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"content": "\u003cp>It’s somewhat hard to imagine that in the same week that \u003cem>The Hunger Games: Mockingjay, Part 1\u003c/em> is dominating box office sales a presentation of scratchy found film footage of old freeways, street cars, and city streets with no sound track could pack the 1,400 seat Castro Theater.\u003c/p>\n\u003cp>But after eight years, Rick Prelinger’s \u003cstrong>Lost Landscapes of San Francisco\u003c/strong> is as popular as ever. This Thursday night’s show sold out in just 20 hours and a second show has been added for December 19 at the Internet Archive. (Ticket-less fans wishing to catch the Castro screening can try their luck in the walk-up line the night of the show. Go early.)\u003c/p>\n\u003cp>Prelinger is an archivist constantly on the prowl for “ephemeral film” — home movies, industrial and educational clips, and other interesting celluloid and video relics. Each year he gathers the best of this raw visual documentation of San Francisco’s past into a new edition of \u003cstrong>Lost Landscapes\u003c/strong>. Rather than present the clips with music or narration, he conducts the evening like a home movie night for the entire city and invites the audience to yell out memories, facts, or other responses as the images roll by.\u003c/p>\n\u003cfigure id=\"attachment_10179590\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/Haight-Ashbury1966-copy.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10179590 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/Haight-Ashbury1966-copy-800x574.jpg\" alt=\"The corner of Haight-Ashbury in 1966. \" width=\"800\" height=\"574\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/Haight-Ashbury1966-copy-800x574.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/Haight-Ashbury1966-copy-400x287.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/Haight-Ashbury1966-copy-1180x847.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/Haight-Ashbury1966-copy.jpg 1491w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The corner of Haight-Ashbury in 1966. \u003ccite>(Courtesy of the Prelinger Archives.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>People may boo, for example, at a clip showing the ugly Embarcadero Freeway obscuring the Ferry Building. But footage shot from a street car running up Market Street in the ’20s as people crisscross the traffic like dancers draws cheers. You can see last year’s \u003ca href=\"https://archive.org/details/lostlandscapes8\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Lost Landscapes 8\u003c/strong> online\u003c/a> in its entirety — but it’s nowhere near as fun as the live event.\u003c/p>\n\u003cp>I chatted with Rick Prelinger by email about why people like this kind of footage, what’s new in this year’s edition, and what can be learned from \u003cstrong>Lost Landscapes\u003c/strong>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Why do you think the event remains so popular?\u003c/strong>\u003c/p>\n\u003cp>This is a historically conscious city. I’d like to think we collectively are meta-nostalgic and interested in history as a means of coming to terms with the future, and I bet that the current pace of change makes some of us think that way.\u003c/p>\n\u003cp>Also, people like the interactive format. As they have for thousands of years, people love to aggregate into big groups to share common experiences. Movies as we have known them don’t always offer enough of that.\u003c/p>\n\u003cp>\u003cstrong>What do you hope people will take away from the evening?\u003c/strong>\u003c/p>\n\u003cp>I think it builds public consciousness, not only of the importance of history in understanding the local and coming to terms with change, but of how personal history can be. People often tell me they didn’t attach much importance to their home movies until they saw how home movies can speak to a broad community beyond the specific family pictured.\u003c/p>\n\u003cp>I would hope that people reference these images in their mind when thinking about the kind of city they’d like to live in, and don’t simply revert to received ideas like “new is bad” and “the city is ruined.” The reality is much more complex. I also do these urban history shows in Detroit and now in Oakland and I hope they contribute to a sense that complexity is OK and interesting.\u003c/p>\n\u003cp>\u003cstrong>What are you most excited about showing this year?\u003c/strong>\u003c/p>\n\u003cp>This year will be almost 85 percent new footage. Viewers can expect amazing footage of the bridges under construction that has never been seen before, including Bay Bridge images that seem uncanny when compared with the partially disassembled bridge we see today.\u003c/p>\n\u003cp>There is also footage of the Golden Gate Bridge shot by citizens who unaccountably gained access to the span while it was being built — footage of construction at a personal level, quite amazing.\u003c/p>\n\u003cp>Also stay tuned for a swampy, half-built Treasure Island, astonishingly beautiful color footage of downtown in 1938, North Beach in the go-go 1970s, ROTC drills in the Marina, families in the newly built Avenues, Miss Tall San Francisco 1970, a fall 1971 anti-war march, sheep grazing in Golden Gate Park in 1938, the early days of the hippie Haight, newly discovered footage of Playland-at-the-Beach, color footage of the 1930s shipwrecks off Land’s End, and much more.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Lost Landscapes of San Francisco 9\u003c/strong> is December 6, 2014 at the Castro Theater in San Francisco. For \u003ca href=\"http://longnow.org/seminars/02014/dec/04/lost-landscapes-san-francisco-9/\" target=\"_blank\" rel=\"noopener\">more information\u003c/a>, visit longnow.org; For \u003ca href=\"http://blog.archive.org/2014/11/11/lost-landscapes-of-san-francisco-fundraiser-benefitting-internet-archive-friday-december-19-2014/\">information about the December 19 benefit screening\u003c/a>, visit archive.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s somewhat hard to imagine that in the same week that \u003cem>The Hunger Games: Mockingjay, Part 1\u003c/em> is dominating box office sales a presentation of scratchy found film footage of old freeways, street cars, and city streets with no sound track could pack the 1,400 seat Castro Theater.\u003c/p>\n\u003cp>But after eight years, Rick Prelinger’s \u003cstrong>Lost Landscapes of San Francisco\u003c/strong> is as popular as ever. This Thursday night’s show sold out in just 20 hours and a second show has been added for December 19 at the Internet Archive. (Ticket-less fans wishing to catch the Castro screening can try their luck in the walk-up line the night of the show. Go early.)\u003c/p>\n\u003cp>Prelinger is an archivist constantly on the prowl for “ephemeral film” — home movies, industrial and educational clips, and other interesting celluloid and video relics. Each year he gathers the best of this raw visual documentation of San Francisco’s past into a new edition of \u003cstrong>Lost Landscapes\u003c/strong>. Rather than present the clips with music or narration, he conducts the evening like a home movie night for the entire city and invites the audience to yell out memories, facts, or other responses as the images roll by.\u003c/p>\n\u003cfigure id=\"attachment_10179590\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/Haight-Ashbury1966-copy.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10179590 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/Haight-Ashbury1966-copy-800x574.jpg\" alt=\"The corner of Haight-Ashbury in 1966. \" width=\"800\" height=\"574\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/Haight-Ashbury1966-copy-800x574.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/Haight-Ashbury1966-copy-400x287.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/Haight-Ashbury1966-copy-1180x847.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/Haight-Ashbury1966-copy.jpg 1491w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The corner of Haight-Ashbury in 1966. \u003ccite>(Courtesy of the Prelinger Archives.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>People may boo, for example, at a clip showing the ugly Embarcadero Freeway obscuring the Ferry Building. But footage shot from a street car running up Market Street in the ’20s as people crisscross the traffic like dancers draws cheers. You can see last year’s \u003ca href=\"https://archive.org/details/lostlandscapes8\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Lost Landscapes 8\u003c/strong> online\u003c/a> in its entirety — but it’s nowhere near as fun as the live event.\u003c/p>\n\u003cp>I chatted with Rick Prelinger by email about why people like this kind of footage, what’s new in this year’s edition, and what can be learned from \u003cstrong>Lost Landscapes\u003c/strong>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Why do you think the event remains so popular?\u003c/strong>\u003c/p>\n\u003cp>This is a historically conscious city. I’d like to think we collectively are meta-nostalgic and interested in history as a means of coming to terms with the future, and I bet that the current pace of change makes some of us think that way.\u003c/p>\n\u003cp>Also, people like the interactive format. As they have for thousands of years, people love to aggregate into big groups to share common experiences. Movies as we have known them don’t always offer enough of that.\u003c/p>\n\u003cp>\u003cstrong>What do you hope people will take away from the evening?\u003c/strong>\u003c/p>\n\u003cp>I think it builds public consciousness, not only of the importance of history in understanding the local and coming to terms with change, but of how personal history can be. People often tell me they didn’t attach much importance to their home movies until they saw how home movies can speak to a broad community beyond the specific family pictured.\u003c/p>\n\u003cp>I would hope that people reference these images in their mind when thinking about the kind of city they’d like to live in, and don’t simply revert to received ideas like “new is bad” and “the city is ruined.” The reality is much more complex. I also do these urban history shows in Detroit and now in Oakland and I hope they contribute to a sense that complexity is OK and interesting.\u003c/p>\n\u003cp>\u003cstrong>What are you most excited about showing this year?\u003c/strong>\u003c/p>\n\u003cp>This year will be almost 85 percent new footage. Viewers can expect amazing footage of the bridges under construction that has never been seen before, including Bay Bridge images that seem uncanny when compared with the partially disassembled bridge we see today.\u003c/p>\n\u003cp>There is also footage of the Golden Gate Bridge shot by citizens who unaccountably gained access to the span while it was being built — footage of construction at a personal level, quite amazing.\u003c/p>\n\u003cp>Also stay tuned for a swampy, half-built Treasure Island, astonishingly beautiful color footage of downtown in 1938, North Beach in the go-go 1970s, ROTC drills in the Marina, families in the newly built Avenues, Miss Tall San Francisco 1970, a fall 1971 anti-war march, sheep grazing in Golden Gate Park in 1938, the early days of the hippie Haight, newly discovered footage of Playland-at-the-Beach, color footage of the 1930s shipwrecks off Land’s End, and much more.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Lost Landscapes of San Francisco 9\u003c/strong> is December 6, 2014 at the Castro Theater in San Francisco. For \u003ca href=\"http://longnow.org/seminars/02014/dec/04/lost-landscapes-san-francisco-9/\" target=\"_blank\" rel=\"noopener\">more information\u003c/a>, visit longnow.org; For \u003ca href=\"http://blog.archive.org/2014/11/11/lost-landscapes-of-san-francisco-fundraiser-benefitting-internet-archive-friday-december-19-2014/\">information about the December 19 benefit screening\u003c/a>, visit archive.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Warhol's Cult Classic 'Chelsea Girls' Still Challenges Viewers",
"headTitle": "Warhol’s Cult Classic ‘Chelsea Girls’ Still Challenges Viewers | KQED",
"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/chelsea-girls-with-mary-waronov-in-person/\">\u003cbr>\nEvent Information\u003c/a>\u003c/h3>\n\u003ch4>‘Chelsea Girls’\u003c/h4>\n\u003cdiv class=\"event-desc\">Andy Warhol film screens, with Mary Waronov in person.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Nov. 6, 2014\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Castro Theatre\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/chelsea-girls-with-mary-waronov-in-person/\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>In 1966, \u003ci>Variety\u003c/i> called Andy Warhol’s \u003ci>Chelsea Girls\u003c/i>, now a cult classic, \u003ca href=\"http://variety.com/1966/film/reviews/the-chelsea-girls-1200421281/\" target=\"_blank\" rel=\"noopener\">“a pointless, excruciatingly dull three-and-a-half hours\u003c/a>.” \u003ci>Variety\u003c/i> isn’t entirely incorrect about the three-and-a-half hours of excruciating dullness, but it’s not fair to equate that with pointlessness. The film, which is playing at the Castro Theatre on November 6, has its place in cinema history and is not without purpose.\u003c/p>\n\u003cp>\u003ci>Chelsea Girls\u003c/i> is a collection of twelve vignettes shot in various rooms in New York’s landmark Hotel Chelsea. The “stories” — a term used loosely since most lack a traditional narrative structure — are each approximately thirty minutes long and two are projected side-by-side at all times. There is only one audio track, which always renders one vignette silent. The audio switches between the two video channels, but some vignettes are entirely devoid of sound.\u003c/p>\n\u003cfigure id=\"attachment_10144945\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/Chelsea-Girls-Brigid.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10144945\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/Chelsea-Girls-Brigid.png\" alt=\"Brigid Polk in Chelsea Girls\" width=\"400\" height=\"315\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Brigid Polk in \u003ci>Chelsea Girls\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>The opening scene includes a vignette showing singer Nico combing her hair, peering into a mirror, and calmly conversing with a man and a child. The camera moves around the room without any discernible order, cueing the visual style of the following 200 minutes. On the other channel a man played by Ondine, an actor who appeared in many of Warhol’s films, chats with a character played by Ingrid Superstar in a dark room. The nature of their conversation is unknown until the audio switches to reveal Superstar’s character confessing to either a former priest or a fake priest, depending on which declaration one chooses to believe. The rambling, improvised, and confrontational confession provides the bulk of the laughs in \u003ci>Chelsea Girls\u003c/i>, as Ondine and Superstar bicker about grammar, ear piercings, deodorant, and their first sexual experiences. The vignettes grow increasingly hostile, as Warhol’s superstars fight amongst themselves, use drugs, and chew each others clothes.\u003c/p>\n\u003cp>Throughout the film, viewers must choose which channel to pay attention to and the easiest choice is the channel with accompanying audio. But with some pairings, the action in the silent channel draws the viewer’s attention across the aural barrier. As one vignette begins, two men are smoking cigarettes in bed, one is in a bathrobe and the other in his underwear. The scene is usual enough, but at some point the shot widens and there are two women in the room. The change is missed if the viewer is watching the other channel that is accompanied by sound. Later, one of the women begins tying up the man in his underwear. Without sound, and often witnessed in fractured moments of attention, the logic of the events in this vignette are never revealed. Viewers can choose to create a narrative or just take in what they see as-is.\u003c/p>\n\u003cfigure id=\"attachment_10144951\" class=\"wp-caption alignright\" style=\"max-width: 398px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/Chelsea-Girls-Boys.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10144951\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/Chelsea-Girls-Boys.png\" alt=\"Chelsea Girls\" width=\"398\" height=\"306\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Chelsea Girls\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>Having grown up at a time when Warhol was already written into art history and the surviving cast members were senior citizens, it can be difficult to intuitively feel the transgressive nature of the subject matter. I must remind myself that this was a different time, make assumptions about what was shocking to see on screen then, and place the film in historical context. On the other hand, a half century of experimental film and underground cinema doesn’t ease the blow of \u003ci>Chelsea Girls\u003c/i>‘ cinematography or structure.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>If you find experimental film difficult or tedium pointless, this may not be the film to dig deeper with. But if you enjoy such a challenge and are interested in the history of underground cinema, \u003ci>Chelsea Girls\u003c/i> is a classic worth seeing. It is not a classic in the way \u003ci>Metropolis\u003c/i> or \u003ci>Gone with the Wind\u003c/i> are, but it is a classic nonetheless. And watching the film on a big screen and in a big crowd will undoubtedly be more enjoyable than watching it on your laptop, should you ever find a copy.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Chelsea Girls\u003c/i> screens Thursday, Nov. 6, 2014, 7pm at San Francisco’s Castro Theatre. For \u003ca href=\"http://www.sfcinematheque.org/screenings/mary-woronov-warhol-superstar-the-chelsea-girls/\">more information\u003c/a> visit sfcinematheque.org.\u003c/p>\n\n",
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"excerpt": "Forty-eight years later, Andy Warhol's cult classic \u003ci>Chelsea Girls\u003c/i> still pushes the boundaries of film.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/chelsea-girls-with-mary-waronov-in-person/\">\u003cbr>\nEvent Information\u003c/a>\u003c/h3>\n\u003ch4>‘Chelsea Girls’\u003c/h4>\n\u003cdiv class=\"event-desc\">Andy Warhol film screens, with Mary Waronov in person.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Nov. 6, 2014\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Castro Theatre\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/chelsea-girls-with-mary-waronov-in-person/\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>In 1966, \u003ci>Variety\u003c/i> called Andy Warhol’s \u003ci>Chelsea Girls\u003c/i>, now a cult classic, \u003ca href=\"http://variety.com/1966/film/reviews/the-chelsea-girls-1200421281/\" target=\"_blank\" rel=\"noopener\">“a pointless, excruciatingly dull three-and-a-half hours\u003c/a>.” \u003ci>Variety\u003c/i> isn’t entirely incorrect about the three-and-a-half hours of excruciating dullness, but it’s not fair to equate that with pointlessness. The film, which is playing at the Castro Theatre on November 6, has its place in cinema history and is not without purpose.\u003c/p>\n\u003cp>\u003ci>Chelsea Girls\u003c/i> is a collection of twelve vignettes shot in various rooms in New York’s landmark Hotel Chelsea. The “stories” — a term used loosely since most lack a traditional narrative structure — are each approximately thirty minutes long and two are projected side-by-side at all times. There is only one audio track, which always renders one vignette silent. The audio switches between the two video channels, but some vignettes are entirely devoid of sound.\u003c/p>\n\u003cfigure id=\"attachment_10144945\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/Chelsea-Girls-Brigid.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10144945\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/Chelsea-Girls-Brigid.png\" alt=\"Brigid Polk in Chelsea Girls\" width=\"400\" height=\"315\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Brigid Polk in \u003ci>Chelsea Girls\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>The opening scene includes a vignette showing singer Nico combing her hair, peering into a mirror, and calmly conversing with a man and a child. The camera moves around the room without any discernible order, cueing the visual style of the following 200 minutes. On the other channel a man played by Ondine, an actor who appeared in many of Warhol’s films, chats with a character played by Ingrid Superstar in a dark room. The nature of their conversation is unknown until the audio switches to reveal Superstar’s character confessing to either a former priest or a fake priest, depending on which declaration one chooses to believe. The rambling, improvised, and confrontational confession provides the bulk of the laughs in \u003ci>Chelsea Girls\u003c/i>, as Ondine and Superstar bicker about grammar, ear piercings, deodorant, and their first sexual experiences. The vignettes grow increasingly hostile, as Warhol’s superstars fight amongst themselves, use drugs, and chew each others clothes.\u003c/p>\n\u003cp>Throughout the film, viewers must choose which channel to pay attention to and the easiest choice is the channel with accompanying audio. But with some pairings, the action in the silent channel draws the viewer’s attention across the aural barrier. As one vignette begins, two men are smoking cigarettes in bed, one is in a bathrobe and the other in his underwear. The scene is usual enough, but at some point the shot widens and there are two women in the room. The change is missed if the viewer is watching the other channel that is accompanied by sound. Later, one of the women begins tying up the man in his underwear. Without sound, and often witnessed in fractured moments of attention, the logic of the events in this vignette are never revealed. Viewers can choose to create a narrative or just take in what they see as-is.\u003c/p>\n\u003cfigure id=\"attachment_10144951\" class=\"wp-caption alignright\" style=\"max-width: 398px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/Chelsea-Girls-Boys.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10144951\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/Chelsea-Girls-Boys.png\" alt=\"Chelsea Girls\" width=\"398\" height=\"306\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Chelsea Girls\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>Having grown up at a time when Warhol was already written into art history and the surviving cast members were senior citizens, it can be difficult to intuitively feel the transgressive nature of the subject matter. I must remind myself that this was a different time, make assumptions about what was shocking to see on screen then, and place the film in historical context. On the other hand, a half century of experimental film and underground cinema doesn’t ease the blow of \u003ci>Chelsea Girls\u003c/i>‘ cinematography or structure.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If you find experimental film difficult or tedium pointless, this may not be the film to dig deeper with. But if you enjoy such a challenge and are interested in the history of underground cinema, \u003ci>Chelsea Girls\u003c/i> is a classic worth seeing. It is not a classic in the way \u003ci>Metropolis\u003c/i> or \u003ci>Gone with the Wind\u003c/i> are, but it is a classic nonetheless. And watching the film on a big screen and in a big crowd will undoubtedly be more enjoyable than watching it on your laptop, should you ever find a copy.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Chelsea Girls\u003c/i> screens Thursday, Nov. 6, 2014, 7pm at San Francisco’s Castro Theatre. For \u003ca href=\"http://www.sfcinematheque.org/screenings/mary-woronov-warhol-superstar-the-chelsea-girls/\">more information\u003c/a> visit sfcinematheque.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "You Definitely Need this Condo Pony, and Other Products from 'SkyMaul'",
"headTitle": "You Definitely Need this Condo Pony, and Other Products from ‘SkyMaul’ | KQED",
"content": "\u003cp>If you’re midflight and the movie is terrible and the airline magazine crossword puzzle has already been done by someone else, the SkyMall\u003cem> \u003c/em>catalog is the time-killer of last resort for the bored, boxed-in passenger.\u003c/p>\n\u003cp>SkyMall sells items that, under normal circumstances, you might never consider — like say, adult-size, unisex, one-piece Superman pajamas. But somehow, midflight, you find yourself wondering: \u003cem>Do\u003c/em> I need a dog bed designed to look like an NCAA stadium?\u003c/p>\n\u003cfigure id=\"attachment_10144258\" class=\"wp-caption alignright\" style=\"max-width: 415px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/screenshot-2014-10-21-07.50.43_enl-6363a44a944e5c12aa530d085bf910422a6ec193.png\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/screenshot-2014-10-21-07.50.43_enl-6363a44a944e5c12aa530d085bf910422a6ec193.png\" alt=\""One of the main drawbacks of wind chimes is the irritating sound that they make. ... Our patented quiet wind chimes use noise-canceling technology to take the 'chime' out of wind chime ... giving you peace of mind."\" width=\"415\" height=\"228\" class=\"size-full wp-image-10144258\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/screenshot-2014-10-21-07.50.43_enl-6363a44a944e5c12aa530d085bf910422a6ec193.png 415w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/screenshot-2014-10-21-07.50.43_enl-6363a44a944e5c12aa530d085bf910422a6ec193-400x219.png 400w\" sizes=\"(max-width: 415px) 100vw, 415px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“One of the main drawbacks of wind chimes is the irritating sound that they make. … Our patented quiet wind chimes use noise-canceling technology to take the ‘chime’ out of wind chime … giving you peace of mind.”\u003c/figcaption>\u003c/figure>\n\u003cp>Eight years ago, the San Francisco-based comedy group Kasper Hauser published \u003ca href=\"http://www.npr.org/books/titles/357849708/skymaul-happy-crap-you-can-buy-from-the-plane\">Sky Maul: Happy Crap You Can Buy From The Plane\u003c/a>, a catalog full of products like the “Pepper Self Spray” and the “Da Vinci Code Decoder Ring.” And now comes \u003ca href=\"http://www.npr.org/books/titles/357838305/skymaul-2-where-america-buys-his-stuff\">Sky Maul 2: Where America Buys His Stuff\u003c/a>. Kasper Hauser members Rob Baedeker and James and John Reichmuth join NPR’s Robert Siegel to discuss some products that you can almost certainly live without.\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On their home improvement products, like the Cave Repainting Set and the Condo Pony\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>James Reichmuth:\u003c/strong> You may know what a terrible graffiti problem they had in the Pleistocene Era. And many of Europe’s best caves have been defaced by stick figures. … We have come up with a cave repainting set which just allows you, very handily and easily, to paint over these old caves and get them baby, room, or man-cave-ready. Folks, those horses are just doodles — lighten up.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Rob Baedeker:\u003c/strong> Designer pets are all the rage these days. Ours is called the Condo Pony. It’s a little horse that just kind of clomps around the condo. The motto is: \u003cem>Condo doesn’t have to mean no pony no more.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>On the Forever Diaper\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10144257\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/screenshot-2014-10-21-07.40.20_custom-b2d4955874e388ea46489687f114545a051f4cd0.png\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/screenshot-2014-10-21-07.40.20_custom-b2d4955874e388ea46489687f114545a051f4cd0.png\" alt=\""Never needs changing. Not once. ... Put this on when they're born, sit back, and watch the joy that every baby gives off."\" width=\"200\" height=\"136\" class=\"size-full wp-image-10144257\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“Never needs changing. Not once. … Put this on when they’re born, sit back, and watch the joy that every baby gives off.”\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cstrong>James \u003c/strong>Reichmuth:\u003c/strong> One of the things we’re most excited about right now for new parents — and we worked with Russian scientists here, using blimp technology — is a — what we call — Forever Diaper. And that’s a diaper that you put on at birth and it, technically, can stay on until early adolescence. We say: Let’s take diapers off the table.\u003c/p>\n\u003cp>\u003cstrong>On the Personality Alert Bracelet\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Baedeker:\u003c/strong> Most of us get into relationships of many types and it takes a long time to figure out the other person’s character flaws. So we’ve designed a personality alert bracelet. It lets first responders or first dates really know about your issues. Whether you are a narcissist … a martyr … a baby … it just cuts to the chase and just makes things much more efficient.\u003c/p>\n\u003cfigure id=\"attachment_10144260\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/personality_custom-bc243c7f1cadc887fc8e1ae5f42b61ec4f3ed595.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/personality_custom-bc243c7f1cadc887fc8e1ae5f42b61ec4f3ed595.jpg\" alt=\"Personality Alert\" width=\"200\" height=\"261\" class=\"size-full wp-image-10144260\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Personality Alert\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cstrong>James \u003c/strong>Reichmuth:\u003c/strong> I wear one of these. I’m wearing one now. It just says: Tuna makes me sleepy. … It’s just something that you want people that are close to you to know. So I wouldn’t eat tuna before an interview, for example, and I did not.\u003c/p>\n\u003cp>\u003cstrong>On SkyMall sometimes being funnier than SkyMaul\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cstrong>James \u003c/strong>Reichmuth:\u003c/strong> It is hard to out-SkyMall SkyMall.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Baedeker:\u003c/strong> Reality is a little bit ahead of us. … It’s that American tradition of giving you things you never knew you needed. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=You+Definitely+Need+This+Condo+Pony%2C+And+Other+Products+From+%27SkyMaul%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "\"The Hot Dog Clock\" and \"The Forever Diaper\" are also must-haves. A San Francisco comedy group is once again poking fun at the in-flight catalog SkyMall.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’re midflight and the movie is terrible and the airline magazine crossword puzzle has already been done by someone else, the SkyMall\u003cem> \u003c/em>catalog is the time-killer of last resort for the bored, boxed-in passenger.\u003c/p>\n\u003cp>SkyMall sells items that, under normal circumstances, you might never consider — like say, adult-size, unisex, one-piece Superman pajamas. But somehow, midflight, you find yourself wondering: \u003cem>Do\u003c/em> I need a dog bed designed to look like an NCAA stadium?\u003c/p>\n\u003cfigure id=\"attachment_10144258\" class=\"wp-caption alignright\" style=\"max-width: 415px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/screenshot-2014-10-21-07.50.43_enl-6363a44a944e5c12aa530d085bf910422a6ec193.png\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/screenshot-2014-10-21-07.50.43_enl-6363a44a944e5c12aa530d085bf910422a6ec193.png\" alt=\""One of the main drawbacks of wind chimes is the irritating sound that they make. ... Our patented quiet wind chimes use noise-canceling technology to take the 'chime' out of wind chime ... giving you peace of mind."\" width=\"415\" height=\"228\" class=\"size-full wp-image-10144258\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/screenshot-2014-10-21-07.50.43_enl-6363a44a944e5c12aa530d085bf910422a6ec193.png 415w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/screenshot-2014-10-21-07.50.43_enl-6363a44a944e5c12aa530d085bf910422a6ec193-400x219.png 400w\" sizes=\"(max-width: 415px) 100vw, 415px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“One of the main drawbacks of wind chimes is the irritating sound that they make. … Our patented quiet wind chimes use noise-canceling technology to take the ‘chime’ out of wind chime … giving you peace of mind.”\u003c/figcaption>\u003c/figure>\n\u003cp>Eight years ago, the San Francisco-based comedy group Kasper Hauser published \u003ca href=\"http://www.npr.org/books/titles/357849708/skymaul-happy-crap-you-can-buy-from-the-plane\">Sky Maul: Happy Crap You Can Buy From The Plane\u003c/a>, a catalog full of products like the “Pepper Self Spray” and the “Da Vinci Code Decoder Ring.” And now comes \u003ca href=\"http://www.npr.org/books/titles/357838305/skymaul-2-where-america-buys-his-stuff\">Sky Maul 2: Where America Buys His Stuff\u003c/a>. Kasper Hauser members Rob Baedeker and James and John Reichmuth join NPR’s Robert Siegel to discuss some products that you can almost certainly live without.\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On their home improvement products, like the Cave Repainting Set and the Condo Pony\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>James Reichmuth:\u003c/strong> You may know what a terrible graffiti problem they had in the Pleistocene Era. And many of Europe’s best caves have been defaced by stick figures. … We have come up with a cave repainting set which just allows you, very handily and easily, to paint over these old caves and get them baby, room, or man-cave-ready. Folks, those horses are just doodles — lighten up.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Rob Baedeker:\u003c/strong> Designer pets are all the rage these days. Ours is called the Condo Pony. It’s a little horse that just kind of clomps around the condo. The motto is: \u003cem>Condo doesn’t have to mean no pony no more.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>On the Forever Diaper\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10144257\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/screenshot-2014-10-21-07.40.20_custom-b2d4955874e388ea46489687f114545a051f4cd0.png\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/screenshot-2014-10-21-07.40.20_custom-b2d4955874e388ea46489687f114545a051f4cd0.png\" alt=\""Never needs changing. Not once. ... Put this on when they're born, sit back, and watch the joy that every baby gives off."\" width=\"200\" height=\"136\" class=\"size-full wp-image-10144257\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“Never needs changing. Not once. … Put this on when they’re born, sit back, and watch the joy that every baby gives off.”\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cstrong>James \u003c/strong>Reichmuth:\u003c/strong> One of the things we’re most excited about right now for new parents — and we worked with Russian scientists here, using blimp technology — is a — what we call — Forever Diaper. And that’s a diaper that you put on at birth and it, technically, can stay on until early adolescence. We say: Let’s take diapers off the table.\u003c/p>\n\u003cp>\u003cstrong>On the Personality Alert Bracelet\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Baedeker:\u003c/strong> Most of us get into relationships of many types and it takes a long time to figure out the other person’s character flaws. So we’ve designed a personality alert bracelet. It lets first responders or first dates really know about your issues. Whether you are a narcissist … a martyr … a baby … it just cuts to the chase and just makes things much more efficient.\u003c/p>\n\u003cfigure id=\"attachment_10144260\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/personality_custom-bc243c7f1cadc887fc8e1ae5f42b61ec4f3ed595.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/personality_custom-bc243c7f1cadc887fc8e1ae5f42b61ec4f3ed595.jpg\" alt=\"Personality Alert\" width=\"200\" height=\"261\" class=\"size-full wp-image-10144260\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Personality Alert\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cstrong>James \u003c/strong>Reichmuth:\u003c/strong> I wear one of these. I’m wearing one now. It just says: Tuna makes me sleepy. … It’s just something that you want people that are close to you to know. So I wouldn’t eat tuna before an interview, for example, and I did not.\u003c/p>\n\u003cp>\u003cstrong>On SkyMall sometimes being funnier than SkyMaul\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cstrong>James \u003c/strong>Reichmuth:\u003c/strong> It is hard to out-SkyMall SkyMall.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Baedeker:\u003c/strong> Reality is a little bit ahead of us. … It’s that American tradition of giving you things you never knew you needed. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=You+Definitely+Need+This+Condo+Pony%2C+And+Other+Products+From+%27SkyMaul%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/events/pick/lawrence-of-arabia-2/\">Event Information\u003c/a>\u003c/h3>\n\u003ch4>‘Lawrence of Arabia’\u003c/h4>\n\u003cdiv class=\"event-desc\">Screening at two theaters in the Bay Area.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Aug. 31, 2014\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Rafael Film Center, San Rafael\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/events/pick/lawrence-of-arabia-2/\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Aug. 30-Sept. 1, 2014\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Castro Theatre, San Francisco\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/events/pick/lawrence-of-arabia/all/\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Even if he had lived to quell violence in Ferguson, fix the California drought and discover a cure for Ebola, the late, great Peter O’Toole would still be remembered most for his role as T.E. Lawrence in \u003cem>Lawrence of Arabia\u003c/em>. But it’s not O’Toole that the Rafael Film Center is concerned with when it screens the 1962 blockbuster as part of their current retrospective. \u003cem>Alec Guinness at 100\u003c/em>, running through Sept. 28, celebrates the British master in a series of digital restorations and archival prints, mixing his better-known films (\u003cem>Bridge on the River Kwai\u003c/em>, 1957) with relative unknowns (\u003cem>Kind Hearts and Coronets\u003c/em>, 1949).\u003c/p>\n\u003cp>Discovery, or re-discovery, is the name of the retrospective. (\u003cem>Star Wars\u003c/em>, with Guinness’ most famous role as Obi-Wan Kenobi, is not on the menu.) While those who’ve never heard of the Carol Reed-Graham Greene-Noël Coward collaboration \u003cem>Our Man in Havana\u003c/em> (1959) can now have the chance to see it in 35mm, it’s \u003cem>Arabia\u003c/em> that anchors the lineup, and \u003cem>Arabia\u003c/em> that never tires—its nearly four-hour runtime be damned.\u003c/p>\n\u003cp>\u003cem>Arabia\u003c/em> has been through restorations before, most notably a 1987 version which reintroduced 35 deleted minutes of director David Lean’s original that was saved by film archivists from forgotten, rusting canisters at Columbia Studios. That particular cleanup job solved the worst of the VHS format’s crimes against the movie, but the recent 4k digital restoration is said to be so precise, it doubles the clarity of Blu-Ray, and retains even the film-like patina of the original 70mm film.\u003c/p>\n\u003cp>\u003cem>Lawrence of Arabia\u003c/em> screens Sunday, Aug. 31, as part of the \u003cem>Alec Guinness at 100\u003c/em> series, which continues through Sept. 28 at the Rafael Film Center in San Rafael. The same digital 4k restoration of \u003cem>Lawrence of Arabia\u003c/em> also screens on Saturday, Aug. 30, at the Castro Theatre in San Francisco.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/events/pick/lawrence-of-arabia-2/\">Event Information\u003c/a>\u003c/h3>\n\u003ch4>‘Lawrence of Arabia’\u003c/h4>\n\u003cdiv class=\"event-desc\">Screening at two theaters in the Bay Area.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Aug. 31, 2014\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Rafael Film Center, San Rafael\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/events/pick/lawrence-of-arabia-2/\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Aug. 30-Sept. 1, 2014\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Castro Theatre, San Francisco\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/events/pick/lawrence-of-arabia/all/\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Even if he had lived to quell violence in Ferguson, fix the California drought and discover a cure for Ebola, the late, great Peter O’Toole would still be remembered most for his role as T.E. Lawrence in \u003cem>Lawrence of Arabia\u003c/em>. But it’s not O’Toole that the Rafael Film Center is concerned with when it screens the 1962 blockbuster as part of their current retrospective. \u003cem>Alec Guinness at 100\u003c/em>, running through Sept. 28, celebrates the British master in a series of digital restorations and archival prints, mixing his better-known films (\u003cem>Bridge on the River Kwai\u003c/em>, 1957) with relative unknowns (\u003cem>Kind Hearts and Coronets\u003c/em>, 1949).\u003c/p>\n\u003cp>Discovery, or re-discovery, is the name of the retrospective. (\u003cem>Star Wars\u003c/em>, with Guinness’ most famous role as Obi-Wan Kenobi, is not on the menu.) While those who’ve never heard of the Carol Reed-Graham Greene-Noël Coward collaboration \u003cem>Our Man in Havana\u003c/em> (1959) can now have the chance to see it in 35mm, it’s \u003cem>Arabia\u003c/em> that anchors the lineup, and \u003cem>Arabia\u003c/em> that never tires—its nearly four-hour runtime be damned.\u003c/p>\n\u003cp>\u003cem>Arabia\u003c/em> has been through restorations before, most notably a 1987 version which reintroduced 35 deleted minutes of director David Lean’s original that was saved by film archivists from forgotten, rusting canisters at Columbia Studios. That particular cleanup job solved the worst of the VHS format’s crimes against the movie, but the recent 4k digital restoration is said to be so precise, it doubles the clarity of Blu-Ray, and retains even the film-like patina of the original 70mm film.\u003c/p>\n\u003cp>\u003cem>Lawrence of Arabia\u003c/em> screens Sunday, Aug. 31, as part of the \u003cem>Alec Guinness at 100\u003c/em> series, which continues through Sept. 28 at the Rafael Film Center in San Rafael. The same digital 4k restoration of \u003cem>Lawrence of Arabia\u003c/em> also screens on Saturday, Aug. 30, at the Castro Theatre in San Francisco.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Jarman Retrospective Ends in Poignant 'Blue' at BAM/PFA",
"headTitle": "Jarman Retrospective Ends in Poignant ‘Blue’ at BAM/PFA | KQED",
"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/tdl_templogo-e1408481727479-300x186.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/events/pick/blue/\">Event Information\u003c/a>\u003c/h3>\n\u003ch4>‘Blue’\u003c/h4>\n\u003cdiv class=\"event-desc\">Jarman’s melancholy finalé.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Aug. 28, 2014\u003c/h4>\n\u003cp>7:00pm\u003c/p>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Pacific Film Archive, Berkeley\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/events/pick/blue/\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Pity the child who grows up experiencing loneliness alone. Who listens to Leonard Cohen’s “Bird on a Wire” in earbuds instead of the full theater while Cohen performs. Who reads W.H. Auden’s “Funeral Blues” alone in a library instead of hearing it amongst others at the graveside service.\u003c/p>\n\u003cp>Pity the child, too, who watches Derek Jarman’s \u003cem>Blue\u003c/em>, chopped into 10-minute increments, on a three-and-a-half inch screen.\u003c/p>\n\u003cp>Berkeley’s BAM/PFA closes out its retrospective of the filmmaker Derek Jarman this week, and appropriately, organizers have chosen Jarman’s final, heartbreaking film, \u003cem>Blue\u003c/em>. The film is an immersive experience of solitude that begs to be shared with others, and whether one has seen the film or not, the rare screening offers that very fruit of communion.\u003c/p>\n\u003cp>Visually, \u003cem>Blue\u003c/em> is solely a blue screen, for 79 minutes. But the film’s discordant score and evocative narration—by Tilda Swinton, Nigel Terry, John Quinton and Jarman himself—create lasting, intimate images of the British filmmaker’s final days wrestling with complications from AIDS. The disease had rendered him blind, blue was all he saw, and thus blue is all the audience sees.\u003c/p>\n\u003cp>Short, sharp vignettes of frustrating visits to the hospital, to the optometerist, to the café—these are interwoven with Jarman’s commentary on the disease and the uselessness of AIDS-awareness campaigns. “I shall not win the battle against the virus, in spite of the slogans like ‘Living With AIDS,’” he intones at one point. “The virus was appropriated by the well, so we have to live with AIDS while they spread The Quilt for the moths of Ithaca across the wine dark sea.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Aside from the intimacy of the film itself, the reason to specifically see it with others is akin to that of a book club. As the crowd of strangers leaves the theater after \u003cem>Blue\u003c/em>, they’ve all technically seen the same thing, yet they’ve reflected their own differing personal resources of emotion and imagination. Jarman himself put it best in a BBC interview about \u003cem>Blue\u003c/em>, right before his death:\u003c/p>\n\u003cp>“They see all sorts of things, of course, that they’re not seeing on the screen. And they’re really surprised by themselves. And they go on to this quite euphoric state.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Let euphoria reign. On Thursday, let \u003cem>Blue\u003c/em> in.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/tdl_templogo-e1408481727479-300x186.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/events/pick/blue/\">Event Information\u003c/a>\u003c/h3>\n\u003ch4>‘Blue’\u003c/h4>\n\u003cdiv class=\"event-desc\">Jarman’s melancholy finalé.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Aug. 28, 2014\u003c/h4>\n\u003cp>7:00pm\u003c/p>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Pacific Film Archive, Berkeley\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/events/pick/blue/\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Pity the child who grows up experiencing loneliness alone. Who listens to Leonard Cohen’s “Bird on a Wire” in earbuds instead of the full theater while Cohen performs. Who reads W.H. Auden’s “Funeral Blues” alone in a library instead of hearing it amongst others at the graveside service.\u003c/p>\n\u003cp>Pity the child, too, who watches Derek Jarman’s \u003cem>Blue\u003c/em>, chopped into 10-minute increments, on a three-and-a-half inch screen.\u003c/p>\n\u003cp>Berkeley’s BAM/PFA closes out its retrospective of the filmmaker Derek Jarman this week, and appropriately, organizers have chosen Jarman’s final, heartbreaking film, \u003cem>Blue\u003c/em>. The film is an immersive experience of solitude that begs to be shared with others, and whether one has seen the film or not, the rare screening offers that very fruit of communion.\u003c/p>\n\u003cp>Visually, \u003cem>Blue\u003c/em> is solely a blue screen, for 79 minutes. But the film’s discordant score and evocative narration—by Tilda Swinton, Nigel Terry, John Quinton and Jarman himself—create lasting, intimate images of the British filmmaker’s final days wrestling with complications from AIDS. The disease had rendered him blind, blue was all he saw, and thus blue is all the audience sees.\u003c/p>\n\u003cp>Short, sharp vignettes of frustrating visits to the hospital, to the optometerist, to the café—these are interwoven with Jarman’s commentary on the disease and the uselessness of AIDS-awareness campaigns. “I shall not win the battle against the virus, in spite of the slogans like ‘Living With AIDS,’” he intones at one point. “The virus was appropriated by the well, so we have to live with AIDS while they spread The Quilt for the moths of Ithaca across the wine dark sea.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Aside from the intimacy of the film itself, the reason to specifically see it with others is akin to that of a book club. As the crowd of strangers leaves the theater after \u003cem>Blue\u003c/em>, they’ve all technically seen the same thing, yet they’ve reflected their own differing personal resources of emotion and imagination. Jarman himself put it best in a BBC interview about \u003cem>Blue\u003c/em>, right before his death:\u003c/p>\n\u003cp>“They see all sorts of things, of course, that they’re not seeing on the screen. And they’re really surprised by themselves. And they go on to this quite euphoric state.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Let euphoria reign. On Thursday, let \u003cem>Blue\u003c/em> in.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The tension between low and high culture has been a part of the movies for a century, since the first seers and poets introduced artistic elements to a populist medium. But most distinctions eroded pretty completely by the ‘90s, when a serial-killer movie won the Best Picture Oscar (\u003cem>The Silence of the Lambs\u003c/em>, 1991) and a stylized crime yarn (\u003cem>Pulp Fiction\u003c/em>, 1994) won the top prize at Cannes \u003cem>and\u003c/em> grossed $100 million at the U.S. box office.\u003c/p>\n\u003cp>The upshot is there’s no such thing as a guilty pleasure anymore. We can freely enjoy the base pleasures of genre films, and revel in Academy Award-winners playing superheroes in comic-book movies. Even our hallowed havens of \u003ci>cin-e-mah\u003c/i>, such as the Pacific Film Archive, long ago embraced the “lower depths,” from ‘80s Hong Kong action flicks to William Castle’s cheesy chillers of the ‘50s and ‘60s to Seijun Suzuki’s baroque ‘60s gangster movies.\u003c/p>\n\u003cp>The film program at Yerba Buena Center For the Arts typically edges even further out on the fringes, showcasing internationally celebrated but non-commercial auteurs such as Apichatpong “Joe” Weerasethakul alongside sexploitation pioneers like Doris Wishman. Now comes \u003cb>A Tribute Retrospective to the Exploitation of William Lustig\u003c/b>, the weekend-long centerpiece of \u003cb>Bay Area Now 7: Invasion of the Cinemaniacs!\u003c/b>, an eclectic survey of the \u003cem>outré\u003c/em> tastes of a host of devoted Bay Area film buffs and programmers. The man responsible for bringing Lustig to town is Jesse Hawthorne Ficks, the ardent force of nature behind the \u003cb>Midnites for Maniacs\u003c/b> shows at the Castro and a teacher at Academy of Art College (where he inculcates impressionable minds in the sociological value of disposable genre movies).\u003c/p>\n\u003cfigure id=\"attachment_10140463\" class=\"wp-caption alignright\" style=\"max-width: 580px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/maniac.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/maniac.jpg\" alt=\"1980 Maniac poster\" width=\"580\" height=\"850\" class=\"size-full wp-image-10140463\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/maniac.jpg 580w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/maniac-400x586.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/maniac-204x300.jpg 204w\" sizes=\"(max-width: 580px) 100vw, 580px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">1980 \u003ci>Maniac\u003c/i> poster\u003c/figcaption>\u003c/figure>\n\u003cp>William Lustig flat-out loves movies, watching ‘em and making ‘em, and seems to savor the problem-solving aspect of low-budget, independent movie-making as much as the creative challenge. The Bronx native scored his first grindhouse hit with \u003cem>Maniac\u003c/em> (1980), the grisly tale of a serial murderer who terrorizes the pretty women of on-the-skids New York that opens the no-frills series Fri., Aug. 15 at 7pm in an unrated director’s cut.\u003c/p>\n\u003cp>His follow-up, \u003cem>Vigilante\u003c/em> (1983), a more nuanced revenge trip than \u003cem>Death Wish\u003c/em>, its more famous antecedent, imagines an integrated group of working-class buddies (including Fred “The Hammer” Williamson and Robert Forster, whose performance here and elsewhere led Tarantino to cast him in \u003cem>Jackie Brown\u003c/em> 15 years later) exacting payback from the equally integrated band of lowlife scum who carved up Forster’s wife and blew away his young son. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Lustig’s film school was the set — he learned on the job, like Dennis Hopper, Jonathan Demme, John Carpenter and many other filmmakers — and it’s fun to spot the scenes and camera set-ups inspired by the films of his favorite directors, notably Italian horror-meister Dario Argento and spaghetti-western maestro Sergio Leone.\u003c/p>\n\u003cfigure id=\"attachment_10140456\" class=\"wp-caption alignright\" style=\"max-width: 580px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/379352.1020.A.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/379352.1020.A.jpg\" alt=\"Vigilante poster -- in French.\" width=\"580\" height=\"861\" class=\"size-full wp-image-10140456\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/379352.1020.A.jpg 580w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/379352.1020.A-400x593.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/379352.1020.A-202x300.jpg 202w\" sizes=\"(max-width: 580px) 100vw, 580px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Vigilante\u003c/i> poster — in French.\u003c/figcaption>\u003c/figure>\n\u003cp>Another unpretentious honest-man-fighting-back saga, \u003cem>Hit List\u003c/em> (1989), caps the Friday triple bill, followed by Saturday’s marathon dive into the deranged \u003cem>Maniac Cop\u003c/em> trilogy (1988-93). In the great tradition of giving the people what they want — especially if the people were slouched in the Strand and similarly dilapidated and borderline dangerous downtown theaters during the Reagan-Bush years — Lustig and screenwriter Larry Cohen serve up a steady stream of stabbings, strippers, chase scenes, beatings and flame-filled explosions with a minimum of social commentary.\u003c/p>\n\u003cp>While Lustig’s characters are one-dimensional and the dialogue isn’t exactly quotable, the plots treat an absurd premise with fidelity to street-level realism. I’m not going to make any hyperbolic claims for his status as an artist, and I doubt he will, either, in what are sure to be amusing and insightful Q-and-As. But Lustig was anything but a lazy hack, which cannot be said of every Hollywood director, and he compensated for minimal budgets and tight production schedules with an imaginative use of sound, lighting and shadow.\u003c/p>\n\u003cfigure id=\"attachment_10140461\" class=\"wp-caption alignright\" style=\"max-width: 580px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/maniac_cop_poster_011.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/maniac_cop_poster_011.jpg\" alt=\"Maniac Cop 2 poster\" width=\"580\" height=\"888\" class=\"size-full wp-image-10140461\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/maniac_cop_poster_011.jpg 580w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/maniac_cop_poster_011-400x612.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/maniac_cop_poster_011-195x300.jpg 195w\" sizes=\"(max-width: 580px) 100vw, 580px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Maniac Cop 2\u003c/i> poster\u003c/figcaption>\u003c/figure>\n\u003cp>Lustig’s films are distinguished, if I can use such a fancy word, by a blend of earnestness (he and his actors take the audience, and the mandate of entertaining them, very seriously) and unpretentiousness that’s disarming and even endearing. The tongue-in-cheek “Maniac Cop Rap,” that plays under the end credits of \u003cem>Maniac Cop 2\u003c/em> is a particularly nice touch.\u003c/p>\n\u003cp>His movies have a personality and an eccentricity that elevates them above most of the anonymous, interchangeable product cranked through the grindhouses and drive-ins back in the day. Bill Lustig was never cynical about the fundamental allure of movies: excitement, entertainment and escapism. If you aren’t jaded, or even if you are, you’re bound to get a jolt of energy hanging out with him at YBCA.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>A Tribute Retrospective to the Exploitation of William Lustig\u003c/em> screens Friday and Saturday, August 15-16, 2014 at Yerba Buena Center for the Arts in San Francisco. For \u003ca href=\"http://www.ybca.org/tribute-to-william-lustig\" target=\"_blank\" rel=\"noopener\">tickets and information\u003c/a>, visit ybca.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The tension between low and high culture has been a part of the movies for a century, since the first seers and poets introduced artistic elements to a populist medium. But most distinctions eroded pretty completely by the ‘90s, when a serial-killer movie won the Best Picture Oscar (\u003cem>The Silence of the Lambs\u003c/em>, 1991) and a stylized crime yarn (\u003cem>Pulp Fiction\u003c/em>, 1994) won the top prize at Cannes \u003cem>and\u003c/em> grossed $100 million at the U.S. box office.\u003c/p>\n\u003cp>The upshot is there’s no such thing as a guilty pleasure anymore. We can freely enjoy the base pleasures of genre films, and revel in Academy Award-winners playing superheroes in comic-book movies. Even our hallowed havens of \u003ci>cin-e-mah\u003c/i>, such as the Pacific Film Archive, long ago embraced the “lower depths,” from ‘80s Hong Kong action flicks to William Castle’s cheesy chillers of the ‘50s and ‘60s to Seijun Suzuki’s baroque ‘60s gangster movies.\u003c/p>\n\u003cp>The film program at Yerba Buena Center For the Arts typically edges even further out on the fringes, showcasing internationally celebrated but non-commercial auteurs such as Apichatpong “Joe” Weerasethakul alongside sexploitation pioneers like Doris Wishman. Now comes \u003cb>A Tribute Retrospective to the Exploitation of William Lustig\u003c/b>, the weekend-long centerpiece of \u003cb>Bay Area Now 7: Invasion of the Cinemaniacs!\u003c/b>, an eclectic survey of the \u003cem>outré\u003c/em> tastes of a host of devoted Bay Area film buffs and programmers. The man responsible for bringing Lustig to town is Jesse Hawthorne Ficks, the ardent force of nature behind the \u003cb>Midnites for Maniacs\u003c/b> shows at the Castro and a teacher at Academy of Art College (where he inculcates impressionable minds in the sociological value of disposable genre movies).\u003c/p>\n\u003cfigure id=\"attachment_10140463\" class=\"wp-caption alignright\" style=\"max-width: 580px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/maniac.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/maniac.jpg\" alt=\"1980 Maniac poster\" width=\"580\" height=\"850\" class=\"size-full wp-image-10140463\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/maniac.jpg 580w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/maniac-400x586.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/maniac-204x300.jpg 204w\" sizes=\"(max-width: 580px) 100vw, 580px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">1980 \u003ci>Maniac\u003c/i> poster\u003c/figcaption>\u003c/figure>\n\u003cp>William Lustig flat-out loves movies, watching ‘em and making ‘em, and seems to savor the problem-solving aspect of low-budget, independent movie-making as much as the creative challenge. The Bronx native scored his first grindhouse hit with \u003cem>Maniac\u003c/em> (1980), the grisly tale of a serial murderer who terrorizes the pretty women of on-the-skids New York that opens the no-frills series Fri., Aug. 15 at 7pm in an unrated director’s cut.\u003c/p>\n\u003cp>His follow-up, \u003cem>Vigilante\u003c/em> (1983), a more nuanced revenge trip than \u003cem>Death Wish\u003c/em>, its more famous antecedent, imagines an integrated group of working-class buddies (including Fred “The Hammer” Williamson and Robert Forster, whose performance here and elsewhere led Tarantino to cast him in \u003cem>Jackie Brown\u003c/em> 15 years later) exacting payback from the equally integrated band of lowlife scum who carved up Forster’s wife and blew away his young son. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Lustig’s film school was the set — he learned on the job, like Dennis Hopper, Jonathan Demme, John Carpenter and many other filmmakers — and it’s fun to spot the scenes and camera set-ups inspired by the films of his favorite directors, notably Italian horror-meister Dario Argento and spaghetti-western maestro Sergio Leone.\u003c/p>\n\u003cfigure id=\"attachment_10140456\" class=\"wp-caption alignright\" style=\"max-width: 580px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/379352.1020.A.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/379352.1020.A.jpg\" alt=\"Vigilante poster -- in French.\" width=\"580\" height=\"861\" class=\"size-full wp-image-10140456\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/379352.1020.A.jpg 580w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/379352.1020.A-400x593.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/379352.1020.A-202x300.jpg 202w\" sizes=\"(max-width: 580px) 100vw, 580px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Vigilante\u003c/i> poster — in French.\u003c/figcaption>\u003c/figure>\n\u003cp>Another unpretentious honest-man-fighting-back saga, \u003cem>Hit List\u003c/em> (1989), caps the Friday triple bill, followed by Saturday’s marathon dive into the deranged \u003cem>Maniac Cop\u003c/em> trilogy (1988-93). In the great tradition of giving the people what they want — especially if the people were slouched in the Strand and similarly dilapidated and borderline dangerous downtown theaters during the Reagan-Bush years — Lustig and screenwriter Larry Cohen serve up a steady stream of stabbings, strippers, chase scenes, beatings and flame-filled explosions with a minimum of social commentary.\u003c/p>\n\u003cp>While Lustig’s characters are one-dimensional and the dialogue isn’t exactly quotable, the plots treat an absurd premise with fidelity to street-level realism. I’m not going to make any hyperbolic claims for his status as an artist, and I doubt he will, either, in what are sure to be amusing and insightful Q-and-As. But Lustig was anything but a lazy hack, which cannot be said of every Hollywood director, and he compensated for minimal budgets and tight production schedules with an imaginative use of sound, lighting and shadow.\u003c/p>\n\u003cfigure id=\"attachment_10140461\" class=\"wp-caption alignright\" style=\"max-width: 580px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/maniac_cop_poster_011.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/maniac_cop_poster_011.jpg\" alt=\"Maniac Cop 2 poster\" width=\"580\" height=\"888\" class=\"size-full wp-image-10140461\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/maniac_cop_poster_011.jpg 580w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/maniac_cop_poster_011-400x612.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/maniac_cop_poster_011-195x300.jpg 195w\" sizes=\"(max-width: 580px) 100vw, 580px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Maniac Cop 2\u003c/i> poster\u003c/figcaption>\u003c/figure>\n\u003cp>Lustig’s films are distinguished, if I can use such a fancy word, by a blend of earnestness (he and his actors take the audience, and the mandate of entertaining them, very seriously) and unpretentiousness that’s disarming and even endearing. The tongue-in-cheek “Maniac Cop Rap,” that plays under the end credits of \u003cem>Maniac Cop 2\u003c/em> is a particularly nice touch.\u003c/p>\n\u003cp>His movies have a personality and an eccentricity that elevates them above most of the anonymous, interchangeable product cranked through the grindhouses and drive-ins back in the day. Bill Lustig was never cynical about the fundamental allure of movies: excitement, entertainment and escapism. If you aren’t jaded, or even if you are, you’re bound to get a jolt of energy hanging out with him at YBCA.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>A Tribute Retrospective to the Exploitation of William Lustig\u003c/em> screens Friday and Saturday, August 15-16, 2014 at Yerba Buena Center for the Arts in San Francisco. For \u003ca href=\"http://www.ybca.org/tribute-to-william-lustig\" target=\"_blank\" rel=\"noopener\">tickets and information\u003c/a>, visit ybca.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "How I Survived Outside Lands 2014, Day 3: Time to Trip Out",
"headTitle": "How I Survived Outside Lands 2014, Day 3: Time to Trip Out | KQED",
"content": "\u003cp>\u003cem>This is the third in a series of daily reports from this year’s Outside Lands from KQED Arts’ newest reporter, Kevin L. Jones. This is the first time Jones has attended the festival.\u003c/em>\u003c/p>\n\u003cp>When I woke up Sunday morning and began packing up for my long trip to Golden Gate Park, I realized that my exhaustion had progressed into a widespread soreness, especially around my shoulders, which was probably created by lugging around a camera bag all day, for two days straight. I really considered not going.\u003c/p>\n\u003cp>When I finally did arrive, I walked straight to the Barbary, where Sir Patrick Stewart, AKA Captain Picard, had taken the stage and began making jokes in iambic pentameter. \u003c/p>\n\u003cfigure id=\"attachment_10140351\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Shakespeare-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Shakespeare-1.jpg\" alt=\"Patrick Stewart performing with Improvised Shakespeare\" width=\"800\" height=\"533\" class=\"size-full wp-image-10140351\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Shakespeare-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Shakespeare-1-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Shakespeare-1-300x199.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Patrick Stewart performing with the Improvised Shakespeare Company\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Improvised Shakespeare:\u003c/b> If only Shakespeare had a character named “Lord Taintwhistle” who made whistling noises as he walked, he might’ve had another hit on his hands.\u003c/p>\n\u003cp>All kidding aside, the improvisers in the \u003ca href=\"http://www.improvisedshakespeare.com/\" target=\"_blank\" rel=\"noopener\">Improvised Shakespeare Company\u003c/a> (which includes Thomas Middleditch of the HBO show \u003ci>Silicon Valley\u003c/i>) pull off the amazing feat of being funny while speaking mostly in iambic pentameter. It’s not that being humorous using olde English is so mind-blowing — Shakespeare’s comedies, when done well, can be very funny — but improvising a storyline and all the requisite jokes while speaking in a clearly outdated fashion is truly a skill worth admiration. (And though Stewart, as funny as he is, isn’t a comedic actor per se, he still held his own on the stage with guys who make people laugh for a living.)\u003c/p>\n\u003cfigure id=\"attachment_10140356\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Woods-2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Woods-2.jpg\" alt=\"Woods playing the jams \" width=\"800\" height=\"450\" class=\"size-full wp-image-10140356\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Woods-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Woods-2-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Woods-2-300x168.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Woods playing the jams\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Woods:\u003c/b> New York City’s kings of lo-fi “Weird folk” have definitely evolved from their early bedroom recordings into an outdoor festival-ready indie band. Though I only caught a few songs near the end of their set, what I caught was full of dynamics and these dudes showing off their chops. There were quite a few bros with their shirts of dancing in the crowd, which I took as a sign of success for this group’s change in direction.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Chvrches:\u003c/b> I was sad to learn early in the day that Ireland’s heavy synth pop trio Chvrches missed their flight to San Francisco that morning, forcing the band to cancel their performance on the main stage. It was really disappointing, especially since the group’s mix of angular synth riffs and Lauren Mayberry’s angelic vocals held a lot of potential for a great show, especially at ear-splitting volumes. Just watch the video below and you’ll see what I mean.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6rXusnCQ7YI\u003c/p>\n\u003cfigure id=\"attachment_10140343\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Dome.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Dome.jpg\" alt=\"One of the amazing visuals on display during Cappa Regime's set under the Dome\" width=\"800\" height=\"533\" class=\"size-full wp-image-10140343\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Dome.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Dome-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Dome-300x199.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">One of the amazing visuals on display during Cappa Regime’s set under the Dome\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Cappa Regime:\u003c/b> To be honest, I really don’t know anything about this group but I knew I should take a second and see what the Heineken-sponsored “House” was like and I was glad I did. In the main dance area, the sound and visuals were both overwhelming and wonderful. The DJs known as the Cappa Regime did a fine job of getting the crowd to move their butts and throw their hands in the air at three in the afternoon, but it was the visuals — colors melting down from the top of the dome in different patterns — that was what impressed me the most.\u003c/p>\n\u003cfigure id=\"attachment_10140339\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Barnett-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Barnett-1.jpg\" alt=\"Courtney Barnett during her noisy, rocking set\" width=\"800\" height=\"533\" class=\"size-full wp-image-10140339\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Barnett-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Barnett-1-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Barnett-1-300x199.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Courtney Barnett during her noisy, rocking set\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Country Barnett:\u003c/b> I had some time before Courtney Barnett’s at the Panhandle stage, so I tried to make my way over to the Twin Peaks stage to see what Plume was all about. Sadly, the crowd was so big, I couldn’t get anywhere close enough to see what the band looked like, even on the big screen! The sea of the Plume watchers stretched so far, it practically reached Barnett’s stage.\u003c/p>\n\u003cp>After talking to one of the nice stage crew workers, Barnett bounded onto the stage, grabbed her guitar and plowed right into her set. What followed was a set of sloppy, noisey rock and roll that felt more like rowdy Australian pub than American music festival. It was quite surprising, as her recorded output is very quiet and delicate-seeming, while her live show comes with teeth barred. \u003c/p>\n\u003cp>Thinking back, I realize now that it shouldn’t have been a surprise as Barnett comes from Australia, which has a history of producing the world’s best and most aggressive rock ‘n roll — AC/DC, Rose Tattoo, Coloured Balls, the list goes on — and Barnett’s live act seems to have been bred in the same environment. And that’s a good thing, as it felt like a breath of fresh air in the cloud of synthesizers that was this year’s Outside Lands (or at least most of it.) I made sure stay through her set before running over to see Spoon.\u003c/p>\n\u003cfigure id=\"attachment_10140354\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Spoon-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Spoon-1.jpg\" alt=\"Britt Daniel and Spoon\" width=\"800\" height=\"450\" class=\"size-full wp-image-10140354\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Spoon-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Spoon-1-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Spoon-1-300x168.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Britt Daniel and Spoon\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Spoon:\u003c/b> Spoon frontman Britt Daniel appears to be the torch bearer for songwriters trying to compete in a DJ/Producer world. It’s like he’s one of the most battle-proven in the war to demonstrate that a man with a guitar can still be relevant. \u003c/p>\n\u003cp>Though it sometimes sounds like Daniels borrows vocal lines from Paul Simon, Spoon has consistently sounded like Spoon, and that’s over eight albums.\u003c/p>\n\u003cp>One final note on Spoon — these guys are veterans of the festival circuit and were probably the only band on this year’s lineup that I was certain would bring a great show. Playing to thousands of critical audience members seemed like just another day for the band and the quality of their playing reflected that. Not to say that the band didn’t work their asses off to win over the crowd; no, it’s just that they made it look easy. (Then again, I bet having good songs that people really like helps.)\u003c/p>\n\u003cfigure id=\"attachment_10140355\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Steve-Drooge.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Steve-Drooge.jpg\" alt=\"Steven Drozd of the Flaming Lips\" width=\"800\" height=\"533\" class=\"size-full wp-image-10140355\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Steve-Drooge.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Steve-Drooge-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Steve-Drooge-300x199.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Steven Drozd of the Flaming Lips\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>The Flaming Lips:\u003c/b> I’m kinda sad that the first time I saw the almighty Flaming Lips it’s after they’ve been tainted by controversies involving \u003ca href=\"http://www.salon.com/2014/05/13/wayne_coyne_has_gone_mad_time_for_the_flaming_lips_singer_to_stop_being_a_monstrous_jerk/\" target=\"_blank\" rel=\"noopener\">headdresses\u003c/a> and \u003ca href=\"http://pitchfork.com/news/55030-kliph-scurlock-says-he-was-fired-from-flaming-lips-for-standing-up-to-wayne-coynes-friends-racism/\" target=\"_blank\" rel=\"noopener\">drummers who speak out of turn.\u003c/a> But then I saw Wayne Coyne’s amazing outfit and I forgot all those hassles the bands was having.\u003c/p>\n\u003cp>How to describe Coyne’s dress? Well, at first I thought the combination of the glittery face paint, a suit that made Coyne’s skin look like muscle tissue and an overcoat with holographic tassles made him look like an undead Marc Bolan. On further reflection, I feel Coyne’s look was more akin to the Goblin King in the movie \u003ci>Labyrinth\u003c/i> if he was played by a crazy homeless person.\u003c/p>\n\u003cp>The festival circuit has been amazing the Flaming Lips. They are a well-oiled machine and they’ve managed to make each show seem like a one-band Burning Man festival, but with a better soundtrack.\u003c/p>\n\u003cfigure id=\"attachment_10140344\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Evil-Lips.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Evil-Lips.jpg\" alt=\"The Flaming Lips' Wayne Coyne, in his homeless Goblin King get up, looking real evil\" width=\"800\" height=\"533\" class=\"size-full wp-image-10140344\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Evil-Lips.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Evil-Lips-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Evil-Lips-300x199.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Flaming Lips’ Wayne Coyne, in his homeless Goblin King get up, looking real evil\u003c/figcaption>\u003c/figure>\n\u003cp>There have been many versions of the Flaming Lips over the years and sure, I’ll admit that I might like their older material. But I love this version of the band for sure, because it means that thousands of get to listen to the musical magician of Steve Drozd, who is a truly under-appreciated studio wizard and the band’s Swiss Army knife. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>After three days of battling exhaustion and wild variations of Bay Area weather, I’m still glad I went to Outside Lands, though my intuition tried to fight it. Now it’s time to go hibernate for a few days.\u003c/p>\n\n",
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"excerpt": "The third and final report in our series about this year's \u003ci>Outside Lands Music Festival,\u003c/i> and how the third day included \u003ci>Star Trek: Next Generation\u003c/i> actors and a crazy looking Wayne Coyne.",
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"description": "The third and final report in our series about this year's Outside Lands Music Festival, and how the third day included Star Trek: Next Generation actors and a crazy looking Wayne Coyne.",
"title": "How I Survived Outside Lands 2014, Day 3: Time to Trip Out | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This is the third in a series of daily reports from this year’s Outside Lands from KQED Arts’ newest reporter, Kevin L. Jones. This is the first time Jones has attended the festival.\u003c/em>\u003c/p>\n\u003cp>When I woke up Sunday morning and began packing up for my long trip to Golden Gate Park, I realized that my exhaustion had progressed into a widespread soreness, especially around my shoulders, which was probably created by lugging around a camera bag all day, for two days straight. I really considered not going.\u003c/p>\n\u003cp>When I finally did arrive, I walked straight to the Barbary, where Sir Patrick Stewart, AKA Captain Picard, had taken the stage and began making jokes in iambic pentameter. \u003c/p>\n\u003cfigure id=\"attachment_10140351\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Shakespeare-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Shakespeare-1.jpg\" alt=\"Patrick Stewart performing with Improvised Shakespeare\" width=\"800\" height=\"533\" class=\"size-full wp-image-10140351\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Shakespeare-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Shakespeare-1-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Shakespeare-1-300x199.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Patrick Stewart performing with the Improvised Shakespeare Company\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Improvised Shakespeare:\u003c/b> If only Shakespeare had a character named “Lord Taintwhistle” who made whistling noises as he walked, he might’ve had another hit on his hands.\u003c/p>\n\u003cp>All kidding aside, the improvisers in the \u003ca href=\"http://www.improvisedshakespeare.com/\" target=\"_blank\" rel=\"noopener\">Improvised Shakespeare Company\u003c/a> (which includes Thomas Middleditch of the HBO show \u003ci>Silicon Valley\u003c/i>) pull off the amazing feat of being funny while speaking mostly in iambic pentameter. It’s not that being humorous using olde English is so mind-blowing — Shakespeare’s comedies, when done well, can be very funny — but improvising a storyline and all the requisite jokes while speaking in a clearly outdated fashion is truly a skill worth admiration. (And though Stewart, as funny as he is, isn’t a comedic actor per se, he still held his own on the stage with guys who make people laugh for a living.)\u003c/p>\n\u003cfigure id=\"attachment_10140356\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Woods-2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Woods-2.jpg\" alt=\"Woods playing the jams \" width=\"800\" height=\"450\" class=\"size-full wp-image-10140356\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Woods-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Woods-2-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Woods-2-300x168.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Woods playing the jams\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Woods:\u003c/b> New York City’s kings of lo-fi “Weird folk” have definitely evolved from their early bedroom recordings into an outdoor festival-ready indie band. Though I only caught a few songs near the end of their set, what I caught was full of dynamics and these dudes showing off their chops. There were quite a few bros with their shirts of dancing in the crowd, which I took as a sign of success for this group’s change in direction.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Chvrches:\u003c/b> I was sad to learn early in the day that Ireland’s heavy synth pop trio Chvrches missed their flight to San Francisco that morning, forcing the band to cancel their performance on the main stage. It was really disappointing, especially since the group’s mix of angular synth riffs and Lauren Mayberry’s angelic vocals held a lot of potential for a great show, especially at ear-splitting volumes. Just watch the video below and you’ll see what I mean.\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/6rXusnCQ7YI'\n title='//www.youtube.com/embed/6rXusnCQ7YI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cfigure id=\"attachment_10140343\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Dome.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Dome.jpg\" alt=\"One of the amazing visuals on display during Cappa Regime's set under the Dome\" width=\"800\" height=\"533\" class=\"size-full wp-image-10140343\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Dome.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Dome-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Dome-300x199.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">One of the amazing visuals on display during Cappa Regime’s set under the Dome\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Cappa Regime:\u003c/b> To be honest, I really don’t know anything about this group but I knew I should take a second and see what the Heineken-sponsored “House” was like and I was glad I did. In the main dance area, the sound and visuals were both overwhelming and wonderful. The DJs known as the Cappa Regime did a fine job of getting the crowd to move their butts and throw their hands in the air at three in the afternoon, but it was the visuals — colors melting down from the top of the dome in different patterns — that was what impressed me the most.\u003c/p>\n\u003cfigure id=\"attachment_10140339\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Barnett-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Barnett-1.jpg\" alt=\"Courtney Barnett during her noisy, rocking set\" width=\"800\" height=\"533\" class=\"size-full wp-image-10140339\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Barnett-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Barnett-1-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Barnett-1-300x199.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Courtney Barnett during her noisy, rocking set\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Country Barnett:\u003c/b> I had some time before Courtney Barnett’s at the Panhandle stage, so I tried to make my way over to the Twin Peaks stage to see what Plume was all about. Sadly, the crowd was so big, I couldn’t get anywhere close enough to see what the band looked like, even on the big screen! The sea of the Plume watchers stretched so far, it practically reached Barnett’s stage.\u003c/p>\n\u003cp>After talking to one of the nice stage crew workers, Barnett bounded onto the stage, grabbed her guitar and plowed right into her set. What followed was a set of sloppy, noisey rock and roll that felt more like rowdy Australian pub than American music festival. It was quite surprising, as her recorded output is very quiet and delicate-seeming, while her live show comes with teeth barred. \u003c/p>\n\u003cp>Thinking back, I realize now that it shouldn’t have been a surprise as Barnett comes from Australia, which has a history of producing the world’s best and most aggressive rock ‘n roll — AC/DC, Rose Tattoo, Coloured Balls, the list goes on — and Barnett’s live act seems to have been bred in the same environment. And that’s a good thing, as it felt like a breath of fresh air in the cloud of synthesizers that was this year’s Outside Lands (or at least most of it.) I made sure stay through her set before running over to see Spoon.\u003c/p>\n\u003cfigure id=\"attachment_10140354\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Spoon-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Spoon-1.jpg\" alt=\"Britt Daniel and Spoon\" width=\"800\" height=\"450\" class=\"size-full wp-image-10140354\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Spoon-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Spoon-1-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Spoon-1-300x168.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Britt Daniel and Spoon\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Spoon:\u003c/b> Spoon frontman Britt Daniel appears to be the torch bearer for songwriters trying to compete in a DJ/Producer world. It’s like he’s one of the most battle-proven in the war to demonstrate that a man with a guitar can still be relevant. \u003c/p>\n\u003cp>Though it sometimes sounds like Daniels borrows vocal lines from Paul Simon, Spoon has consistently sounded like Spoon, and that’s over eight albums.\u003c/p>\n\u003cp>One final note on Spoon — these guys are veterans of the festival circuit and were probably the only band on this year’s lineup that I was certain would bring a great show. Playing to thousands of critical audience members seemed like just another day for the band and the quality of their playing reflected that. Not to say that the band didn’t work their asses off to win over the crowd; no, it’s just that they made it look easy. (Then again, I bet having good songs that people really like helps.)\u003c/p>\n\u003cfigure id=\"attachment_10140355\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Steve-Drooge.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Steve-Drooge.jpg\" alt=\"Steven Drozd of the Flaming Lips\" width=\"800\" height=\"533\" class=\"size-full wp-image-10140355\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Steve-Drooge.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Steve-Drooge-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Steve-Drooge-300x199.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Steven Drozd of the Flaming Lips\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>The Flaming Lips:\u003c/b> I’m kinda sad that the first time I saw the almighty Flaming Lips it’s after they’ve been tainted by controversies involving \u003ca href=\"http://www.salon.com/2014/05/13/wayne_coyne_has_gone_mad_time_for_the_flaming_lips_singer_to_stop_being_a_monstrous_jerk/\" target=\"_blank\" rel=\"noopener\">headdresses\u003c/a> and \u003ca href=\"http://pitchfork.com/news/55030-kliph-scurlock-says-he-was-fired-from-flaming-lips-for-standing-up-to-wayne-coynes-friends-racism/\" target=\"_blank\" rel=\"noopener\">drummers who speak out of turn.\u003c/a> But then I saw Wayne Coyne’s amazing outfit and I forgot all those hassles the bands was having.\u003c/p>\n\u003cp>How to describe Coyne’s dress? Well, at first I thought the combination of the glittery face paint, a suit that made Coyne’s skin look like muscle tissue and an overcoat with holographic tassles made him look like an undead Marc Bolan. On further reflection, I feel Coyne’s look was more akin to the Goblin King in the movie \u003ci>Labyrinth\u003c/i> if he was played by a crazy homeless person.\u003c/p>\n\u003cp>The festival circuit has been amazing the Flaming Lips. They are a well-oiled machine and they’ve managed to make each show seem like a one-band Burning Man festival, but with a better soundtrack.\u003c/p>\n\u003cfigure id=\"attachment_10140344\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Evil-Lips.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Evil-Lips.jpg\" alt=\"The Flaming Lips' Wayne Coyne, in his homeless Goblin King get up, looking real evil\" width=\"800\" height=\"533\" class=\"size-full wp-image-10140344\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Evil-Lips.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Evil-Lips-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Evil-Lips-300x199.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Flaming Lips’ Wayne Coyne, in his homeless Goblin King get up, looking real evil\u003c/figcaption>\u003c/figure>\n\u003cp>There have been many versions of the Flaming Lips over the years and sure, I’ll admit that I might like their older material. But I love this version of the band for sure, because it means that thousands of get to listen to the musical magician of Steve Drozd, who is a truly under-appreciated studio wizard and the band’s Swiss Army knife. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After three days of battling exhaustion and wild variations of Bay Area weather, I’m still glad I went to Outside Lands, though my intuition tried to fight it. Now it’s time to go hibernate for a few days.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "How I Survived Outside Lands 2014, Day 2: Time to Rock",
"headTitle": "How I Survived Outside Lands 2014, Day 2: Time to Rock | KQED",
"content": "\u003cp>\u003cem>This is the second in a series of daily reports from this year’s Outside Lands from KQED Arts’ newest reporter, Kevin L. Jones. This is the first time Jones has attended the festival.\u003c/em>\u003c/p>\n\u003cp>This morning I woke up twice as exhausted than usual, knowing fully well that just after I spent an entire day walking to and from a music festival that I would have to do it all over again. But no matter how tedious the exercise was becoming, I made sure that when the Dum Dum Girls started up, I was right there at the front of the stage.\u003c/p>\n\u003cfigure id=\"attachment_10140263\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Dum-Dum-Girls-2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Dum-Dum-Girls-2.jpg\" alt=\"Dum Dum Girls reminding you how a makeout session should sound\" width=\"800\" height=\"533\" class=\"size-full wp-image-10140263\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Dum-Dum-Girls-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Dum-Dum-Girls-2-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Dum-Dum-Girls-2-300x199.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Dum Dum Girls reminding you how a makeout session should sound\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Dum Dum Girls:\u003c/strong> They might look like a goth band, but there’s no heavy chorus-tinged gloom coming from the Dum Dum Girls. Nope, they share more with the crop of loud, psychedelic shoegazers of the ’90s. (Doesn’t help that their male third guitarist bares a striking resemblance to the Kevin Shields.) \u003c/p>\n\u003cp>To be perfectly honest, I’m a huge fan of underground garage rock, and the Dum Dum Girls really remind me of a more-rockin’ \u003ca href=\"http://en.wikipedia.org/wiki/Slumber_Party\" target=\"_blank\" rel=\"noopener\">Slumber Party.\u003c/a> But really, they are just the newest band to fill the role of providing the perfect soundtracks for makeout sessions between two people still in or just out of college. In the ’80s it was the Cure; in the ’90s, it was Mazzy Star; and now it’s the Dum Dum girls. \u003c/p>\n\u003cp>Though I would’ve loved to hear earlier hits like “Jail La La,” the group cranked out a solid set of tunes. Instead of a chorus pedal for their melancholy tracks, the band relies somewhat heavily on tremolo pedals, which add a sepiatone-like color to their sound. Highly recommended, especially if you like surf guitars, haunting melodies and making out.\u003c/p>\n\u003cfigure id=\"attachment_10140262\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Chris-Gethard.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Chris-Gethard.jpg\" alt=\"Just a sample of the insanity that was the Chris Gethard show\" width=\"800\" height=\"533\" class=\"size-full wp-image-10140262\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Chris-Gethard.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Chris-Gethard-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Chris-Gethard-300x199.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Just a sample of the insanity that was the Chris Gethard show\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Chris Gethard Show:\u003c/strong> Poor Daniel, who had been taking edibles for days before attending the Chris Gethard Show, didn’t realize that when he admitted to his partaking of pot food that he would be agreeing to being subjected to an improvised psychedelic experience. Daniel handled it in stride, smiling while Gethard’s friends put on \u003ci>Eyes Wide Shut-\u003c/i>masks and sequined cloaks, and danced around him like he was a maypole. At one point, Daniel was asked to examine another man’s soul, which he described as “fine.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And that was just one of the several insane things that happened during the perpetual chaos that was the Chris Gethard Show. For another example, search for the hashtag #cumjugintheeye on Twitter. Also, definitely see this show next time.\u003c/p>\n\u003cfigure id=\"attachment_10140261\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Improv4Humans.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Improv4Humans.jpg\" alt=\"Improv4Humans (L to R): Seth Morris, Lauren Lapkus, Chris Gethard, Matt Besser \" width=\"800\" height=\"533\" class=\"size-full wp-image-10140261\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Improv4Humans.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Improv4Humans-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Improv4Humans-300x199.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Improv4Humans (L to R): Seth Morris, Lauren Lapkus, Chris Gethard, Matt Besser\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Improv4Humans:\u003c/strong> Improv4Humans is one of my favorite podcasts of all time and the brains behind the show, Matt Besser, brought with him to San Francisco some all-stars of the show: Gethard, Seth Morris and Lauren Lapkus (of \u003ci>Orange is the New Black\u003c/i>). In the middle of an amazing set of improvised sketches about YouTube comments (and a vulgar grandma), Jesus and Egyptian Mike, and the Dewey Decimal System, I found that my eyesight was getting blurry. Turned out that I had been laughing so hard I literally had tears running down my face.\u003c/p>\n\u003cfigure id=\"attachment_10140260\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Deer-Tick.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Deer-Tick.jpg\" alt=\"Deer Tick, just before a song about drinking\" width=\"800\" height=\"533\" class=\"size-full wp-image-10140260\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Deer-Tick.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Deer-Tick-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Deer-Tick-300x199.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Deer Tick, just before a song about drinking\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Deer Tick:\u003c/b> Turns out that indie country-rock really gets the kids moving. Though I have a feeling the dancing I saw during Deer Tick’s set was probably the same that I would see at a Phish show (though no \u003ca href=\"http://www.rollingstone.com/music/news/the-untold-and-deeply-stoned-story-of-the-first-u-s-rock-festival-20140617\" target=\"_blank\" rel=\"noopener\">funky sun grope.\u003c/a>) But the band could jump from songs that would be fitting for wine tasting to real rock ‘n’ roll tracks based on Chuck Berry-style riffs and pounding drums.\u003c/p>\n\u003cfigure id=\"attachment_10140257\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Haim-2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Haim-2.jpg\" alt=\" anielle Sari Haim, the singer guitarist for Haim\" width=\"800\" height=\"533\" class=\"size-full wp-image-10140257\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Haim-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Haim-2-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Haim-2-300x199.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Danielle Sari Haim, the singer guitarist for Haim\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Haim:\u003c/b> I wanted to see Haim so I could get shots of the infamous Este Arielle Haim’s \u003ca href=\"http://blogs.villagevoice.com/music/2013/11/snl_sound_of_haim.php\" target=\"_blank\" rel=\"noopener\">bass face,\u003c/a> which garnered a lot of attention after their set on Saturday Night Live; and I was not disappointed. But despite my pre-conceived notions, the bands really kicked ass and took names, especially when they covered “Oh Well,” a ripping track from the first version of Fleetwood Mac, which featured blues master \u003ca href=\"http://en.wikipedia.org/wiki/Peter_Green_(musician)\" target=\"_blank\" rel=\"noopener\">Peter Green.\u003c/a> But the girls killed that and their own tunes, which truly stand out from the current crop of ’80s throwback synth pop, thanks to the sisters and their staccato singing styles. Definitely an acquired taste but they ruled the Polo Fields that day.\u003c/p>\n\u003cfigure id=\"attachment_10140256\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Big-Freedia.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Big-Freedia.jpg\" alt=\"Big Freedia\" width=\"800\" height=\"533\" class=\"size-full wp-image-10140256\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Big-Freedia.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Big-Freedia-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Big-Freedia-300x199.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Big Freedia\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Big Freedia:\u003c/b> Wow, and I really do me WOW. Hands down my favorite set of the festival. There was so much booty being shaken that I thought all the butts would begin to boil over the edges of the festival. Ladders were pulled on stage for booty shaking and even Big Freedia’s dancers were so emboldened by the rumbling bass that they climbed the rafters in order to shake their booties from great heights. In short, there was truly “Ass Everywhere.”\u003c/p>\n\u003cp>Besides the booty shaking, the whole reason to see Big Freedia is to experience rap at its most base — the beats are practically pounded into you. Pretty much the punkest set at the festival and so successful that I’ve become a dedicated fan after one show.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>So concludes my rundown of day two of this year’s Outside Lands. Will I survive the final day? Be sure to read my rundown of Day 3 on Monday and follow @KQEDArts on Twitter as I’m live tweeting from the festival.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This is the second in a series of daily reports from this year’s Outside Lands from KQED Arts’ newest reporter, Kevin L. Jones. This is the first time Jones has attended the festival.\u003c/em>\u003c/p>\n\u003cp>This morning I woke up twice as exhausted than usual, knowing fully well that just after I spent an entire day walking to and from a music festival that I would have to do it all over again. But no matter how tedious the exercise was becoming, I made sure that when the Dum Dum Girls started up, I was right there at the front of the stage.\u003c/p>\n\u003cfigure id=\"attachment_10140263\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Dum-Dum-Girls-2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Dum-Dum-Girls-2.jpg\" alt=\"Dum Dum Girls reminding you how a makeout session should sound\" width=\"800\" height=\"533\" class=\"size-full wp-image-10140263\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Dum-Dum-Girls-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Dum-Dum-Girls-2-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Dum-Dum-Girls-2-300x199.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Dum Dum Girls reminding you how a makeout session should sound\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Dum Dum Girls:\u003c/strong> They might look like a goth band, but there’s no heavy chorus-tinged gloom coming from the Dum Dum Girls. Nope, they share more with the crop of loud, psychedelic shoegazers of the ’90s. (Doesn’t help that their male third guitarist bares a striking resemblance to the Kevin Shields.) \u003c/p>\n\u003cp>To be perfectly honest, I’m a huge fan of underground garage rock, and the Dum Dum Girls really remind me of a more-rockin’ \u003ca href=\"http://en.wikipedia.org/wiki/Slumber_Party\" target=\"_blank\" rel=\"noopener\">Slumber Party.\u003c/a> But really, they are just the newest band to fill the role of providing the perfect soundtracks for makeout sessions between two people still in or just out of college. In the ’80s it was the Cure; in the ’90s, it was Mazzy Star; and now it’s the Dum Dum girls. \u003c/p>\n\u003cp>Though I would’ve loved to hear earlier hits like “Jail La La,” the group cranked out a solid set of tunes. Instead of a chorus pedal for their melancholy tracks, the band relies somewhat heavily on tremolo pedals, which add a sepiatone-like color to their sound. Highly recommended, especially if you like surf guitars, haunting melodies and making out.\u003c/p>\n\u003cfigure id=\"attachment_10140262\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Chris-Gethard.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Chris-Gethard.jpg\" alt=\"Just a sample of the insanity that was the Chris Gethard show\" width=\"800\" height=\"533\" class=\"size-full wp-image-10140262\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Chris-Gethard.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Chris-Gethard-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Chris-Gethard-300x199.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Just a sample of the insanity that was the Chris Gethard show\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Chris Gethard Show:\u003c/strong> Poor Daniel, who had been taking edibles for days before attending the Chris Gethard Show, didn’t realize that when he admitted to his partaking of pot food that he would be agreeing to being subjected to an improvised psychedelic experience. Daniel handled it in stride, smiling while Gethard’s friends put on \u003ci>Eyes Wide Shut-\u003c/i>masks and sequined cloaks, and danced around him like he was a maypole. At one point, Daniel was asked to examine another man’s soul, which he described as “fine.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And that was just one of the several insane things that happened during the perpetual chaos that was the Chris Gethard Show. For another example, search for the hashtag #cumjugintheeye on Twitter. Also, definitely see this show next time.\u003c/p>\n\u003cfigure id=\"attachment_10140261\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Improv4Humans.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Improv4Humans.jpg\" alt=\"Improv4Humans (L to R): Seth Morris, Lauren Lapkus, Chris Gethard, Matt Besser \" width=\"800\" height=\"533\" class=\"size-full wp-image-10140261\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Improv4Humans.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Improv4Humans-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Improv4Humans-300x199.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Improv4Humans (L to R): Seth Morris, Lauren Lapkus, Chris Gethard, Matt Besser\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Improv4Humans:\u003c/strong> Improv4Humans is one of my favorite podcasts of all time and the brains behind the show, Matt Besser, brought with him to San Francisco some all-stars of the show: Gethard, Seth Morris and Lauren Lapkus (of \u003ci>Orange is the New Black\u003c/i>). In the middle of an amazing set of improvised sketches about YouTube comments (and a vulgar grandma), Jesus and Egyptian Mike, and the Dewey Decimal System, I found that my eyesight was getting blurry. Turned out that I had been laughing so hard I literally had tears running down my face.\u003c/p>\n\u003cfigure id=\"attachment_10140260\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Deer-Tick.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Deer-Tick.jpg\" alt=\"Deer Tick, just before a song about drinking\" width=\"800\" height=\"533\" class=\"size-full wp-image-10140260\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Deer-Tick.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Deer-Tick-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Deer-Tick-300x199.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Deer Tick, just before a song about drinking\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Deer Tick:\u003c/b> Turns out that indie country-rock really gets the kids moving. Though I have a feeling the dancing I saw during Deer Tick’s set was probably the same that I would see at a Phish show (though no \u003ca href=\"http://www.rollingstone.com/music/news/the-untold-and-deeply-stoned-story-of-the-first-u-s-rock-festival-20140617\" target=\"_blank\" rel=\"noopener\">funky sun grope.\u003c/a>) But the band could jump from songs that would be fitting for wine tasting to real rock ‘n’ roll tracks based on Chuck Berry-style riffs and pounding drums.\u003c/p>\n\u003cfigure id=\"attachment_10140257\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Haim-2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Haim-2.jpg\" alt=\" anielle Sari Haim, the singer guitarist for Haim\" width=\"800\" height=\"533\" class=\"size-full wp-image-10140257\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Haim-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Haim-2-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Haim-2-300x199.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Danielle Sari Haim, the singer guitarist for Haim\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Haim:\u003c/b> I wanted to see Haim so I could get shots of the infamous Este Arielle Haim’s \u003ca href=\"http://blogs.villagevoice.com/music/2013/11/snl_sound_of_haim.php\" target=\"_blank\" rel=\"noopener\">bass face,\u003c/a> which garnered a lot of attention after their set on Saturday Night Live; and I was not disappointed. But despite my pre-conceived notions, the bands really kicked ass and took names, especially when they covered “Oh Well,” a ripping track from the first version of Fleetwood Mac, which featured blues master \u003ca href=\"http://en.wikipedia.org/wiki/Peter_Green_(musician)\" target=\"_blank\" rel=\"noopener\">Peter Green.\u003c/a> But the girls killed that and their own tunes, which truly stand out from the current crop of ’80s throwback synth pop, thanks to the sisters and their staccato singing styles. Definitely an acquired taste but they ruled the Polo Fields that day.\u003c/p>\n\u003cfigure id=\"attachment_10140256\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Big-Freedia.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Big-Freedia.jpg\" alt=\"Big Freedia\" width=\"800\" height=\"533\" class=\"size-full wp-image-10140256\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Big-Freedia.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Big-Freedia-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Big-Freedia-300x199.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Big Freedia\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Big Freedia:\u003c/b> Wow, and I really do me WOW. Hands down my favorite set of the festival. There was so much booty being shaken that I thought all the butts would begin to boil over the edges of the festival. Ladders were pulled on stage for booty shaking and even Big Freedia’s dancers were so emboldened by the rumbling bass that they climbed the rafters in order to shake their booties from great heights. In short, there was truly “Ass Everywhere.”\u003c/p>\n\u003cp>Besides the booty shaking, the whole reason to see Big Freedia is to experience rap at its most base — the beats are practically pounded into you. Pretty much the punkest set at the festival and so successful that I’ve become a dedicated fan after one show.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>So concludes my rundown of day two of this year’s Outside Lands. Will I survive the final day? Be sure to read my rundown of Day 3 on Monday and follow @KQEDArts on Twitter as I’m live tweeting from the festival.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "How I Survived Outside Lands 2014, Day 1: Time to Dance!",
"headTitle": "How I Survived Outside Lands 2014, Day 1: Time to Dance! | KQED",
"content": "\u003cp>\u003cem>This is the first in a series of daily reports from this year’s \u003cstrong>Outside Lands\u003c/strong> from KQED Arts’ newest reporter, Kevin L. Jones. This is the first time Jones has attended the festival.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_10140220\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Outside-LAndsCrop.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10140220\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Outside-LAndsCrop-400x225.jpg\" alt=\"Photo ops in front of the inflatable Outside Lands statue \" width=\"400\" height=\"225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Outside-LAndsCrop-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Outside-LAndsCrop-300x168.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Outside-LAndsCrop.jpg 1440w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo ops in front of the inflatable Outside Lands statue\u003c/figcaption>\u003c/figure>\n\u003cp>I should probably preface this by admitting that I’m not a huge fan of outdoor music festivals. I prefer to see bands in more intimate venues that don’t leave me vulnerable to the elements (I’m fair-skinned.) Of course I’ve been to my share of music festivals — in some cases it was my only opportunity to see some of my favorite bands — but nowadays I avoid them completely.\u003c/p>\n\u003cp>That being said, it makes little sense that I volunteered for this assignment — providing daily recaps of the events — because it means traveling two hours each way to stand in the sun and watch a bunch of bands I’m not too familiar with, only to leave before the headliners take the stage so I can write my article.\u003c/p>\n\u003cp>But I did, because somebody has to do it.\u003c/p>\n\u003cp>So, without further ado, here are my notes on the first day of Outside Lands.\u003c/p>\n\u003cfigure id=\"attachment_10140221\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Rayland-Baxter.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10140221\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Rayland-Baxter.jpg\" alt=\"Rayland Baxter, performing at the Sutro State on the first day of Outside Lands\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Rayland-Baxter.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Rayland-Baxter-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Rayland-Baxter-300x168.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rayland Baxter, performing at the Sutro State on the first day of Outside Lands \u003ccite>(Kevin L. Jones)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Rayland Baxter:\u003c/strong> I started my \u003cstrong>Outside Lands\u003c/strong> experience with the feel good sounds of Rayland Baxter and his group from Nashville. Their tunes were mostly southern-tinged tributes to AM Gold classics, but they could also get pretty heavy, with one track sounding like if the Black Angels tapped into an early Black Sabbath riff. Also notable was Baxter’s anecdote about living in a friends backyard in Israel years ago — “I just ended up there” — in which he concluded by saying the current situation there was “a bunch of stupid shit.”\u003c/p>\n\u003cfigure id=\"attachment_10140214\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Gfunk-OAtes-2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10140214\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Gfunk-OAtes-2.jpg\" alt=\"Garfunkel & Oates AKA Kate Micucci and Riki Lindhome\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Gfunk-OAtes-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Gfunk-OAtes-2-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Gfunk-OAtes-2-300x199.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Garfunkel & Oates AKA Kate Micucci and Riki Lindhome \u003ccite>(Kevin L. Jones)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Aparna Nancherla / Garfunkel & Oates:\u003c/b> Though it was already packed, a quick flash of my press badge got me into the Barbary to see the first sets of the day from comedian Aparna Nancherla and the musical comedy duo Garfunkel and Oates (they also closed out the day). It appeared that the crowd needed to warm up to Nancherla and her sardonic takes on real life, but by the time she started reading the messages she’s received via her OK Cupid account, the audience was hers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It wasn’t long before Garfunkel & Oates took the stage and ripped through a set of hilarious songs about weed cards, getting older and “God’s loophole.” The duo — Kate Micucci and Riki Lindhome — have cutesy exteriors but had no problem going blue, though they also had a few stories about having to face their parents after performing such lewd jokes on stage and on their television show on IFC.\u003c/p>\n\u003cfigure id=\"attachment_10140210\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Bleachers-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10140210\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Bleachers-1.jpg\" alt=\"Bleachers' Jack Antonoff\" width=\"600\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Bleachers-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Bleachers-1-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Bleachers-1-300x199.jpg 300w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Bleachers’ Jack Antonoff\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Bleachers:\u003c/strong> I love me some synth-heavy pop music and that’s exactly what Bleachers plays. The side project of fun’s Jack Antonoff, almost every Bleachers song is a sing-along that borders on being an anthem. Even dealing with power issues, the band soldiered on and made sure every audience member was singing their guts out. But for being a band with one foot planted firmly in ’80s new wave dance music, I expected wilder hair-dos.\u003c/p>\n\u003cfigure id=\"attachment_10140216\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Killer-Mike.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Killer-Mike.jpg\" alt=\"Run the Jewels (Killer Mike, El-P)\" width=\"800\" height=\"450\" class=\"size-full wp-image-10140216\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Killer-Mike.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Killer-Mike-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Killer-Mike-300x168.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Run the Jewels (Killer Mike, El-P)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Run the Jewels:\u003c/b> I’m glad I left Bleachers early to catch Run the Jewels because Killer Mike and El-P were KILLING IT. El-P rapped during the set, “I don’t play music, I play R-A-P,” and he couldn’t have said more truer words. This was real shit, the kind of rap that rumbles your guts.\u003c/p>\n\u003cp>Their set showed me how amazing a rap show can be, especially if the bass is loud enough. If you think about it, rap shows are usually one or two dudes talking at breakneck speeds while another dude just stands in the back, fiddling with a computer or abusing a record player. But if the bass is so loud that it reaches brown note levels (like it was during Run the Jewels,) you can’t help but sway to the music like a drunk standing in strong winds.\u003c/p>\n\u003cfigure id=\"attachment_10140231\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Warpaint.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Warpaint.jpg\" alt=\"Warpaint\" width=\"800\" height=\"533\" class=\"size-full wp-image-10140231\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Warpaint.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Warpaint-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Warpaint-300x199.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Warpaint\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Warpaint:\u003c/b> Hailed as the coolest all-female band of right now, this band could easily become the Slits of the 21st century (which was the Slits until Ari Up passed.) Lots of great grooves carrying their unconventional, siren-song melodies that sound like they came from Bananarama if they had joined the Manson Family. Add some sprinkling of angular guitars and you got a good time on your hands.\u003c/p>\n\u003cfigure id=\"attachment_10140217\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Mikal-Cronin-2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Mikal-Cronin-2.jpg\" alt=\"Mikal Cronin\" width=\"800\" height=\"533\" class=\"size-full wp-image-10140217\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Mikal-Cronin-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Mikal-Cronin-2-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Mikal-Cronin-2-300x199.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mikal Cronin\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Mikal Cronin:\u003c/b> I’ve been waiting to see Mikal Cronin for a while now and his set did not disappoint. The bass player for Ty Segall, it’s hard to ignore that connection when listening to Cronin’s music, but Cronin likes to concentrate more on the melody side of the lo-fi psych garage that Segall is known for. Upon further reflection, Cronin’s tunes sound like if the Pixies had a singer who didn’t scream and the band was on Lookout Records. Throw in some serious feedback and guitar shredding, and you get the point. And despite the fact that they played the night before at the Independent, they still came at the crowd with a lot of energy, inspiring the only mosh pit I witnessed at the festival.\u003c/p>\n\u003cfigure id=\"attachment_10140213\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Disclosure.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Disclosure.jpg\" alt=\"Disclosure\" width=\"800\" height=\"450\" class=\"size-full wp-image-10140213\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Disclosure.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Disclosure-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Disclosure-300x168.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Disclosure\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Disclosure:\u003c/b> After watching Chromeo’s slamming, 4-on-the-floor set of dance tracks that were reminiscent of Zapp and early Prince, I braved the already packed crowd around the Lands End stage for Disclosure. I used to be quite the techno fan back in the ’90s, staying up late on Saturday nights to watch \u003ci>Amp\u003c/i> on MTV to catch videos from Laurent Garnier, Coldcut and Roni Size, and Disclosure definitely gave me eletronica flashbacks. Didn’t cut a rug like I should’ve, especially since they played this jamming track:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=chAG0xEX_iA \u003c/p>\n\u003cfigure id=\"attachment_10140229\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Tegan-Sara2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Tegan-Sara2.jpg\" alt=\"Tegan & Sara\" width=\"800\" height=\"450\" class=\"size-full wp-image-10140229\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Tegan-Sara2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Tegan-Sara2-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Tegan-Sara2-300x168.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Tegan & Sara\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Tegan and Sara:\u003c/b> It’s been a long time since “Walking With A Ghost” but the Canadian twins Tegan and Sara have been prolific as ever. Though their new synth pop sound is a little “one note,” it’s because their voices are so dominating — each track has a catchy hook that only those two sisters can sing. But they were great this set, cranking out the kind of jams one blasts while driving a Ferrari at high speeds. The two sisters also looked cool as hell, I might add, even though one of them wore a black flight jacket — if she would’ve had a Chelsea, she would’ve looked like a skinhead’s girlfriend. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>So concludes my rundown of day one of \u003cb>Outside Lands.\u003c/b> Be sure to read my rundown of Day 2 and follow \u003ca href=\"https://twitter.com/kqedarts\" target=\"_blank\" rel=\"noopener\">@KQEDArts\u003c/a> on Twitter as I’m live tweeting from the festival.\u003c/i>\u003c/p>\n\n",
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"excerpt": "The first in our series of daily reports on the massive crowds and synth pop played at ear-splitting volume at this year's \u003ci>Outside Lands Music Festival.\u003c/i>",
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"title": "How I Survived Outside Lands 2014, Day 1: Time to Dance! | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This is the first in a series of daily reports from this year’s \u003cstrong>Outside Lands\u003c/strong> from KQED Arts’ newest reporter, Kevin L. Jones. This is the first time Jones has attended the festival.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_10140220\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Outside-LAndsCrop.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10140220\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Outside-LAndsCrop-400x225.jpg\" alt=\"Photo ops in front of the inflatable Outside Lands statue \" width=\"400\" height=\"225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Outside-LAndsCrop-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Outside-LAndsCrop-300x168.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Outside-LAndsCrop.jpg 1440w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo ops in front of the inflatable Outside Lands statue\u003c/figcaption>\u003c/figure>\n\u003cp>I should probably preface this by admitting that I’m not a huge fan of outdoor music festivals. I prefer to see bands in more intimate venues that don’t leave me vulnerable to the elements (I’m fair-skinned.) Of course I’ve been to my share of music festivals — in some cases it was my only opportunity to see some of my favorite bands — but nowadays I avoid them completely.\u003c/p>\n\u003cp>That being said, it makes little sense that I volunteered for this assignment — providing daily recaps of the events — because it means traveling two hours each way to stand in the sun and watch a bunch of bands I’m not too familiar with, only to leave before the headliners take the stage so I can write my article.\u003c/p>\n\u003cp>But I did, because somebody has to do it.\u003c/p>\n\u003cp>So, without further ado, here are my notes on the first day of Outside Lands.\u003c/p>\n\u003cfigure id=\"attachment_10140221\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Rayland-Baxter.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10140221\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Rayland-Baxter.jpg\" alt=\"Rayland Baxter, performing at the Sutro State on the first day of Outside Lands\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Rayland-Baxter.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Rayland-Baxter-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Rayland-Baxter-300x168.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rayland Baxter, performing at the Sutro State on the first day of Outside Lands \u003ccite>(Kevin L. Jones)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Rayland Baxter:\u003c/strong> I started my \u003cstrong>Outside Lands\u003c/strong> experience with the feel good sounds of Rayland Baxter and his group from Nashville. Their tunes were mostly southern-tinged tributes to AM Gold classics, but they could also get pretty heavy, with one track sounding like if the Black Angels tapped into an early Black Sabbath riff. Also notable was Baxter’s anecdote about living in a friends backyard in Israel years ago — “I just ended up there” — in which he concluded by saying the current situation there was “a bunch of stupid shit.”\u003c/p>\n\u003cfigure id=\"attachment_10140214\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Gfunk-OAtes-2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10140214\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Gfunk-OAtes-2.jpg\" alt=\"Garfunkel & Oates AKA Kate Micucci and Riki Lindhome\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Gfunk-OAtes-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Gfunk-OAtes-2-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Gfunk-OAtes-2-300x199.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Garfunkel & Oates AKA Kate Micucci and Riki Lindhome \u003ccite>(Kevin L. Jones)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Aparna Nancherla / Garfunkel & Oates:\u003c/b> Though it was already packed, a quick flash of my press badge got me into the Barbary to see the first sets of the day from comedian Aparna Nancherla and the musical comedy duo Garfunkel and Oates (they also closed out the day). It appeared that the crowd needed to warm up to Nancherla and her sardonic takes on real life, but by the time she started reading the messages she’s received via her OK Cupid account, the audience was hers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It wasn’t long before Garfunkel & Oates took the stage and ripped through a set of hilarious songs about weed cards, getting older and “God’s loophole.” The duo — Kate Micucci and Riki Lindhome — have cutesy exteriors but had no problem going blue, though they also had a few stories about having to face their parents after performing such lewd jokes on stage and on their television show on IFC.\u003c/p>\n\u003cfigure id=\"attachment_10140210\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Bleachers-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10140210\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Bleachers-1.jpg\" alt=\"Bleachers' Jack Antonoff\" width=\"600\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Bleachers-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Bleachers-1-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Bleachers-1-300x199.jpg 300w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Bleachers’ Jack Antonoff\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Bleachers:\u003c/strong> I love me some synth-heavy pop music and that’s exactly what Bleachers plays. The side project of fun’s Jack Antonoff, almost every Bleachers song is a sing-along that borders on being an anthem. Even dealing with power issues, the band soldiered on and made sure every audience member was singing their guts out. But for being a band with one foot planted firmly in ’80s new wave dance music, I expected wilder hair-dos.\u003c/p>\n\u003cfigure id=\"attachment_10140216\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Killer-Mike.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Killer-Mike.jpg\" alt=\"Run the Jewels (Killer Mike, El-P)\" width=\"800\" height=\"450\" class=\"size-full wp-image-10140216\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Killer-Mike.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Killer-Mike-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Killer-Mike-300x168.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Run the Jewels (Killer Mike, El-P)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Run the Jewels:\u003c/b> I’m glad I left Bleachers early to catch Run the Jewels because Killer Mike and El-P were KILLING IT. El-P rapped during the set, “I don’t play music, I play R-A-P,” and he couldn’t have said more truer words. This was real shit, the kind of rap that rumbles your guts.\u003c/p>\n\u003cp>Their set showed me how amazing a rap show can be, especially if the bass is loud enough. If you think about it, rap shows are usually one or two dudes talking at breakneck speeds while another dude just stands in the back, fiddling with a computer or abusing a record player. But if the bass is so loud that it reaches brown note levels (like it was during Run the Jewels,) you can’t help but sway to the music like a drunk standing in strong winds.\u003c/p>\n\u003cfigure id=\"attachment_10140231\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Warpaint.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Warpaint.jpg\" alt=\"Warpaint\" width=\"800\" height=\"533\" class=\"size-full wp-image-10140231\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Warpaint.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Warpaint-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Warpaint-300x199.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Warpaint\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Warpaint:\u003c/b> Hailed as the coolest all-female band of right now, this band could easily become the Slits of the 21st century (which was the Slits until Ari Up passed.) Lots of great grooves carrying their unconventional, siren-song melodies that sound like they came from Bananarama if they had joined the Manson Family. Add some sprinkling of angular guitars and you got a good time on your hands.\u003c/p>\n\u003cfigure id=\"attachment_10140217\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Mikal-Cronin-2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Mikal-Cronin-2.jpg\" alt=\"Mikal Cronin\" width=\"800\" height=\"533\" class=\"size-full wp-image-10140217\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Mikal-Cronin-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Mikal-Cronin-2-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Mikal-Cronin-2-300x199.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mikal Cronin\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Mikal Cronin:\u003c/b> I’ve been waiting to see Mikal Cronin for a while now and his set did not disappoint. The bass player for Ty Segall, it’s hard to ignore that connection when listening to Cronin’s music, but Cronin likes to concentrate more on the melody side of the lo-fi psych garage that Segall is known for. Upon further reflection, Cronin’s tunes sound like if the Pixies had a singer who didn’t scream and the band was on Lookout Records. Throw in some serious feedback and guitar shredding, and you get the point. And despite the fact that they played the night before at the Independent, they still came at the crowd with a lot of energy, inspiring the only mosh pit I witnessed at the festival.\u003c/p>\n\u003cfigure id=\"attachment_10140213\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Disclosure.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Disclosure.jpg\" alt=\"Disclosure\" width=\"800\" height=\"450\" class=\"size-full wp-image-10140213\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Disclosure.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Disclosure-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Disclosure-300x168.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Disclosure\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Disclosure:\u003c/b> After watching Chromeo’s slamming, 4-on-the-floor set of dance tracks that were reminiscent of Zapp and early Prince, I braved the already packed crowd around the Lands End stage for Disclosure. I used to be quite the techno fan back in the ’90s, staying up late on Saturday nights to watch \u003ci>Amp\u003c/i> on MTV to catch videos from Laurent Garnier, Coldcut and Roni Size, and Disclosure definitely gave me eletronica flashbacks. Didn’t cut a rug like I should’ve, especially since they played this jamming track:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=chAG0xEX_iA \u003c/p>\n\u003cfigure id=\"attachment_10140229\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Tegan-Sara2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Tegan-Sara2.jpg\" alt=\"Tegan & Sara\" width=\"800\" height=\"450\" class=\"size-full wp-image-10140229\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Tegan-Sara2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Tegan-Sara2-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Tegan-Sara2-300x168.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Tegan & Sara\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Tegan and Sara:\u003c/b> It’s been a long time since “Walking With A Ghost” but the Canadian twins Tegan and Sara have been prolific as ever. Though their new synth pop sound is a little “one note,” it’s because their voices are so dominating — each track has a catchy hook that only those two sisters can sing. But they were great this set, cranking out the kind of jams one blasts while driving a Ferrari at high speeds. The two sisters also looked cool as hell, I might add, even though one of them wore a black flight jacket — if she would’ve had a Chelsea, she would’ve looked like a skinhead’s girlfriend. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>So concludes my rundown of day one of \u003cb>Outside Lands.\u003c/b> Be sure to read my rundown of Day 2 and follow \u003ca href=\"https://twitter.com/kqedarts\" target=\"_blank\" rel=\"noopener\">@KQEDArts\u003c/a> on Twitter as I’m live tweeting from the festival.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Waiting for the Electricity': A Comic Journey from Georgia to San Francisco",
"headTitle": "‘Waiting for the Electricity’: A Comic Journey from Georgia to San Francisco | KQED",
"content": "\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/waitingfor.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/waitingfor-400x529.jpg\" alt=\"Waiting for the Electricity\" width=\"400\" height=\"529\" class=\"alignleft size-thumbnail wp-image-10138438\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/waitingfor-400x529.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/waitingfor-226x300.jpg 226w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/waitingfor.jpg 500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003cp>Christina Nichol has done the legwork for us. Since growing up in the Bay Area, she has lived in India, South Korea, Kyrgyzstan, Kazakhstan, Kosovo, and Georgia – and the latter is the setting of \u003cem>Waiting for the Electricity\u003c/em>, her first novel. \u003c/p>\n\u003cp>Nichol brings the curiosity and critical eye of the seasoned traveler to her debut, keenly observing both her Georgian protagonists and the Americans they idealize. In her capable hands, \u003cem>Waiting for the Electricity\u003c/em> does what all armchair travel literature should aspire to do: it immerses you completely in the consciousness of another culture and makes you think, first about people very different from you, and then about yourself.\u003c/p>\n\u003cp>At first glance, Nichol’s story seems to be just another bleak glimpse of post-Soviet stagnation, torn from the headlines. Slims Achmed Makashvili is a young maritime lawyer who dreams of bringing American modernity to his disheveled and dysfunctional country. He hasn’t received a paycheck in months, the government shuts off the electricity on a daily basis, and his best friend resorts to kidnapping a visiting Englishman in order to obtain a car. But Nichol conjures hilarious, quirky details that quickly draw us deeper into Slims’ world. At work, he contends not only with inadequate pay, but also with his buffoon of a boss, who is obsessed with an American fax machine. The vagaries of the electricity create a new form of superstition amongst Slims’ friends – whenever the electricity comes back on, it’s taken as a sign that whoever was speaking last is correct. The attempted kidnapping devolves into an uproarious banquet held in the Englishman’s honor.\u003c/p>\n\u003cp>When Slims finally achieves his dream of visiting America, Nichol’s tone turns from comic picaresque to outright satire – not of the hapless Georgians, but of the uptight and misguided Americans. Slims arrives in San Francisco excited to learn about law enforcement and economics from his American hosts, but once the shock of the big city has worn off, he starts to notice how anxious and repressed his new acquaintances are. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After gently poking fun at Slims’ chaotic, eccentric family, Nichol encourages us to laugh at ourselves as well. After all, seeing the humor in life is Slims’ own lifeline. He earnestly aspires to change the world but also recognizes the comic impossibility of his dreams, observing, for example, the irony that Georgia’s oil export is saving the country’s economy while destroying its ecology.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Nichol’s sense of humor — her knack for revealing a character through one outlandish metaphor, her perfect ventriloquizing of Slims’ shoddy English — is what makes \u003cem>Waiting for the Electricity\u003c/em> so much fun to read. Drawing us further in with each successive chuckle (and quite a few laugh-out-loud moments), Nichol lays out a nuanced portrait of a country many of us will never visit. Slims has to go all the way to San Francisco to understand what America is really like, but Nichol offers us the chance to experience a totally different world through the pages of her book.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/waitingfor.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/waitingfor-400x529.jpg\" alt=\"Waiting for the Electricity\" width=\"400\" height=\"529\" class=\"alignleft size-thumbnail wp-image-10138438\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/waitingfor-400x529.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/waitingfor-226x300.jpg 226w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/waitingfor.jpg 500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003cp>Christina Nichol has done the legwork for us. Since growing up in the Bay Area, she has lived in India, South Korea, Kyrgyzstan, Kazakhstan, Kosovo, and Georgia – and the latter is the setting of \u003cem>Waiting for the Electricity\u003c/em>, her first novel. \u003c/p>\n\u003cp>Nichol brings the curiosity and critical eye of the seasoned traveler to her debut, keenly observing both her Georgian protagonists and the Americans they idealize. In her capable hands, \u003cem>Waiting for the Electricity\u003c/em> does what all armchair travel literature should aspire to do: it immerses you completely in the consciousness of another culture and makes you think, first about people very different from you, and then about yourself.\u003c/p>\n\u003cp>At first glance, Nichol’s story seems to be just another bleak glimpse of post-Soviet stagnation, torn from the headlines. Slims Achmed Makashvili is a young maritime lawyer who dreams of bringing American modernity to his disheveled and dysfunctional country. He hasn’t received a paycheck in months, the government shuts off the electricity on a daily basis, and his best friend resorts to kidnapping a visiting Englishman in order to obtain a car. But Nichol conjures hilarious, quirky details that quickly draw us deeper into Slims’ world. At work, he contends not only with inadequate pay, but also with his buffoon of a boss, who is obsessed with an American fax machine. The vagaries of the electricity create a new form of superstition amongst Slims’ friends – whenever the electricity comes back on, it’s taken as a sign that whoever was speaking last is correct. The attempted kidnapping devolves into an uproarious banquet held in the Englishman’s honor.\u003c/p>\n\u003cp>When Slims finally achieves his dream of visiting America, Nichol’s tone turns from comic picaresque to outright satire – not of the hapless Georgians, but of the uptight and misguided Americans. Slims arrives in San Francisco excited to learn about law enforcement and economics from his American hosts, but once the shock of the big city has worn off, he starts to notice how anxious and repressed his new acquaintances are. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After gently poking fun at Slims’ chaotic, eccentric family, Nichol encourages us to laugh at ourselves as well. After all, seeing the humor in life is Slims’ own lifeline. He earnestly aspires to change the world but also recognizes the comic impossibility of his dreams, observing, for example, the irony that Georgia’s oil export is saving the country’s economy while destroying its ecology.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Nichol’s sense of humor — her knack for revealing a character through one outlandish metaphor, her perfect ventriloquizing of Slims’ shoddy English — is what makes \u003cem>Waiting for the Electricity\u003c/em> so much fun to read. Drawing us further in with each successive chuckle (and quite a few laugh-out-loud moments), Nichol lays out a nuanced portrait of a country many of us will never visit. Slims has to go all the way to San Francisco to understand what America is really like, but Nichol offers us the chance to experience a totally different world through the pages of her book.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "John Waters Is Not a Psycho, He Just Wants a Ride",
"headTitle": "John Waters Is Not a Psycho, He Just Wants a Ride | KQED",
"content": "\u003caside class=\"event-info alignright\">\n\u003ch3>Event Information\u003c/h3>\n\u003cdiv class=\"event-map\">[googlemaps https://www.google.com/maps/embed?pb=!1m14!1m8!1m3!1d3153.7405626730356!2d-122.421802!3d37.772681!3m2!1i1024!2i768!4f13.1!3m3!1m2!1s0x8085809fb7aef449%3A0x14f0acbb80028ffa!2sMcRoskey+Mattress+Company%2C+Inc.!5e0!3m2!1sen!2sus!4v1402093382184&w=400&h=300]\u003c/div>\n\u003cdiv class=\"event-desc\">Filmmaker, author, celebrity, and provocateur John Waters sits down and talks with the proprietor of The Green Arcade, Patrick Marks, about his book \u003ci>Carsick: John Waters Hitchhikes Across America\u003c/i>. For tickets and information visit: \u003ca href=\"http://www.thegreenarcade.com/\" target=\"_blank\" rel=\"noopener\">thegreenarcade.com\u003c/a>\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Monday, June 9, 2014 7pm\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">McRoskey Mattress Company 1687 Market St., Third Floor San Francisco, California Tel: 415.431.6800\u003cbr>\n\u003ca href=\"https://goo.gl/maps/V86dh\" target=\"_blank\" rel=\"noopener\">MAP\u003c/a>\u003c/div>\n\u003c/aside>\n\u003cp>I am writing this review on a legal pad while riding shotgun in a car, because I think that’s how John Waters would want it. He just released \u003ci>Carsick\u003c/i>, a book recounting his adventures hitchhiking from Baltimore to San Francisco. You may have \u003ca href=\"http://artsbeat.blogs.nytimes.com/2012/05/25/john-waters-tries-some-desperate-living-on-a-cross-country-hitchhiking-odyssey/\">read about the trip\u003c/a> a couple years back, when Waters was making his way across the country and gathering material. That’s how I heard about it, and it made me wonder about hitchhiking. \u003c/p>\n\u003cp>Would I ever pick someone up? Not likely. I am a small, lean woman. \u003c/p>\n\u003cp>Before going on his real adventure, Waters wrote two fictional accounts, one describing the best that could happen and the other imagining the worst. \u003c/p>\n\u003cp>\u003cem>SIDENOTE\u003c/em>: I just saw a complete set of someone’s bedsheets (pink and with pillows included) blown over roadside. When I point it out to my driver, he tells me that’s nothing compared to what he saw the other day: a dead Chihuahua by the side of the road, its legs pointing up cartoon-style. \u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/carsickbook.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/carsickbook-400x400.jpg\" alt=\"Carsick by John Waters book cover\" width=\"400\" height=\"400\" class=\"alignright size-thumbnail wp-image-10137434\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/carsickbook-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/carsickbook-300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/carsickbook-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/carsickbook-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/carsickbook-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/carsickbook-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/carsickbook-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/carsickbook.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>Now. Where were we? Yes, I read \u003ci>Carsick\u003c/i> the way I watch most John Waters’ films — gleeful and in awe of his attraction to chaos, then repulsed and dying to avert my eyes. I am not a film critic so I can look away from a movie when I want to, but I did \u003cem>not\u003c/em> give in to those instincts for this book; I read everything for you. (You’re welcome, readers of the Internet!) After all, do you \u003cem>really\u003c/em> want to know what’s the worst that could happen to a hitchhiker in John Waters’ imagination? Some of you do, I bet.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the acknowledgments, Waters describes his two assistants typing up the book from drafts on a legal pad (mine says \u003cem>Universal\u003c/em> in red at the top), and how they could not tell which stories belonged in which category. Getting picked up by a runaway felon who is a sexual exhibitionist and involves you in a bank robbery fits most people’s “worst” category, but not John Waters.\u003c/p>\n\u003cblockquote>\u003cp>“I got a bank job to do, porkers!” he shouts [to police chasing] as we zoom down the country lane. So \u003cem>that’s\u003c/em> what he does for a living, I think, impressed before suddenly realizing I should be frightened. “You’re not going to rob a bank now, are you?” I sputter. “I’m not, \u003cem>we\u003c/em> are,” he answers with confidence.\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_10137435\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/waters.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/waters.jpg\" alt=\"John Waters hitchhiking\" width=\"640\" height=\"801\" class=\"size-full wp-image-10137435\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/waters.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/waters-400x500.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/waters-239x300.jpg 239w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Would you give this man a lift?\u003c/figcaption>\u003c/figure>\n\u003cp>In the memoir part of the book, titled \u003cem>The Real Thing, \u003c/em>it’s raining when Waters steps out with his sign — one of many, but I like the one that reads \u003cem>to I-70\u003c/em> on one side and \u003cem>I’M NOT PSYCHO\u003c/em> on the other. Unlike the fictional accounts, the first few rides are hastily sketched out. The interiors of the cars are not clearly seen and the dialogue time and again leads to the same thing: Waters telling his drivers about his films or the fact that he’s a filmmaker, then noting their awareness or lack thereof. This is problematic in that it reveals a type of self-centeredness that has no dramatic place in a book about hitchhiking. The passages lack real engagement with the people Waters encounters and their personal spaces.\u003c/p>\n\u003cp>The best writing naturally comes out of rides with people Waters can relate to — for example, Kitty and Jupiter, ride number fifteen:\u003c/p>\n\u003cblockquote>\u003cp>[Kitty’s] a disabled vet who, along with many others in the Marines, was given a “bad anti-anthrax vaccine” that almost killed her. Kitty claims that the serum “was not kept in a climate-controlled environment. It happened to others, too,” she explains…\u003c/p>\n\u003cp>Jupiter’s a roofer. Naturally! Why are roofers always cute? I tell him he’s a dead ringer for a young Manson, and he asks if I’d like some “recreational drugs.” They both smoke pot and offer me a place to stay for the night at either of their pads… I try to convince Jupiter that he should try hitchhiking. “Sure” — he laughs — “who’s gonna pick up ‘Charlie Manson Jr.,’ as you call me? You know what they say about Kansas, don’t you?” “What?” I bite. “Come on vacation, leave on probation!” I could fall in lust.\u003c/p>\u003c/blockquote>\n\u003cp>The wavering commitment to adventure loosens the dramatic tension in the book, and not even by Waters’ most valiant efforts to try and convince us that something is at stake can it be rescued. Many times, as Waters is waiting at a rest stop, he looks forlornly at a bush, dreading the possibility that he might have to sleep there. This is the same man who is constantly calling his assistants and trying to get them to send a taxi to pick him up (somehow this never quite works) and who later, while staying in a hotel, complains about being out of \u003cem>La Mer\u003c/em> cream. Not for one second do we believe Waters will have to sleep under a bush on the side of the freeway.\u003c/p>\n\u003cp>By the way, Waters was 66 at the time of this adventure.\u003c/p>\n\u003cp>Overall, \u003ci>Carsick\u003c/i> is a fun book, with one of the best-written prologues I have ever read. I devoured “The Best That Could Happen” in a gulp, and tore through “The Worst That Could Happen” in spite of the pervasive nausea it inspired. “The Real Thing” was made up of equal parts thrill and boredom, which is probably an accurate description of such a cross-country adventure.\u003c/p>\n\u003cp>There is a bump on the road. I look up for the first time in a while to see an orange sign with flashing bulbs that reads CAUTION. There are orange cones marking the middle of the road, too. They have reflective bands that look mother of pearl in this light. There doesn’t seem to be much going on. I guess, you never know when the road is going to be boring or when it’s going to surprise you with a dead Chihuahua.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ca href=\"http://us.macmillan.com/BookCustomPage_New.aspx?isbn=9780374298630\">Read an excerpt\u003c/a> of \u003ci>Carsick\u003c/i> at usmacmillan.com and catch John Waters on \u003ci>Forum\u003c/i>, this morning, Monday, June 9, 10am on KQED 88.5FM.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003ch3>Event Information\u003c/h3>\n\u003cdiv class=\"event-map\">\u003c/p>\u003cp>\u003ciframe\n src='https://www.google.com/maps/embed?pb=!1m14!1m8!1m3!1d3153.7405626730356!2d-122.421802!3d37.772681!3m2!1i1024!2i768!4f13.1!3m3!1m2!1s0x8085809fb7aef449%3A0x14f0acbb80028ffa!2sMcRoskey+Mattress+Company%2C+Inc.!5e0!3m2!1sen!2sus!4v1402093382184&w=400&h=300'\n title='https://www.google.com/maps/embed?pb=!1m14!1m8!1m3!1d3153.7405626730356!2d-122.421802!3d37.772681!3m2!1i1024!2i768!4f13.1!3m3!1m2!1s0x8085809fb7aef449%3A0x14f0acbb80028ffa!2sMcRoskey+Mattress+Company%2C+Inc.!5e0!3m2!1sen!2sus!4v1402093382184&w=400&h=300'\n width='400'\n height='300'\n scrolling='no'\n frameborder='no'>\u003c/iframe>\u003c/p>\u003cp>\u003c/div>\n\u003cdiv class=\"event-desc\">Filmmaker, author, celebrity, and provocateur John Waters sits down and talks with the proprietor of The Green Arcade, Patrick Marks, about his book \u003ci>Carsick: John Waters Hitchhikes Across America\u003c/i>. For tickets and information visit: \u003ca href=\"http://www.thegreenarcade.com/\" target=\"_blank\" rel=\"noopener\">thegreenarcade.com\u003c/a>\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Monday, June 9, 2014 7pm\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">McRoskey Mattress Company 1687 Market St., Third Floor San Francisco, California Tel: 415.431.6800\u003cbr>\n\u003ca href=\"https://goo.gl/maps/V86dh\" target=\"_blank\" rel=\"noopener\">MAP\u003c/a>\u003c/div>\n\u003c/aside>\n\u003cp>I am writing this review on a legal pad while riding shotgun in a car, because I think that’s how John Waters would want it. He just released \u003ci>Carsick\u003c/i>, a book recounting his adventures hitchhiking from Baltimore to San Francisco. You may have \u003ca href=\"http://artsbeat.blogs.nytimes.com/2012/05/25/john-waters-tries-some-desperate-living-on-a-cross-country-hitchhiking-odyssey/\">read about the trip\u003c/a> a couple years back, when Waters was making his way across the country and gathering material. That’s how I heard about it, and it made me wonder about hitchhiking. \u003c/p>\n\u003cp>Would I ever pick someone up? Not likely. I am a small, lean woman. \u003c/p>\n\u003cp>Before going on his real adventure, Waters wrote two fictional accounts, one describing the best that could happen and the other imagining the worst. \u003c/p>\n\u003cp>\u003cem>SIDENOTE\u003c/em>: I just saw a complete set of someone’s bedsheets (pink and with pillows included) blown over roadside. When I point it out to my driver, he tells me that’s nothing compared to what he saw the other day: a dead Chihuahua by the side of the road, its legs pointing up cartoon-style. \u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/carsickbook.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/carsickbook-400x400.jpg\" alt=\"Carsick by John Waters book cover\" width=\"400\" height=\"400\" class=\"alignright size-thumbnail wp-image-10137434\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/carsickbook-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/carsickbook-300x300.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/carsickbook-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/carsickbook-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/carsickbook-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/carsickbook-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/carsickbook-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/carsickbook.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>Now. Where were we? Yes, I read \u003ci>Carsick\u003c/i> the way I watch most John Waters’ films — gleeful and in awe of his attraction to chaos, then repulsed and dying to avert my eyes. I am not a film critic so I can look away from a movie when I want to, but I did \u003cem>not\u003c/em> give in to those instincts for this book; I read everything for you. (You’re welcome, readers of the Internet!) After all, do you \u003cem>really\u003c/em> want to know what’s the worst that could happen to a hitchhiker in John Waters’ imagination? Some of you do, I bet.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the acknowledgments, Waters describes his two assistants typing up the book from drafts on a legal pad (mine says \u003cem>Universal\u003c/em> in red at the top), and how they could not tell which stories belonged in which category. Getting picked up by a runaway felon who is a sexual exhibitionist and involves you in a bank robbery fits most people’s “worst” category, but not John Waters.\u003c/p>\n\u003cblockquote>\u003cp>“I got a bank job to do, porkers!” he shouts [to police chasing] as we zoom down the country lane. So \u003cem>that’s\u003c/em> what he does for a living, I think, impressed before suddenly realizing I should be frightened. “You’re not going to rob a bank now, are you?” I sputter. “I’m not, \u003cem>we\u003c/em> are,” he answers with confidence.\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_10137435\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/waters.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/waters.jpg\" alt=\"John Waters hitchhiking\" width=\"640\" height=\"801\" class=\"size-full wp-image-10137435\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/waters.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/waters-400x500.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/waters-239x300.jpg 239w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Would you give this man a lift?\u003c/figcaption>\u003c/figure>\n\u003cp>In the memoir part of the book, titled \u003cem>The Real Thing, \u003c/em>it’s raining when Waters steps out with his sign — one of many, but I like the one that reads \u003cem>to I-70\u003c/em> on one side and \u003cem>I’M NOT PSYCHO\u003c/em> on the other. Unlike the fictional accounts, the first few rides are hastily sketched out. The interiors of the cars are not clearly seen and the dialogue time and again leads to the same thing: Waters telling his drivers about his films or the fact that he’s a filmmaker, then noting their awareness or lack thereof. This is problematic in that it reveals a type of self-centeredness that has no dramatic place in a book about hitchhiking. The passages lack real engagement with the people Waters encounters and their personal spaces.\u003c/p>\n\u003cp>The best writing naturally comes out of rides with people Waters can relate to — for example, Kitty and Jupiter, ride number fifteen:\u003c/p>\n\u003cblockquote>\u003cp>[Kitty’s] a disabled vet who, along with many others in the Marines, was given a “bad anti-anthrax vaccine” that almost killed her. Kitty claims that the serum “was not kept in a climate-controlled environment. It happened to others, too,” she explains…\u003c/p>\n\u003cp>Jupiter’s a roofer. Naturally! Why are roofers always cute? I tell him he’s a dead ringer for a young Manson, and he asks if I’d like some “recreational drugs.” They both smoke pot and offer me a place to stay for the night at either of their pads… I try to convince Jupiter that he should try hitchhiking. “Sure” — he laughs — “who’s gonna pick up ‘Charlie Manson Jr.,’ as you call me? You know what they say about Kansas, don’t you?” “What?” I bite. “Come on vacation, leave on probation!” I could fall in lust.\u003c/p>\u003c/blockquote>\n\u003cp>The wavering commitment to adventure loosens the dramatic tension in the book, and not even by Waters’ most valiant efforts to try and convince us that something is at stake can it be rescued. Many times, as Waters is waiting at a rest stop, he looks forlornly at a bush, dreading the possibility that he might have to sleep there. This is the same man who is constantly calling his assistants and trying to get them to send a taxi to pick him up (somehow this never quite works) and who later, while staying in a hotel, complains about being out of \u003cem>La Mer\u003c/em> cream. Not for one second do we believe Waters will have to sleep under a bush on the side of the freeway.\u003c/p>\n\u003cp>By the way, Waters was 66 at the time of this adventure.\u003c/p>\n\u003cp>Overall, \u003ci>Carsick\u003c/i> is a fun book, with one of the best-written prologues I have ever read. I devoured “The Best That Could Happen” in a gulp, and tore through “The Worst That Could Happen” in spite of the pervasive nausea it inspired. “The Real Thing” was made up of equal parts thrill and boredom, which is probably an accurate description of such a cross-country adventure.\u003c/p>\n\u003cp>There is a bump on the road. I look up for the first time in a while to see an orange sign with flashing bulbs that reads CAUTION. There are orange cones marking the middle of the road, too. They have reflective bands that look mother of pearl in this light. There doesn’t seem to be much going on. I guess, you never know when the road is going to be boring or when it’s going to surprise you with a dead Chihuahua.\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://us.macmillan.com/BookCustomPage_New.aspx?isbn=9780374298630\">Read an excerpt\u003c/a> of \u003ci>Carsick\u003c/i> at usmacmillan.com and catch John Waters on \u003ci>Forum\u003c/i>, this morning, Monday, June 9, 10am on KQED 88.5FM.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "How I Survived BottleRock",
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"content": "\u003cp>Much ado has been made of BottleRock Napa Valley during the first half of 2014. Questions surrounding \u003ca href=\"http://www.kqed.org/arts/music/article.jsp?essid=136410\">this year’s lineup\u003c/a> and \u003ca href=\"http://sfist.com/2014/02/28/bottlerock_napa_2014_proceeding_des.php\">last year’s debacle\u003c/a> have swirled like the dust from the trampled Napa Valley Expo grounds. This past weekend I attended the notorious event and survived by sticking to a set of time-tested music festival maxims:\u003c/p>\n\u003cp>1. \u003cem>Feed Your Body\u003c/em>. You’re going to be on your feet, walking, and possibly running for 10 hours. You’ve got to stay hydrated and, just as importantly, adequately fed. Yes, festival food can be quite taxing on your wallet, but it’s also one of the draws of the event. I survived BottleRock by splurging on the awesome \u003ca href=\"http://www.bottlerocknapavalley.com/food\">Napa Valley food vendors\u003c/a> and drinking free water poured into my reusable bottle at the Camelback-sponsored tents.\u003c/p>\n\u003cp>2. \u003cem>Screen Your Body\u003c/em>. This is on par with number one, especially for a festival in Napa Valley. I survived the first day of BottleRock without sunscreen — barely. I didn’t make the same mistake Saturday and Sunday. I slathered on a nice, thick layer of SPF 30 — even spraying down the visible portions of my head.\u003c/p>\n\u003cp>Just as you must screen your skin from the sun during the day, you must screen your body from the chill at night. My festival companion started Friday off in a sundress and sandals and ended the evening in boots, jeans, a hoodie and an overcoat.\u003c/p>\n\u003cfigure id=\"attachment_10137076\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/Blanket.png\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/Blanket.png\" alt=\"Bring a Blanket\" width=\"500\" height=\"333\" class=\"size-full wp-image-10137076\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Blanket.png 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Blanket-400x266.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Blanket-300x199.png 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Bring a blanket to BottleRock and stake out your real estate. Photo courtesy of BottleRock Napa Valley.\u003c/figcaption>\u003c/figure>\n\u003cp>3. \u003cem>Stake Claim on Your Real Estate.\u003c/em> Bring a blanket and relax in your own space during the day, while the crowds are still thickening up. Although you can’t realistically expect your blanket to be an invisible fence around your group, it will at least discourage others from getting all up in your business. On the other hand, don’t be that guy (or girl) who expects to maintain your little haven all the way through the headliner’s set.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>4. \u003cem>Make Friends with Your Neighbors\u003c/em>. This was an essential and extremely enjoyable facet of my BottleRock experience. I got up close and personal with a group of 8-10 folks around me during Outkast on Saturday night, and we had a reunion of sorts Sunday morning when we all ended up in the same spot. A little secret: people tend to be much less hostile after an accidental bump-in or drink spill when they’ve gotten to know you a little before the show.\u003c/p>\n\u003cp>5. \u003cem>Don’t Fret\u003c/em>. No matter the lengths you go to avoid it, there is bound to be a less-than-pleasant encounter when tens of thousands of people are attempting to get as close as they can to the same place. The best course of action is to worry about your own behavior and remember that everyone is there to have a good time.\u003c/p>\n\u003cp>Abiding by the above principles, it wasn’t at all difficult to survive and enjoy myself at BottleRock 2014. I figured I was in for an okay weekend when I witnessed an interaction that started with a beach-ball-carrying bro yelling to two police officers: “Hey, I bet you guys don’t have balls like this,” and that ended with a smile and shrug from said officers.\u003c/p>\n\u003cp>Yes, the musical lineup was strange, and not even close to as stacked as \u003ca href=\"http://www.kqed.org/arts/music/article.jsp?essid=120774\">last year’s\u003c/a>, but it wasn’t without its highlights. Matisyahu put a bounce in everyone’s step Friday afternoon to really get the festival going. I got to see a couple of hits from Gin Blossoms and hear some brand new material from TV On the Radio, and I can now say that I’ve seen The Cure.\u003c/p>\n\u003cfigure id=\"attachment_10137083\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/Matt-and-Kim.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10137083\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/Matt-and-Kim.png\" alt=\"Matt and Kim at BottleRock 2014.\" width=\"500\" height=\"335\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Matt-and-Kim.png 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Matt-and-Kim-400x268.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Matt-and-Kim-300x201.png 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Matt and Kim put on a high energy show at BottleRock on Saturday. Photo courtesy of BottleRock Napa Valley.\u003c/figcaption>\u003c/figure>\n\u003cp>Matt and Kim put on a show that had everyone dancing on Saturday afternoon. They, along with San Francisco’s own \u003ca href=\"http://ww2.kqed.org/arts/2014/04/23/the-soft-white-sixties-working-class-soul/\">Soft White Sixties\u003c/a>, got the crowd primed and ready for what were to be the three most entertaining shows of the weekend: Third Eye Blind, Weezer and Outkast.\u003c/p>\n\u003cfigure id=\"attachment_10137080\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/Andre-3000-Sold-Out.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10137080\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/Andre-3000-Sold-Out.png\" alt=\"Andre 3000 of Outkast\" width=\"500\" height=\"337\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Andre-3000-Sold-Out.png 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Andre-3000-Sold-Out-400x269.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Andre-3000-Sold-Out-300x202.png 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Andre 3000 of Outkast performs at BottleRock 2014. Photo courtesy of BottleRock Napa Valley.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://www.thestonefoxes.com/\">The Stone Foxes\u003c/a>, another local San Francisco darling, ripped open a rager at high noon on Sunday, posting a performance that stood up as the best of the day (although, LL Cool J and Deerhunter get honorable mentions).\u003c/p>\n\u003cp>All in all, the weekend shaped up to be pretty memorable. As with any young festival, BottleRock is going to have to find its niche in order to stay viable. What I dug just as much, if not more, than the music was the food and drink offerings.\u003c/p>\n\u003cp>This would seem like a foregone conclusion for a festival in Napa Valley, but given the financial loss last year’s inaugural event resulted in, and the forfeited payment to many of the vendors, a strong culinary showing was no sure thing. However, every meal I had was delicious (special shout-outs to \u003ca href=\"http://www.ilpostonapa.com/\">Il Posto Trattoria\u003c/a> and \u003ca href=\"http://www.gerardspaella.com/\">Gerard’s Paella\u003c/a>) and every drink satisfying. I also loved the shaded lounges many of the wineries were sporting. They were essential after a few hours of standing in the sun.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>According to \u003ca href=\"http://napavalleyregister.com/news/local/article_177e8aef-fb76-5831-b37c-705fce7edc05.html#.U43ngTwSyys.twitter\">reports\u003c/a>, 2014’s BottleRock seemed to at least avoid the financial catastrophe of its predecessor. The crowd surged significantly on Saturday, but Friday and Sunday may have been a bit of a disappointment for the producers. The overall experience was pleasurable and unique, though, and I believe there is a future for a music festival in wine country if its designers focus on this year’s strengths and shore up its weaknesses. Hopefully we’ll witness further growth of BottleRock Napa Valley in 2015.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Much ado has been made of BottleRock Napa Valley during the first half of 2014. Questions surrounding \u003ca href=\"http://www.kqed.org/arts/music/article.jsp?essid=136410\">this year’s lineup\u003c/a> and \u003ca href=\"http://sfist.com/2014/02/28/bottlerock_napa_2014_proceeding_des.php\">last year’s debacle\u003c/a> have swirled like the dust from the trampled Napa Valley Expo grounds. This past weekend I attended the notorious event and survived by sticking to a set of time-tested music festival maxims:\u003c/p>\n\u003cp>1. \u003cem>Feed Your Body\u003c/em>. You’re going to be on your feet, walking, and possibly running for 10 hours. You’ve got to stay hydrated and, just as importantly, adequately fed. Yes, festival food can be quite taxing on your wallet, but it’s also one of the draws of the event. I survived BottleRock by splurging on the awesome \u003ca href=\"http://www.bottlerocknapavalley.com/food\">Napa Valley food vendors\u003c/a> and drinking free water poured into my reusable bottle at the Camelback-sponsored tents.\u003c/p>\n\u003cp>2. \u003cem>Screen Your Body\u003c/em>. This is on par with number one, especially for a festival in Napa Valley. I survived the first day of BottleRock without sunscreen — barely. I didn’t make the same mistake Saturday and Sunday. I slathered on a nice, thick layer of SPF 30 — even spraying down the visible portions of my head.\u003c/p>\n\u003cp>Just as you must screen your skin from the sun during the day, you must screen your body from the chill at night. My festival companion started Friday off in a sundress and sandals and ended the evening in boots, jeans, a hoodie and an overcoat.\u003c/p>\n\u003cfigure id=\"attachment_10137076\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/Blanket.png\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/Blanket.png\" alt=\"Bring a Blanket\" width=\"500\" height=\"333\" class=\"size-full wp-image-10137076\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Blanket.png 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Blanket-400x266.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Blanket-300x199.png 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Bring a blanket to BottleRock and stake out your real estate. Photo courtesy of BottleRock Napa Valley.\u003c/figcaption>\u003c/figure>\n\u003cp>3. \u003cem>Stake Claim on Your Real Estate.\u003c/em> Bring a blanket and relax in your own space during the day, while the crowds are still thickening up. Although you can’t realistically expect your blanket to be an invisible fence around your group, it will at least discourage others from getting all up in your business. On the other hand, don’t be that guy (or girl) who expects to maintain your little haven all the way through the headliner’s set.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>4. \u003cem>Make Friends with Your Neighbors\u003c/em>. This was an essential and extremely enjoyable facet of my BottleRock experience. I got up close and personal with a group of 8-10 folks around me during Outkast on Saturday night, and we had a reunion of sorts Sunday morning when we all ended up in the same spot. A little secret: people tend to be much less hostile after an accidental bump-in or drink spill when they’ve gotten to know you a little before the show.\u003c/p>\n\u003cp>5. \u003cem>Don’t Fret\u003c/em>. No matter the lengths you go to avoid it, there is bound to be a less-than-pleasant encounter when tens of thousands of people are attempting to get as close as they can to the same place. The best course of action is to worry about your own behavior and remember that everyone is there to have a good time.\u003c/p>\n\u003cp>Abiding by the above principles, it wasn’t at all difficult to survive and enjoy myself at BottleRock 2014. I figured I was in for an okay weekend when I witnessed an interaction that started with a beach-ball-carrying bro yelling to two police officers: “Hey, I bet you guys don’t have balls like this,” and that ended with a smile and shrug from said officers.\u003c/p>\n\u003cp>Yes, the musical lineup was strange, and not even close to as stacked as \u003ca href=\"http://www.kqed.org/arts/music/article.jsp?essid=120774\">last year’s\u003c/a>, but it wasn’t without its highlights. Matisyahu put a bounce in everyone’s step Friday afternoon to really get the festival going. I got to see a couple of hits from Gin Blossoms and hear some brand new material from TV On the Radio, and I can now say that I’ve seen The Cure.\u003c/p>\n\u003cfigure id=\"attachment_10137083\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/Matt-and-Kim.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10137083\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/Matt-and-Kim.png\" alt=\"Matt and Kim at BottleRock 2014.\" width=\"500\" height=\"335\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Matt-and-Kim.png 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Matt-and-Kim-400x268.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Matt-and-Kim-300x201.png 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Matt and Kim put on a high energy show at BottleRock on Saturday. Photo courtesy of BottleRock Napa Valley.\u003c/figcaption>\u003c/figure>\n\u003cp>Matt and Kim put on a show that had everyone dancing on Saturday afternoon. They, along with San Francisco’s own \u003ca href=\"http://ww2.kqed.org/arts/2014/04/23/the-soft-white-sixties-working-class-soul/\">Soft White Sixties\u003c/a>, got the crowd primed and ready for what were to be the three most entertaining shows of the weekend: Third Eye Blind, Weezer and Outkast.\u003c/p>\n\u003cfigure id=\"attachment_10137080\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/Andre-3000-Sold-Out.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10137080\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/Andre-3000-Sold-Out.png\" alt=\"Andre 3000 of Outkast\" width=\"500\" height=\"337\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Andre-3000-Sold-Out.png 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Andre-3000-Sold-Out-400x269.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/Andre-3000-Sold-Out-300x202.png 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Andre 3000 of Outkast performs at BottleRock 2014. Photo courtesy of BottleRock Napa Valley.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://www.thestonefoxes.com/\">The Stone Foxes\u003c/a>, another local San Francisco darling, ripped open a rager at high noon on Sunday, posting a performance that stood up as the best of the day (although, LL Cool J and Deerhunter get honorable mentions).\u003c/p>\n\u003cp>All in all, the weekend shaped up to be pretty memorable. As with any young festival, BottleRock is going to have to find its niche in order to stay viable. What I dug just as much, if not more, than the music was the food and drink offerings.\u003c/p>\n\u003cp>This would seem like a foregone conclusion for a festival in Napa Valley, but given the financial loss last year’s inaugural event resulted in, and the forfeited payment to many of the vendors, a strong culinary showing was no sure thing. However, every meal I had was delicious (special shout-outs to \u003ca href=\"http://www.ilpostonapa.com/\">Il Posto Trattoria\u003c/a> and \u003ca href=\"http://www.gerardspaella.com/\">Gerard’s Paella\u003c/a>) and every drink satisfying. I also loved the shaded lounges many of the wineries were sporting. They were essential after a few hours of standing in the sun.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>According to \u003ca href=\"http://napavalleyregister.com/news/local/article_177e8aef-fb76-5831-b37c-705fce7edc05.html#.U43ngTwSyys.twitter\">reports\u003c/a>, 2014’s BottleRock seemed to at least avoid the financial catastrophe of its predecessor. The crowd surged significantly on Saturday, but Friday and Sunday may have been a bit of a disappointment for the producers. The overall experience was pleasurable and unique, though, and I believe there is a future for a music festival in wine country if its designers focus on this year’s strengths and shore up its weaknesses. Hopefully we’ll witness further growth of BottleRock Napa Valley in 2015.\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": "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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"politicalbreakdown": {
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"title": "Political Breakdown",
"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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"title": "PRI's The World: Latest Edition",
"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": {
"id": "radiolab",
"title": "Radiolab",
"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": {
"id": "reveal",
"title": "Reveal",
"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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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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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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"order": 16
},
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