” singer Goapele headlines on Aug. 10; organist and producer Booker T. performs with a 10-piece band, showcasing his storied career at Stax Records; funk superstars Kool & the Gang close out the festival on Aug. 12.\u003c/p>\n\u003ch2>Day Parties\u003c/h2>\n\u003cfigure id=\"attachment_13832379\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832379\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/atrak-800x533.jpg\" alt=\"A-Trak performs on February 11, 2017 in Los Angeles, California. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/atrak.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/atrak-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/atrak-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/atrak-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/atrak-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/atrak-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A-Trak performs on Feb. 11, 2017 in Los Angeles, California. \u003ccite>(Christopher Polk/Getty Images for Mastercard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Poolside Day Parties at the Phoenix Hotel\u003c/h3>\n\u003cp>\u003cem>May 6 – Sept. 30. Phoenix Hotel, San Francisco. Details \u003ca href=\"https://www.phoenixsf.com/culture/hotel-events/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003cbr>\nHip electronic acts one might see at clubs like 1015 Folsom get a chance to perform in a more relaxed environment at the Phoenix Hotel’s poolside parties, which take place on select Sundays through the end of summer. Snakehips, a UK production duo that makes dreamy R&B, perform on May 27, followed by Andre Power, co-founder of influential indie label Soulection, on July 15. Cult house act Crystal Waters of “Gypsy Woman (She’s Homeless)” fame performs a special live set for Pride weekend on June 24. A-Trak, co-founder of hip-hop and electronic label Fool’s Gold, closes out the series on Sept. 30; he’s known for mixing everything from Jimi Hendrix to Kanye West on his turntables.\u003c/p>\n\u003cfigure id=\"attachment_13832381\" class=\"wp-caption alignleft\" style=\"max-width: 553px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13832381\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/lady-ryan.jpg\" alt=\"\" width=\"553\" height=\"317\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/lady-ryan.jpg 553w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/lady-ryan-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/lady-ryan-240x138.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/lady-ryan-375x215.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/lady-ryan-520x298.jpg 520w\" sizes=\"(max-width: 553px) 100vw, 553px\">\u003cfigcaption class=\"wp-caption-text\">DJ LadyRyan. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Souloveley\u003c/h3>\n\u003cp>\u003cem>Second Sundays, May 13 – Oct. 14. Lost & Found, Oakland. Details \u003ca href=\"https://www.facebook.com/wearesoulovely/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003cbr>\nSoulovely is a feel-good daytime dance party that centers queer and trans women of color, and everyone is welcome. Veteran Bay Area DJs Lady Ryan and Emancipacion heat the dance floor with hip-hop, R&B and house, with a good dose of nostalgic throwbacks. The DJs intentionally avoid music with misogynistic lyrics, and the party attracts an intergenerational, diverse crowd, with rapper Aima the Dreamer as the host. This year’s edition of Soulovely takes place at the beer garden Lost and Found; pop-up Tacos y Chelas has food for sale, and there are plenty of craft beers on tap and games to play in the garden.\u003c/p>\n\u003ch2>Free Stuff\u003c/h2>\n\u003cfigure id=\"attachment_13832395\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832395\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/gamelan-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gamelan-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gamelan-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gamelan-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gamelan-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gamelan-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gamelan.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gamelan-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gamelan-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gamelan-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gamelan-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gamelan-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gamelan Sekar Jaya. \u003ccite>(YouTube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Yerba Buena Gardens Festival\u003c/h3>\n\u003cp>\u003cem>May 12 – Oct. 31. Yerba Buena Gardens, San Francisco. Details \u003ca href=\"https://ybgfestival.org/events/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003cbr>\nYerba Buena Gardens festival is a free event series jam-packed with music, dance and performing arts from many international traditions. Grammy-winning percussionist Jose Cabanillas performs with his Latin jazz, mambo and salsa orchestra Cabanijazz Project on May 17. On June 9, Gamelan Sekar Jaya plays enchanting, percussion-driven Balinese music. And on June 30, Iranian-born musician Dina Zarif presents Music of the Banned, featuring artists from Muslim-majority countries affected by Trump’s travel ban as a gesture of defiance and solidarity. For the dozens of other events, make sure to check \u003ca href=\"https://ybgfestival.org/event/music-of-the-banned/\" target=\"_blank\" rel=\"noopener\">Yerba Buena’s calendar\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13832392\" class=\"wp-caption alignleft\" style=\"max-width: 738px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13832392\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/carnaval.jpg\" alt=\"\" width=\"738\" height=\"415\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/carnaval.jpg 738w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/carnaval-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/carnaval-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/carnaval-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/carnaval-520x292.jpg 520w\" sizes=\"(max-width: 738px) 100vw, 738px\">\u003cfigcaption class=\"wp-caption-text\">Carnaval. \u003ccite>(Trinibwoy Rog)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Carnaval San Francisco\u003c/h3>\n\u003cp>\u003cem>May 26 and 27. Harrison Street between 16th and 24th Streets. Details \u003ca href=\"http://www.carnavalsanfrancisco.org/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003cbr>\nCarnaval San Francisco started in the ’70s as a celebration of Latin American culture from all over the diaspora, with music, food, dance ensembles and more. This year, Latin soul band El Chicano, known for classics like “Sabor a Mi” and “Tell Her She’s Lovely,” performs, along with Latin Grammy-winning salsa singer India, Latin rock band Malo of “Suavecito” fame and more. There’s still time to brush up on your dance moves.\u003c/p>\n\u003cfigure id=\"attachment_13830792\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13830792\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/June24_ZiggyMarley2-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/June24_ZiggyMarley2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/June24_ZiggyMarley2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/June24_ZiggyMarley2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/June24_ZiggyMarley2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/June24_ZiggyMarley2-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/June24_ZiggyMarley2-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/June24_ZiggyMarley2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/June24_ZiggyMarley2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/June24_ZiggyMarley2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/June24_ZiggyMarley2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/June24_ZiggyMarley2-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/June24_ZiggyMarley2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ziggy Marley performs at Stern Grove Festival on June 24. \u003ccite>(Gregory Bojorquez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Stern Grove Festival\u003c/h3>\n\u003cp>\u003cem>June 17 – Aug. 19. 19th Avenue and Sloat Boulevard, San Francisco. Details \u003ca href=\"https://www.sterngrove.org/2018-concerts/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003cbr>\nFor the past 81 summers, San Franciscans have gathered in Balboa Terrace for Stern Grove, a free festival with a roster of A-list live acts one would normally catch at the Regency Ballroom or Fox Theater. Acts to look forward to include Ziggy Marley on June 24, indie rockers Thao & the Get Down Stay Down on July 1 and Afrobeat band Femi Kuti and the Positive Force (along with Oakland hip-hop jazz ensemble Sol Development) on Aug. 5.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Outside Lands Lineup Announced; Janet Jackson, The Weeknd Headline",
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"content": "\u003cp>Last week, \u003ca href=\"https://www.kqed.org/arts/13828348/janet-jackson-to-play-outside-lands-ending-10-year-run-of-no-female-headliners\" target=\"_blank\" rel=\"noopener\">Outside Lands hinted\u003c/a> that the festival was ending its ten-year streak of no female headliners by posting a photo of Janet Jackson on social media. And today, it’s confirmed that Jackson is indeed topping this year’s bill, along with indie rockers Florence and the Machine and R&B hitmaker the Weeknd. (A welcome departure from last year’s more nostalgic, male-dominated bill, which featured The Who, Metallica, and Gorillaz in the top spots.)\u003c/p>\n\u003cp>Bay Area festivals like Outside Lands, Treasure Island, and Noise Pop have traditionally been the domains of the indie rock scene, but all three fests have been featuring hip-hop and R&B more prominently in their booking the past few years.\u003c/p>\n\u003cp>This year’s edition of Outside Lands, taking place Aug. 10-12 at Golden Gate Park, is perhaps the most hip-hop-forward yet, with sets from chart-toppers Future and N.E.R.D.; local favorites \u003ca href=\"https://www.kqed.org/arts/13828024/what-happens-to-sob-x-rbe-now-that-yhung-t-o-has-an-interscope-deal\" target=\"_blank\" rel=\"noopener\">SOB x RBE\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13824564/rapper-caleborate-is-still-a-real-person-despite-his-success\" target=\"_blank\" rel=\"noopener\">Caleborate\u003c/a>; and rising stars GoldLink and \u003ca href=\"https://www.kqed.org/arts/13813433/a-force-for-female-empowerment\" target=\"_blank\" rel=\"noopener\">Lizzo\u003c/a>. Other sets to look forward to include electronic auteur James Blake; a solo performance by Jamie XX; indie favorites Mac Demarco and Chicano Batman; and cult pop icon Carly Rae Jepsen.\u003c/p>\n\u003cp>Check out the full lineup \u003ca href=\"https://www.sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a> and in the flyer below.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13828530\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/OL18-AdMat_preview-800x800.jpeg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OL18-AdMat_preview-800x800.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OL18-AdMat_preview-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OL18-AdMat_preview-768x768.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OL18-AdMat_preview-1020x1020.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OL18-AdMat_preview-1180x1180.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OL18-AdMat_preview-960x960.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OL18-AdMat_preview-240x240.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OL18-AdMat_preview-375x375.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OL18-AdMat_preview-520x520.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OL18-AdMat_preview-32x32.jpeg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OL18-AdMat_preview-50x50.jpeg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OL18-AdMat_preview-64x64.jpeg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OL18-AdMat_preview-96x96.jpeg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OL18-AdMat_preview-128x128.jpeg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OL18-AdMat_preview-150x150.jpeg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OL18-AdMat_preview.jpeg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "Janet Jackson, the Weeknd, and Florence and the Machine top Outside Lands' most hip-hop-forward lineup yet. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last week, \u003ca href=\"https://www.kqed.org/arts/13828348/janet-jackson-to-play-outside-lands-ending-10-year-run-of-no-female-headliners\" target=\"_blank\" rel=\"noopener\">Outside Lands hinted\u003c/a> that the festival was ending its ten-year streak of no female headliners by posting a photo of Janet Jackson on social media. And today, it’s confirmed that Jackson is indeed topping this year’s bill, along with indie rockers Florence and the Machine and R&B hitmaker the Weeknd. (A welcome departure from last year’s more nostalgic, male-dominated bill, which featured The Who, Metallica, and Gorillaz in the top spots.)\u003c/p>\n\u003cp>Bay Area festivals like Outside Lands, Treasure Island, and Noise Pop have traditionally been the domains of the indie rock scene, but all three fests have been featuring hip-hop and R&B more prominently in their booking the past few years.\u003c/p>\n\u003cp>This year’s edition of Outside Lands, taking place Aug. 10-12 at Golden Gate Park, is perhaps the most hip-hop-forward yet, with sets from chart-toppers Future and N.E.R.D.; local favorites \u003ca href=\"https://www.kqed.org/arts/13828024/what-happens-to-sob-x-rbe-now-that-yhung-t-o-has-an-interscope-deal\" target=\"_blank\" rel=\"noopener\">SOB x RBE\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13824564/rapper-caleborate-is-still-a-real-person-despite-his-success\" target=\"_blank\" rel=\"noopener\">Caleborate\u003c/a>; and rising stars GoldLink and \u003ca href=\"https://www.kqed.org/arts/13813433/a-force-for-female-empowerment\" target=\"_blank\" rel=\"noopener\">Lizzo\u003c/a>. Other sets to look forward to include electronic auteur James Blake; a solo performance by Jamie XX; indie favorites Mac Demarco and Chicano Batman; and cult pop icon Carly Rae Jepsen.\u003c/p>\n\u003cp>Check out the full lineup \u003ca href=\"https://www.sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a> and in the flyer below.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13828530\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/OL18-AdMat_preview-800x800.jpeg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OL18-AdMat_preview-800x800.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OL18-AdMat_preview-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OL18-AdMat_preview-768x768.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OL18-AdMat_preview-1020x1020.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OL18-AdMat_preview-1180x1180.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OL18-AdMat_preview-960x960.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OL18-AdMat_preview-240x240.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OL18-AdMat_preview-375x375.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OL18-AdMat_preview-520x520.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OL18-AdMat_preview-32x32.jpeg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OL18-AdMat_preview-50x50.jpeg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OL18-AdMat_preview-64x64.jpeg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OL18-AdMat_preview-96x96.jpeg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OL18-AdMat_preview-128x128.jpeg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OL18-AdMat_preview-150x150.jpeg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/OL18-AdMat_preview.jpeg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "BottleRock 2018 Lineup: Bruno Mars, the Killers, Muse, Chainsmokers, More",
"headTitle": "BottleRock 2018 Lineup: Bruno Mars, the Killers, Muse, Chainsmokers, More | KQED",
"content": "\u003cp>The lineup for 2018’s BottleRock festival in Napa is here, with Bruno Mars, the Killers and Muse as the three-day festival’s headliners. \u003c/p>\n\u003cp>Other acts at BottleRock this year include the Chainsmokers, Snoop Dogg, Billy Idol, Halsey, Incubus, Thievery Corporation, Bleachers, E-40, Earth Wind & Fire, Bomba Estereo, Tank & the Bangas, Mike D and many more, below. \u003c/p>\n\u003cp>[contextly_sidebar id=”yzlqcJkKnqCCNTmQbX9k5eLCyzScubpl”]\u003c/p>\n\u003cp>Bruno Mars is the clear big-money “get” here, and even though daily schedules haven’t been announced, it’s a safe guess he’ll be Saturday’s headliner, usually reserved for the hugest draw.\u003c/p>\n\u003cp>BottleRock runs May 25–27 at the Napa Valley Expo in Napa. In recent years, it’s grown into its own as a decidedly luxe wine-country festival, vying for a more upscale crowd than other outdoor festivals with Chardonnay tastings and culinary demonstrations. Three-day passes start at $349 and go all the way up through various levels of VIP-ness to $3,900 for a “Platinum Pass.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Befitting of Napa, the price point hasn’t kept people away: last year’s sold-out attendance over the three-day weekend was estimated at 120,000. \u003c/p>\n\u003cp>The full lineup is below. Three-day passes go on sale Tuesday, Jan. 9, at 10am. \u003ca href=\"http://www.bottlerocknapavalley.com/\" rel=\"noopener\" target=\"_blank\">More details here\u003c/a>.\u003c/p>\n\u003cp>Bruno Mars\u003cbr>\nThe Killers\u003cbr>\nMuse\u003cbr>\nThe Chainsmokers\u003cbr>\nHalsey\u003cbr>\nSnoop Dogg\u003cbr>\nIncubus\u003cbr>\nEarth, Wind & Fire\u003cbr>\nThe Head and the Heart\u003cbr>\nBilly Idol\u003cbr>\nThievery Corporation\u003cbr>\nPhantogram\u003cbr>\nThe Revivalists\u003cbr>\nBleachers\u003cbr>\nMichael Franti & Spearhead\u003cbr>\nMike D (DJ Set)\u003cbr>\nE-40\u003cbr>\nSt. Paul & The Broken Bones\u003cbr>\nOh Wonder\u003cbr>\nTrombone Shorty & Orleans Avenue\u003cbr>\nSOJA\u003cbr>\nShakey Graves\u003cbr>\nLake Street Dive\u003cbr>\nNatalia Lafourcade\u003cbr>\nLANY\u003cbr>\nManchester Orchestra\u003cbr>\nNahko and Medicine for the People\u003cbr>\nBomba Estéreo\u003cbr>\nThe Record Company\u003cbr>\nAlice Merton\u003cbr>\nThe Struts\u003cbr>\nNew Politics\u003cbr>\nAllen Stone\u003cbr>\nTank and The Bangas\u003cbr>\nWatsky\u003cbr>\nThe White Panda\u003cbr>\nCOIN\u003cbr>\nJacob Banks\u003cbr>\nJ. Roddy Walston And The Business\u003cbr>\nThe Motet\u003cbr>\nNoMBe\u003cbr>\nMondo Cozmo\u003cbr>\nMISSIO\u003cbr>\nLukas Nelson & Promise of the Real\u003cbr>\nAllan Rayman\u003cbr>\nPokey LaFarge\u003cbr>\nWelshly Arms\u003cbr>\nJukebox the Ghost\u003cbr>\nDurand Jones & The Indications\u003cbr>\nDhani Harrison, The Districts\u003cbr>\nMAGIC GIANT\u003cbr>\nAmy Shark\u003cbr>\nGhost of Paul Revere\u003cbr>\nAlex Lahey\u003cbr>\nflor\u003cbr>\nLiz Huett\u003cbr>\nMoonalice\u003cbr>\nCaitlyn Smith\u003cbr>\nThe Aces\u003cbr>\nLow Cut Connie\u003cbr>\nMarty O’Reilly & The Old Soul Orchestra\u003cbr>\nThe Night Game\u003cbr>\nMt. Joy\u003cbr>\nayokay\u003cbr>\nThe Wrecks\u003cbr>\nHundred Handed\u003cbr>\nDan Luke and The Raid\u003cbr>\nBilly Raffoul\u003cbr>\nDean Lewis\u003cbr>\nMatt Maeson\u003cbr>\nJon and Roy\u003cbr>\nPony Bradshaw\u003cbr>\nThe Brevet\u003cbr>\nHamish Anderson\u003cbr>\nEthan Tucker\u003cbr>\nRIVVRS\u003cbr>\nThe Alive\u003cbr>\nDavid Luning\u003cbr>\nThe Knitts\u003cbr>\nDani Bell & The Tarantist\u003cbr>\nTommy Odetto\u003cbr>\nSanho The Indian\u003cbr>\nAnchor + Bell\u003cbr>\nThe Silverado Pickups\u003cbr>\nNapa Valley Youth Symphony\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"headline": "BottleRock 2018 Lineup: Bruno Mars, the Killers, Muse, Chainsmokers, More",
"datePublished": "2018-01-08T08:00:24-08:00",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The lineup for 2018’s BottleRock festival in Napa is here, with Bruno Mars, the Killers and Muse as the three-day festival’s headliners. \u003c/p>\n\u003cp>Other acts at BottleRock this year include the Chainsmokers, Snoop Dogg, Billy Idol, Halsey, Incubus, Thievery Corporation, Bleachers, E-40, Earth Wind & Fire, Bomba Estereo, Tank & the Bangas, Mike D and many more, below. \u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Bruno Mars is the clear big-money “get” here, and even though daily schedules haven’t been announced, it’s a safe guess he’ll be Saturday’s headliner, usually reserved for the hugest draw.\u003c/p>\n\u003cp>BottleRock runs May 25–27 at the Napa Valley Expo in Napa. In recent years, it’s grown into its own as a decidedly luxe wine-country festival, vying for a more upscale crowd than other outdoor festivals with Chardonnay tastings and culinary demonstrations. Three-day passes start at $349 and go all the way up through various levels of VIP-ness to $3,900 for a “Platinum Pass.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Befitting of Napa, the price point hasn’t kept people away: last year’s sold-out attendance over the three-day weekend was estimated at 120,000. \u003c/p>\n\u003cp>The full lineup is below. Three-day passes go on sale Tuesday, Jan. 9, at 10am. \u003ca href=\"http://www.bottlerocknapavalley.com/\" rel=\"noopener\" target=\"_blank\">More details here\u003c/a>.\u003c/p>\n\u003cp>Bruno Mars\u003cbr>\nThe Killers\u003cbr>\nMuse\u003cbr>\nThe Chainsmokers\u003cbr>\nHalsey\u003cbr>\nSnoop Dogg\u003cbr>\nIncubus\u003cbr>\nEarth, Wind & Fire\u003cbr>\nThe Head and the Heart\u003cbr>\nBilly Idol\u003cbr>\nThievery Corporation\u003cbr>\nPhantogram\u003cbr>\nThe Revivalists\u003cbr>\nBleachers\u003cbr>\nMichael Franti & Spearhead\u003cbr>\nMike D (DJ Set)\u003cbr>\nE-40\u003cbr>\nSt. Paul & The Broken Bones\u003cbr>\nOh Wonder\u003cbr>\nTrombone Shorty & Orleans Avenue\u003cbr>\nSOJA\u003cbr>\nShakey Graves\u003cbr>\nLake Street Dive\u003cbr>\nNatalia Lafourcade\u003cbr>\nLANY\u003cbr>\nManchester Orchestra\u003cbr>\nNahko and Medicine for the People\u003cbr>\nBomba Estéreo\u003cbr>\nThe Record Company\u003cbr>\nAlice Merton\u003cbr>\nThe Struts\u003cbr>\nNew Politics\u003cbr>\nAllen Stone\u003cbr>\nTank and The Bangas\u003cbr>\nWatsky\u003cbr>\nThe White Panda\u003cbr>\nCOIN\u003cbr>\nJacob Banks\u003cbr>\nJ. Roddy Walston And The Business\u003cbr>\nThe Motet\u003cbr>\nNoMBe\u003cbr>\nMondo Cozmo\u003cbr>\nMISSIO\u003cbr>\nLukas Nelson & Promise of the Real\u003cbr>\nAllan Rayman\u003cbr>\nPokey LaFarge\u003cbr>\nWelshly Arms\u003cbr>\nJukebox the Ghost\u003cbr>\nDurand Jones & The Indications\u003cbr>\nDhani Harrison, The Districts\u003cbr>\nMAGIC GIANT\u003cbr>\nAmy Shark\u003cbr>\nGhost of Paul Revere\u003cbr>\nAlex Lahey\u003cbr>\nflor\u003cbr>\nLiz Huett\u003cbr>\nMoonalice\u003cbr>\nCaitlyn Smith\u003cbr>\nThe Aces\u003cbr>\nLow Cut Connie\u003cbr>\nMarty O’Reilly & The Old Soul Orchestra\u003cbr>\nThe Night Game\u003cbr>\nMt. Joy\u003cbr>\nayokay\u003cbr>\nThe Wrecks\u003cbr>\nHundred Handed\u003cbr>\nDan Luke and The Raid\u003cbr>\nBilly Raffoul\u003cbr>\nDean Lewis\u003cbr>\nMatt Maeson\u003cbr>\nJon and Roy\u003cbr>\nPony Bradshaw\u003cbr>\nThe Brevet\u003cbr>\nHamish Anderson\u003cbr>\nEthan Tucker\u003cbr>\nRIVVRS\u003cbr>\nThe Alive\u003cbr>\nDavid Luning\u003cbr>\nThe Knitts\u003cbr>\nDani Bell & The Tarantist\u003cbr>\nTommy Odetto\u003cbr>\nSanho The Indian\u003cbr>\nAnchor + Bell\u003cbr>\nThe Silverado Pickups\u003cbr>\nNapa Valley Youth Symphony\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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"radiolab": {
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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},
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"id": "science-friday",
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
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"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
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