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"title": "The Best Bay Area Albums of the 2010s",
"headTitle": "The Best Bay Area Albums of the 2010s | KQED",
"content": "\u003cp>The Bay Area is a region oozing with creativity in every scene and genre, so summing up a decade of local music in a single short list is no easy task. Here, KQED Arts & Culture’s music editor humbly offers 20 of the most memorable and impactful albums of the 2010s.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/7JC1vAUtlOwe8AJ3hLmr91\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Thee Oh Sees, \u003cem>Carrion Crawler/The Dream\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2011, In the Red Records\u003c/strong>\u003cbr>\nThee Oh Sees channel a need for speed on \u003cem>Carrion Crawler/The Dream\u003c/em>, an album that finds the garage rockers’ instrumentation lurching at high BPMs between poppy refrains and psychedelic guitar solos that stretch on for miles. Anchored by two drummers, the album’s sturdy rhythm section allows John Dwyer, a ringleader of the San Francisco garage rock scene in the early part of the decade, to get wild and weird with guitars and vocals.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1644131755/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>The Seshen, \u003cem>The Seshen\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2012, self-released\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Seven-piece band The Seshen have proven to be one of the Bay Area’s most fun-to-watch live acts this decade, fusing neo-soul and R&B production with jazzy live instrumentation and fluttering layers of vocals by Lalin St. Juste and Akasha Orr. On their self-titled debut, their group synergy manifests as a kaleidoscopic pop sound that’s sleek and expansive in equal measure.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3108730587/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Shannon and the Clams, \u003cem>Dreams in the Rat House\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2013, Hardly Art\u003c/strong>\u003cbr>\nThis decade saw Oakland rockers Shannon and the Clams transform from warehouse party mainstays to a nationally acclaimed act working with the Black Keys’ Dan Auerbach. Full of freewheeling mischief, \u003cem>Dreams in the Rat House\u003c/em> swings between sweet doo-wop harmonies, rowdy country stomps and reverb-heavy punk riffs, and Shannon Shaw’s robust, pleading voice overflows with feeling.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3949757894/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Botanist, \u003cem>IV: Mandragora\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2013, The Flenser\u003c/strong>\u003cbr>\nWith the slow pace of elected officials’ action on climate change, despair is understandable. Which is why, perhaps, the dark chaos of post-black metal is a fitting genre for Botanist, an artist whose apocalyptic album \u003cem>IV: Mandragora\u003c/em> evokes a vengeful Mother Nature wiping out humans. Botanist’s lighting-speed hammered dulcimer infuses the album with eeriness; the artist screeches in a croak that sounds like a thousand-year-old redwood clearing its throat to speak. \u003cem>IV: Mandragora\u003c/em> is the sound of nature in revolt.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2338106943/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Queens D.Light, \u003cem>California Wildflower\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2014, self-released\u003c/strong>\u003cbr>\nQueens D.Light’s \u003cem>California Wildflower\u003c/em> unfurls a deep personal mythology to boom-bap beats, jazz interludes and psychedelic flourishes. While discovering new dimensions of her sexuality and capacity for love, Queens looks to the Yoruba deity Oshun, the river goddess associated with luxury and pleasure. In her lyrics, sensuality is a means of connecting with the divine within oneself. This stellar hip-hop debut introduced Queens D.Light as a singular voice whose vision can’t be confined to a single medium, as her multifaceted event curation and filmmaking throughout the 2010s attests.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"100%\" height=\"450\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/48447943&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Kehlani, \u003cem>Cloud 19\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2014, Wheels of Steel Ent.\u003c/strong>\u003cbr>\nWith \u003cem>Cloud 19\u003c/em>, Kehlani became known as a prodigious R&B singer-songwriter with angelic, acrobatic vocal runs and lyrics wise beyond her years. Kehlani penned the project shortly after graduating from Oakland School for the Arts. With her warm voice and nostalgic references (Montell Jordan and Musiq Soulchild get shout outs), \u003cem>Cloud 19\u003c/em> and its infectious lead single “FWU” established her as an artist bridging the past and future of R&B. Even after Kehlani’s multiple Grammy nominations and Billboard chart success, this early mixtape remains a cult classic.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/7fP1DdLng8DwEQZB2srvl0\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Lil B, \u003cem>Hoop Life\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2014, Based World Records\u003c/strong>\u003cbr>\nBefore “Soundcloud rap” became a household term, Berkeley native Lil B was pumping out mixtapes that spanned dozens (and sometimes hundreds) of songs. Though his music varied in quality, Lil B embraced the immediacy of self-publishing on the internet, and used social media to craft a persona (although not without controversy) before such strategies became standard for independent artists. \u003cem>Hoop Life\u003c/em>, his NBA-themed mixtape, features a diss track against then-Warriors rival Kevin Durant, and it positioned Lil B to become an unlikely basketball authority as his hometown team ascended to the NBA Championships in 2015. His “curses” on Durant and James Harden became some of the decade’s most memorable basketball lore, and \u003cem>Hoop Life\u003c/em> was the soundtrack.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1805295426/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Black Spirituals, \u003cem>Black Interiors\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2015, Ratskin Records / 60Hurts\u003c/strong>\u003cbr>\nBlack Spirituals’ \u003cem>Black Interiors\u003c/em> harnesses the improvisational qualities of free jazz, but each note emanating from Zachary James Watkins’ guitar wails with discordant tension, like Jimi Hendrix’s “Star Spangled Banner” slowed to a crawl and wrapped in barbed wire. The album established the duo, also comprised of percussionist Marshall Trammell, as one of Oakland’s most innovative experimental acts, bridging the DIY scene, academia and contemporary classical.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/3utWbzZz4YqSW0HGLqyovN\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>P-Lo and Kool John, \u003cem>Moovie!\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2015, self-released\u003c/strong>\u003cbr>\nAs children of the hyphy movement, the East Bay collective HBK Gang evolved the uptempo, homegrown 2000s rap sound into party music for the new generation. A prime example of this is P-Lo and Kool John’s \u003cem>Moovie!\u003c/em>, an album best played in the club, or somewhere between 2am and 4am on the way to the afterparty. With “3 White Hoes,” “Blue Hunnids” and “Bitch I Look Good,” the duo gave us minimalist twerk anthems with ample bass to rattle your speakers.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/1jKclz9xknsgxOK9XGAXRi\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Kamaiyah, \u003cem>A Good Night in the Ghetto\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2016\u003c/strong>\u003cbr>\nWith her viral single “How Does It Feel,” Kamaiyah made a rap anthem for everyday working people trying to make their way in an increasingly unaffordable Bay Area. In contrast to the one-percenter ethos that dominated the radio this decade, her debut mixtape \u003cem>A Good Night in the Ghetto\u003c/em> speaks to those who don’t necessarily seek excessively flashy things—just comfort and stability. With the feel-good energy of an intimate house party, \u003cem>A Good Night in the Ghetto\u003c/em> propelled Kamaiyah as one of the Bay Area’s most well-known voices.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1240226381/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Cherushii, \u003cem>Manic\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2016\u003c/strong>\u003cbr>\nCherushii presents her sparkling vision of the dance floor as a place for connection and liberation on \u003cem>Manic\u003c/em>, an ebullient collection of house tracks. With its funky pulse and playful synths that shimmy and bounce, the EP recalls ’90s house acts like Crystal Waters and Inner City. The instrumental version of the title track features a saxophone solo by Marcia Miget—it’s the project’s most ecstatic highpoint, and a convincing argument for why brass belongs in club music. Cherushii passed away in the Ghost Ship fire the same year \u003cem>Manic\u003c/em> was released, and the project lives on as a record of her infectiously joyful vision.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=856121914/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Rayana Jay, \u003cem>Sorry About Last Night\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2016, self-released\u003c/strong>\u003cbr>\nDrunken regrets, problematic lovers, undefined “situationships”—it’s all part of dating in your 20s, and Rayana Jay’s standout R&B debut \u003cem>Sorry About Last Night\u003c/em> captures all of its uncertainties and painful growing pains. Set to smooth, sparse production, her velvety voice takes center stage as she expertly builds earworm melodies. Lead single “Sleepy Brown,” which propelled Jay to the national stage, has a vintage, funky feel you can’t help but sway and step to.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1941114977/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Club Chai, \u003cem>Club Chai Vol. 1\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, Club Chai\u003c/strong>\u003cbr>\nIt’s hard to name a collective that’s shaped the Bay Area’s club music scene more this decade than Club Chai. With the compilation \u003cem>Club Chai Vol. 1\u003c/em>, 8ULENTINA and FOOZOOL lay out their thesis for the genre-amorphous label and party. The suspenseful original tracks produced by the founders for the compilation give Middle Eastern percussion a ghostly sheen. The album also features work by some of electronic music’s most exciting new voices, including darkwave experimentalist Spellling, techno producer Russell E.L. Butler and haunted cumbia remixer Turbo Sonidero. Each artist pulls from different cultural backgrounds and subgenres, and all push the envelope of what electronic music can be.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1762232894/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>King Woman, \u003cem>Created in the Image of Suffering\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, Relapse Records\u003c/strong>\u003cbr>\nKing Woman’s slow-burning, sludgy album \u003cem>Created in the Image of Suffering\u003c/em> swallows listeners in swathes of heavy distortion. The doom metal project, one of Kristina Esfandiari’s many musical alter-egos, served as an outlet for the artist to process the experience of leaving a religious community. Her droning voice is weighed down by an audible anguish as she parses through her disillusionment with Christianity. Layers of gauzy guitar riffs build up with the ornate intricacy of gothic architecture, and crashing cymbals offer opportunities for deeply satisfying catharsis.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/5XgUtV3205kTcgoSLNf8ix\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Fantastic Negrito, \u003cem>The Last Days of Oakland\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, Blackball Universe\u003c/strong>\u003cbr>\nLiving among Oakland’s extreme wealth inequality can feel maddening, and with \u003cem>The Last Days of Oakland\u003c/em>, Fantastic Negrito offers an impressionistic portrait of the opposing forces that define life in the town—the result being a 2017 Grammy award for Best Contemporary Blues Album. With its gritty guitar solos, driving rhythms and Fantastic Negrito’s howling vocals, it captures the cognitive dissonance of witnessing thousands of people who’ve lost their homes living in abject poverty on the streets. \u003cem>The Last Days of Oakland\u003c/em> is an urgent dispatch that appeals to listeners’ moral consciousness.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/6ztEEOoAi6xyYhiiDn3gxc\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>SOB x RBE, \u003cem>SOB x RBE\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, EMPIRE\u003c/strong>\u003cbr>\nWith their debut mixtape, SOB x RBE jolted the Bay Area awake with their unbridled energy and explosive chemistry of flows. “Anti” and “Lane Switching” quickly rose from viral hits to radio mainstays, showcasing how DaBoii, Slimmy B and Lul G’s gruff barks alongside crooner Yhung T.O.’s soulful-gangster hooks (think the Gen Z version of Nate Dogg). Now a trio without Lul G, SOB x RBE brought on the latest evolution of West Coast street rap—one that’s fiery and aggressive, with whiplash-inducing speed.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=523521630/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Kronos Quartet and Trio Da Kali, \u003cem>Ladilikan\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, World Circuit Limited\u003c/strong>\u003cbr>\nOne of the most adventurous ensembles in the contemporary classical world, Kronos Quartet engaged in many unorthodox collaborations this decade. One of the highlights was their work with virtuosic Malian ensemble Trio Da Kali. With singer Hawa Kassé Mady Diabaté’s rich, booming voice, Lassana Mamadou Kouyaté’s dexterous balafon percussion and Mamadou Diabaté’s string work on the ngoni, the album interlaces the liveliness of traditional Malian griot music with elegant string playing. The collaboration proved to be a fruitful one, as Diabaté took part in Kronos’ \u003cem>50 for the Future\u003c/em> Project, which commissions new works from diverse composers each year.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/7JSvfznch1vfoMOJxd7zPb\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Ambrose Akinmusire,\u003cem> A Rift in Decorum\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, Blue Note\u003c/strong>\u003cbr>\nCritics have called Ambrose Akinmusire a trumpet wunderkind since his Berkeley High days, and his live album \u003cem>A Rift in Decorum\u003c/em>, recorded at New York’s historic Village Vanguard, shows him pushing his instrument to the limits of its expressive possibilities. Accompanied by bass, piano and drums, Akinmusire’s trumpet oscillates from emanating long, pained wails and running through rapid-fire riffs. The spacious, pensive compositions allow him plenty of room to explore.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=4268731096/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Toro y Moi, \u003cem>Outer Peace\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2019, Carpark Records\u003c/strong>\u003cbr>\nToro y Moi’s \u003cem>Outer Peace\u003c/em> came during a period of the artist stepping into his full powers as a songwriter, performer and visual artist, and the album’s funky celebrations of the creative grind speak to his role as a catalyst in the local scene. For the album, Toro enlisted conga player Brijean Murphy (a formidable solo artist in her own right), whose expert percussion adds richness to Toro’s propulsive grooves. \u003cem>Outer Peace\u003c/em>’s upbeat sounds represented a departure from his more wistful, airy chillwave of years past, and its bold, confident energy looks good on him.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=136764004/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>Spellling, \u003cem>Mazy Fly\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2019, Sacred Bones Records\u003c/strong>\u003cbr>\nBridging darkwave, synth-pop and even disco, Spellling’s \u003cem>Mazy Fly\u003c/em> sees the artist adding a full-bodied intricacy to her loop-pedal sorcery. Guest appearances from collaborators on percussion, guitar, violin and sax flesh out Spellling’s layers of looped keys and delicate, lace-like vocals. Within this architecture, the singer explores subtle, spiritual themes—including on the chilling track “Haunted Water,” which delves into the karmic baggage of the transatlantic slave trade.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Bay Area is a region oozing with creativity in every scene and genre, so summing up a decade of local music in a single short list is no easy task. Here, KQED Arts & Culture’s music editor humbly offers 20 of the most memorable and impactful albums of the 2010s.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/7JC1vAUtlOwe8AJ3hLmr91\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Thee Oh Sees, \u003cem>Carrion Crawler/The Dream\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2011, In the Red Records\u003c/strong>\u003cbr>\nThee Oh Sees channel a need for speed on \u003cem>Carrion Crawler/The Dream\u003c/em>, an album that finds the garage rockers’ instrumentation lurching at high BPMs between poppy refrains and psychedelic guitar solos that stretch on for miles. Anchored by two drummers, the album’s sturdy rhythm section allows John Dwyer, a ringleader of the San Francisco garage rock scene in the early part of the decade, to get wild and weird with guitars and vocals.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1644131755/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>The Seshen, \u003cem>The Seshen\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2012, self-released\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Seven-piece band The Seshen have proven to be one of the Bay Area’s most fun-to-watch live acts this decade, fusing neo-soul and R&B production with jazzy live instrumentation and fluttering layers of vocals by Lalin St. Juste and Akasha Orr. On their self-titled debut, their group synergy manifests as a kaleidoscopic pop sound that’s sleek and expansive in equal measure.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3108730587/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Shannon and the Clams, \u003cem>Dreams in the Rat House\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2013, Hardly Art\u003c/strong>\u003cbr>\nThis decade saw Oakland rockers Shannon and the Clams transform from warehouse party mainstays to a nationally acclaimed act working with the Black Keys’ Dan Auerbach. Full of freewheeling mischief, \u003cem>Dreams in the Rat House\u003c/em> swings between sweet doo-wop harmonies, rowdy country stomps and reverb-heavy punk riffs, and Shannon Shaw’s robust, pleading voice overflows with feeling.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3949757894/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Botanist, \u003cem>IV: Mandragora\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2013, The Flenser\u003c/strong>\u003cbr>\nWith the slow pace of elected officials’ action on climate change, despair is understandable. Which is why, perhaps, the dark chaos of post-black metal is a fitting genre for Botanist, an artist whose apocalyptic album \u003cem>IV: Mandragora\u003c/em> evokes a vengeful Mother Nature wiping out humans. Botanist’s lighting-speed hammered dulcimer infuses the album with eeriness; the artist screeches in a croak that sounds like a thousand-year-old redwood clearing its throat to speak. \u003cem>IV: Mandragora\u003c/em> is the sound of nature in revolt.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2338106943/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Queens D.Light, \u003cem>California Wildflower\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2014, self-released\u003c/strong>\u003cbr>\nQueens D.Light’s \u003cem>California Wildflower\u003c/em> unfurls a deep personal mythology to boom-bap beats, jazz interludes and psychedelic flourishes. While discovering new dimensions of her sexuality and capacity for love, Queens looks to the Yoruba deity Oshun, the river goddess associated with luxury and pleasure. In her lyrics, sensuality is a means of connecting with the divine within oneself. This stellar hip-hop debut introduced Queens D.Light as a singular voice whose vision can’t be confined to a single medium, as her multifaceted event curation and filmmaking throughout the 2010s attests.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"100%\" height=\"450\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/48447943&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Kehlani, \u003cem>Cloud 19\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2014, Wheels of Steel Ent.\u003c/strong>\u003cbr>\nWith \u003cem>Cloud 19\u003c/em>, Kehlani became known as a prodigious R&B singer-songwriter with angelic, acrobatic vocal runs and lyrics wise beyond her years. Kehlani penned the project shortly after graduating from Oakland School for the Arts. With her warm voice and nostalgic references (Montell Jordan and Musiq Soulchild get shout outs), \u003cem>Cloud 19\u003c/em> and its infectious lead single “FWU” established her as an artist bridging the past and future of R&B. Even after Kehlani’s multiple Grammy nominations and Billboard chart success, this early mixtape remains a cult classic.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/7fP1DdLng8DwEQZB2srvl0\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Lil B, \u003cem>Hoop Life\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2014, Based World Records\u003c/strong>\u003cbr>\nBefore “Soundcloud rap” became a household term, Berkeley native Lil B was pumping out mixtapes that spanned dozens (and sometimes hundreds) of songs. Though his music varied in quality, Lil B embraced the immediacy of self-publishing on the internet, and used social media to craft a persona (although not without controversy) before such strategies became standard for independent artists. \u003cem>Hoop Life\u003c/em>, his NBA-themed mixtape, features a diss track against then-Warriors rival Kevin Durant, and it positioned Lil B to become an unlikely basketball authority as his hometown team ascended to the NBA Championships in 2015. His “curses” on Durant and James Harden became some of the decade’s most memorable basketball lore, and \u003cem>Hoop Life\u003c/em> was the soundtrack.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1805295426/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Black Spirituals, \u003cem>Black Interiors\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2015, Ratskin Records / 60Hurts\u003c/strong>\u003cbr>\nBlack Spirituals’ \u003cem>Black Interiors\u003c/em> harnesses the improvisational qualities of free jazz, but each note emanating from Zachary James Watkins’ guitar wails with discordant tension, like Jimi Hendrix’s “Star Spangled Banner” slowed to a crawl and wrapped in barbed wire. The album established the duo, also comprised of percussionist Marshall Trammell, as one of Oakland’s most innovative experimental acts, bridging the DIY scene, academia and contemporary classical.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/3utWbzZz4YqSW0HGLqyovN\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>P-Lo and Kool John, \u003cem>Moovie!\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2015, self-released\u003c/strong>\u003cbr>\nAs children of the hyphy movement, the East Bay collective HBK Gang evolved the uptempo, homegrown 2000s rap sound into party music for the new generation. A prime example of this is P-Lo and Kool John’s \u003cem>Moovie!\u003c/em>, an album best played in the club, or somewhere between 2am and 4am on the way to the afterparty. With “3 White Hoes,” “Blue Hunnids” and “Bitch I Look Good,” the duo gave us minimalist twerk anthems with ample bass to rattle your speakers.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/1jKclz9xknsgxOK9XGAXRi\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Kamaiyah, \u003cem>A Good Night in the Ghetto\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2016\u003c/strong>\u003cbr>\nWith her viral single “How Does It Feel,” Kamaiyah made a rap anthem for everyday working people trying to make their way in an increasingly unaffordable Bay Area. In contrast to the one-percenter ethos that dominated the radio this decade, her debut mixtape \u003cem>A Good Night in the Ghetto\u003c/em> speaks to those who don’t necessarily seek excessively flashy things—just comfort and stability. With the feel-good energy of an intimate house party, \u003cem>A Good Night in the Ghetto\u003c/em> propelled Kamaiyah as one of the Bay Area’s most well-known voices.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1240226381/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Cherushii, \u003cem>Manic\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2016\u003c/strong>\u003cbr>\nCherushii presents her sparkling vision of the dance floor as a place for connection and liberation on \u003cem>Manic\u003c/em>, an ebullient collection of house tracks. With its funky pulse and playful synths that shimmy and bounce, the EP recalls ’90s house acts like Crystal Waters and Inner City. The instrumental version of the title track features a saxophone solo by Marcia Miget—it’s the project’s most ecstatic highpoint, and a convincing argument for why brass belongs in club music. Cherushii passed away in the Ghost Ship fire the same year \u003cem>Manic\u003c/em> was released, and the project lives on as a record of her infectiously joyful vision.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=856121914/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Rayana Jay, \u003cem>Sorry About Last Night\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2016, self-released\u003c/strong>\u003cbr>\nDrunken regrets, problematic lovers, undefined “situationships”—it’s all part of dating in your 20s, and Rayana Jay’s standout R&B debut \u003cem>Sorry About Last Night\u003c/em> captures all of its uncertainties and painful growing pains. Set to smooth, sparse production, her velvety voice takes center stage as she expertly builds earworm melodies. Lead single “Sleepy Brown,” which propelled Jay to the national stage, has a vintage, funky feel you can’t help but sway and step to.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1941114977/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Club Chai, \u003cem>Club Chai Vol. 1\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, Club Chai\u003c/strong>\u003cbr>\nIt’s hard to name a collective that’s shaped the Bay Area’s club music scene more this decade than Club Chai. With the compilation \u003cem>Club Chai Vol. 1\u003c/em>, 8ULENTINA and FOOZOOL lay out their thesis for the genre-amorphous label and party. The suspenseful original tracks produced by the founders for the compilation give Middle Eastern percussion a ghostly sheen. The album also features work by some of electronic music’s most exciting new voices, including darkwave experimentalist Spellling, techno producer Russell E.L. Butler and haunted cumbia remixer Turbo Sonidero. Each artist pulls from different cultural backgrounds and subgenres, and all push the envelope of what electronic music can be.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1762232894/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>King Woman, \u003cem>Created in the Image of Suffering\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, Relapse Records\u003c/strong>\u003cbr>\nKing Woman’s slow-burning, sludgy album \u003cem>Created in the Image of Suffering\u003c/em> swallows listeners in swathes of heavy distortion. The doom metal project, one of Kristina Esfandiari’s many musical alter-egos, served as an outlet for the artist to process the experience of leaving a religious community. Her droning voice is weighed down by an audible anguish as she parses through her disillusionment with Christianity. Layers of gauzy guitar riffs build up with the ornate intricacy of gothic architecture, and crashing cymbals offer opportunities for deeply satisfying catharsis.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/5XgUtV3205kTcgoSLNf8ix\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Fantastic Negrito, \u003cem>The Last Days of Oakland\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, Blackball Universe\u003c/strong>\u003cbr>\nLiving among Oakland’s extreme wealth inequality can feel maddening, and with \u003cem>The Last Days of Oakland\u003c/em>, Fantastic Negrito offers an impressionistic portrait of the opposing forces that define life in the town—the result being a 2017 Grammy award for Best Contemporary Blues Album. With its gritty guitar solos, driving rhythms and Fantastic Negrito’s howling vocals, it captures the cognitive dissonance of witnessing thousands of people who’ve lost their homes living in abject poverty on the streets. \u003cem>The Last Days of Oakland\u003c/em> is an urgent dispatch that appeals to listeners’ moral consciousness.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/6ztEEOoAi6xyYhiiDn3gxc\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>SOB x RBE, \u003cem>SOB x RBE\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, EMPIRE\u003c/strong>\u003cbr>\nWith their debut mixtape, SOB x RBE jolted the Bay Area awake with their unbridled energy and explosive chemistry of flows. “Anti” and “Lane Switching” quickly rose from viral hits to radio mainstays, showcasing how DaBoii, Slimmy B and Lul G’s gruff barks alongside crooner Yhung T.O.’s soulful-gangster hooks (think the Gen Z version of Nate Dogg). Now a trio without Lul G, SOB x RBE brought on the latest evolution of West Coast street rap—one that’s fiery and aggressive, with whiplash-inducing speed.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=523521630/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Kronos Quartet and Trio Da Kali, \u003cem>Ladilikan\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, World Circuit Limited\u003c/strong>\u003cbr>\nOne of the most adventurous ensembles in the contemporary classical world, Kronos Quartet engaged in many unorthodox collaborations this decade. One of the highlights was their work with virtuosic Malian ensemble Trio Da Kali. With singer Hawa Kassé Mady Diabaté’s rich, booming voice, Lassana Mamadou Kouyaté’s dexterous balafon percussion and Mamadou Diabaté’s string work on the ngoni, the album interlaces the liveliness of traditional Malian griot music with elegant string playing. The collaboration proved to be a fruitful one, as Diabaté took part in Kronos’ \u003cem>50 for the Future\u003c/em> Project, which commissions new works from diverse composers each year.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/7JSvfznch1vfoMOJxd7zPb\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Ambrose Akinmusire,\u003cem> A Rift in Decorum\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, Blue Note\u003c/strong>\u003cbr>\nCritics have called Ambrose Akinmusire a trumpet wunderkind since his Berkeley High days, and his live album \u003cem>A Rift in Decorum\u003c/em>, recorded at New York’s historic Village Vanguard, shows him pushing his instrument to the limits of its expressive possibilities. Accompanied by bass, piano and drums, Akinmusire’s trumpet oscillates from emanating long, pained wails and running through rapid-fire riffs. The spacious, pensive compositions allow him plenty of room to explore.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=4268731096/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Toro y Moi, \u003cem>Outer Peace\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2019, Carpark Records\u003c/strong>\u003cbr>\nToro y Moi’s \u003cem>Outer Peace\u003c/em> came during a period of the artist stepping into his full powers as a songwriter, performer and visual artist, and the album’s funky celebrations of the creative grind speak to his role as a catalyst in the local scene. For the album, Toro enlisted conga player Brijean Murphy (a formidable solo artist in her own right), whose expert percussion adds richness to Toro’s propulsive grooves. \u003cem>Outer Peace\u003c/em>’s upbeat sounds represented a departure from his more wistful, airy chillwave of years past, and its bold, confident energy looks good on him.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=136764004/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Spellling, \u003cem>Mazy Fly\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2019, Sacred Bones Records\u003c/strong>\u003cbr>\nBridging darkwave, synth-pop and even disco, Spellling’s \u003cem>Mazy Fly\u003c/em> sees the artist adding a full-bodied intricacy to her loop-pedal sorcery. Guest appearances from collaborators on percussion, guitar, violin and sax flesh out Spellling’s layers of looped keys and delicate, lace-like vocals. Within this architecture, the singer explores subtle, spiritual themes—including on the chilling track “Haunted Water,” which delves into the karmic baggage of the transatlantic slave trade.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"headTitle": "Shooting Victim in Lul G’s Murder Trial Was Close Friend of SOB x RBE | KQED",
"content": "\u003cp>Last month, Lul G (George Harris), a former member of Vallejo rap group SOB x RBE, was arrested for murder. Through public records, KQED has discovered that the Def Jam signee is accused of shooting and killing 26-year-old Rashied Flowers, a Vallejo resident who knew Harris personally and was friends with his former SOB x RBE collaborators.\u003c/p>\n\u003cp>According to the Fairfield Police Department, the shooting took place on July 24 at a large, suburban house in the Vintage Green Valley neighborhood of Fairfield, a Solano County city 50 miles northeast of San Francisco. A Fairfield PD spokesperson told KQED that Flowers was suffering from a gunshot wound when three “uncooperative witnesses” brought him into a local hospital and reported to officers that the shooting took place at a park in the nearby town of Cordelia. An investigation by Fairfield police determined the incident actually occurred at a house in Fairfield, and, after obtaining a search warrant for the residence, officers found evidence they say points to Harris as the suspect.\u003c/p>\n\u003cp>Fairfield PD obtained an arrest warrant for Harris, and an FBI Criminal Apprehension Team located the 20-year-old rapper at a Holiday Inn Express in Las Vegas. He was arrested on Sept. 10 under the charge of “fugitive from another state,” a Las Vegas Metropolitan Police Department arrest report shows.\u003c/p>\n\u003cp>Harris’ lawyer, Claire White, told KQED that Harris was not fleeing from law enforcement, but traveling for work. “He’s all over the country all the time,” she said. “He was in Las Vegas in the normal course of business. To his knowledge, there were no warrants out for him.” She declined to comment further about the details of the case.\u003c/p>\n\u003cp>Once Harris entered police custody in Las Vegas, the Solano County Sheriff arrested him on murder charges on Sept. 21 and extradited him to the Stanton Correctional Facility in Fairfield, where he is being held without bail. He has pled not guilty to the charges.\u003c/p>\n\u003ch2>Who Was Rashied Flowers?\u003c/h2>\n\u003cp>Rashied Flowers appears to have been an acquaintance of Harris, and kept an active presence in the Vallejo rap scene. On Instagram, Flowers shared videos of himself backstage at SOB x RBE concerts when Harris was still part of the group, and they followed each other on the app. Flowers made regular appearances in \u003ca href=\"https://www.thizzler.com/blog/2017/11/17/davie1800-the-v-music-video.html\" target=\"_blank\" rel=\"noopener\">music videos\u003c/a> by Vallejo artists. \u003ca href=\"https://youtu.be/_dwhE2foywI\" target=\"_blank\" rel=\"noopener\">TYSG L.O.T.S.\u003c/a>, a rapper from his city, released a tribute song to Flowers called “RIP Sheed,” where he described him as funny, stylish, the life of the party and a loving dad.\u003c/p>\n\u003cp>In late September, weeks after Harris’ arrest, SOB x RBE performed at the rap festival Rolling Loud in Oakland, where group member Slimmy B wore a memorial T-shirt with\u003ca href=\"https://www.instagram.com/p/B2-ADw7nlVI/\" target=\"_blank\" rel=\"noopener\"> Flowers’ portrait\u003c/a>. (One of Flowers’ \u003ca href=\"https://www.instagram.com/p/Bx5W8TNgbMV/\" target=\"_blank\" rel=\"noopener\">last Instagram posts\u003c/a> showed him at the San Francisco International Airport with Slimmy B.) On stage, Slimmy B made pointed comments that seemed to allude to the killing. “A couple months ago, I lost one of my best friends to some gay a– s— from a gay a– n—-, right,” he said, asking for the audience to honor Flowers with a moment of silence. “Long live my n—- Shied, man,” added fellow group member Young T.O. as photos of Flowers flashed on the screen behind the performers.\u003c/p>\n\u003cp>When reached by KQED, SOB x RBE’s manager Stretch said Harris has been out of the group since 2018 and declined to comment further. Though Harris left SOB x RBE after signing a solo deal with Def Jam, he was part of the foursome when they rose to national prominence with the singles “Lane Changing” and “Anti,” and collaborated with Kendrick Lamar on “Paramedic!” for the \u003cem>Black Panther\u003c/em> soundtrack. It’s unclear whether Harris is still signed to Def Jam; his photo and name are no longer included in the \u003ca href=\"https://www.defjam.com/artists\" target=\"_blank\" rel=\"noopener\">label’s roster\u003c/a> on their website, and a Def Jam representative did not return KQED’s multiple requests for comment.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=oBwU2UY24oE?start=1430]\u003c/p>\n\u003ch2>Next Steps in Lul G’s Trial\u003c/h2>\n\u003cp>In a Solano County courtroom on Oct. 21, Harris wore a gray-and-white striped prison uniform and a stoic expression. Appearing briefly for a felony readiness conference—the final step before a case goes to trial—he faced Judge William Pendergast in handcuffs.\u003c/p>\n\u003cp>In the gallery, a handful of observers who appeared to be family and friends looked on, including two young women in tears. White requested the readiness hearing be postponed to Nov. 21 to allow the defense more time to gather evidence. If the Nov. 21 hearing goes forward as planned, the court will set dates for the jury trial.\u003c/p>\n\u003cp>“Mr. Harris is supported by his friends and family,” said White. “Obviously, these are incredibly difficult moments for him and those close to him, and he’s trying to stay strong. He’s really appreciative for the support his fans have shown, and he looks forward to his day in court.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last month, Lul G (George Harris), a former member of Vallejo rap group SOB x RBE, was arrested for murder. Through public records, KQED has discovered that the Def Jam signee is accused of shooting and killing 26-year-old Rashied Flowers, a Vallejo resident who knew Harris personally and was friends with his former SOB x RBE collaborators.\u003c/p>\n\u003cp>According to the Fairfield Police Department, the shooting took place on July 24 at a large, suburban house in the Vintage Green Valley neighborhood of Fairfield, a Solano County city 50 miles northeast of San Francisco. A Fairfield PD spokesperson told KQED that Flowers was suffering from a gunshot wound when three “uncooperative witnesses” brought him into a local hospital and reported to officers that the shooting took place at a park in the nearby town of Cordelia. An investigation by Fairfield police determined the incident actually occurred at a house in Fairfield, and, after obtaining a search warrant for the residence, officers found evidence they say points to Harris as the suspect.\u003c/p>\n\u003cp>Fairfield PD obtained an arrest warrant for Harris, and an FBI Criminal Apprehension Team located the 20-year-old rapper at a Holiday Inn Express in Las Vegas. He was arrested on Sept. 10 under the charge of “fugitive from another state,” a Las Vegas Metropolitan Police Department arrest report shows.\u003c/p>\n\u003cp>Harris’ lawyer, Claire White, told KQED that Harris was not fleeing from law enforcement, but traveling for work. “He’s all over the country all the time,” she said. “He was in Las Vegas in the normal course of business. To his knowledge, there were no warrants out for him.” She declined to comment further about the details of the case.\u003c/p>\n\u003cp>Once Harris entered police custody in Las Vegas, the Solano County Sheriff arrested him on murder charges on Sept. 21 and extradited him to the Stanton Correctional Facility in Fairfield, where he is being held without bail. He has pled not guilty to the charges.\u003c/p>\n\u003ch2>Who Was Rashied Flowers?\u003c/h2>\n\u003cp>Rashied Flowers appears to have been an acquaintance of Harris, and kept an active presence in the Vallejo rap scene. On Instagram, Flowers shared videos of himself backstage at SOB x RBE concerts when Harris was still part of the group, and they followed each other on the app. Flowers made regular appearances in \u003ca href=\"https://www.thizzler.com/blog/2017/11/17/davie1800-the-v-music-video.html\" target=\"_blank\" rel=\"noopener\">music videos\u003c/a> by Vallejo artists. \u003ca href=\"https://youtu.be/_dwhE2foywI\" target=\"_blank\" rel=\"noopener\">TYSG L.O.T.S.\u003c/a>, a rapper from his city, released a tribute song to Flowers called “RIP Sheed,” where he described him as funny, stylish, the life of the party and a loving dad.\u003c/p>\n\u003cp>In late September, weeks after Harris’ arrest, SOB x RBE performed at the rap festival Rolling Loud in Oakland, where group member Slimmy B wore a memorial T-shirt with\u003ca href=\"https://www.instagram.com/p/B2-ADw7nlVI/\" target=\"_blank\" rel=\"noopener\"> Flowers’ portrait\u003c/a>. (One of Flowers’ \u003ca href=\"https://www.instagram.com/p/Bx5W8TNgbMV/\" target=\"_blank\" rel=\"noopener\">last Instagram posts\u003c/a> showed him at the San Francisco International Airport with Slimmy B.) On stage, Slimmy B made pointed comments that seemed to allude to the killing. “A couple months ago, I lost one of my best friends to some gay a– s— from a gay a– n—-, right,” he said, asking for the audience to honor Flowers with a moment of silence. “Long live my n—- Shied, man,” added fellow group member Young T.O. as photos of Flowers flashed on the screen behind the performers.\u003c/p>\n\u003cp>When reached by KQED, SOB x RBE’s manager Stretch said Harris has been out of the group since 2018 and declined to comment further. Though Harris left SOB x RBE after signing a solo deal with Def Jam, he was part of the foursome when they rose to national prominence with the singles “Lane Changing” and “Anti,” and collaborated with Kendrick Lamar on “Paramedic!” for the \u003cem>Black Panther\u003c/em> soundtrack. It’s unclear whether Harris is still signed to Def Jam; his photo and name are no longer included in the \u003ca href=\"https://www.defjam.com/artists\" target=\"_blank\" rel=\"noopener\">label’s roster\u003c/a> on their website, and a Def Jam representative did not return KQED’s multiple requests for comment.\u003c/p>\n\u003cp>\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/oBwU2UY24oE?start=1430'\n title='//www.youtube.com/embed/oBwU2UY24oE?start=1430'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003ch2>Next Steps in Lul G’s Trial\u003c/h2>\n\u003cp>In a Solano County courtroom on Oct. 21, Harris wore a gray-and-white striped prison uniform and a stoic expression. Appearing briefly for a felony readiness conference—the final step before a case goes to trial—he faced Judge William Pendergast in handcuffs.\u003c/p>\n\u003cp>In the gallery, a handful of observers who appeared to be family and friends looked on, including two young women in tears. White requested the readiness hearing be postponed to Nov. 21 to allow the defense more time to gather evidence. If the Nov. 21 hearing goes forward as planned, the court will set dates for the jury trial.\u003c/p>\n\u003cp>“Mr. Harris is supported by his friends and family,” said White. “Obviously, these are incredibly difficult moments for him and those close to him, and he’s trying to stay strong. He’s really appreciative for the support his fans have shown, and he looks forward to his day in court.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Vallejo Rapper Lul G, Formerly of SOB x RBE, Arrested for Murder",
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"content": "\u003cp>Vallejo rapper Lul G, a.k.a. George Harris, was arrested for murder on Sept. 21, according to the Solano County Sheriff’s inmate database. [aside postid='arts_13868326']\u003c/p>\n\u003cp>Harris is being held at the Stanton Correctional Facility in Fairfield. His bail has not been set and no other information about the case has been reported at this time.\u003c/p>\n\u003cp>Lul G is best known for his work with SOB x RBE, a dynamic Vallejo rap group that rose to local and national prominence in 2017 with tracks like “Anti” and “Lane Switching.” After the group collaborated with Kendrick Lamar on “Paramedic!” for the \u003cem>Black Panther\u003c/em> soundtrack, Lul G split from the group, signing a solo deal with Def Jam. Last weekend at Rolling Loud in Oakland, the remaining three members of SOB x RBE performed without Lul G.\u003c/p>\n\u003cp>We’ll update this post when we learn more.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "SOB x RBE's 'All Facts' is Disturbingly Casual About Domestic Violence",
"headTitle": "SOB x RBE’s ‘All Facts’ is Disturbingly Casual About Domestic Violence | KQED",
"content": "\u003cp>“Got no sympathy for hoes / I’ll slap a bitch!” rages Slimmy B of SOB x RBE on the song “All Facts Not 1 Opinion” from the Vallejo rap group’s new album, \u003cem>Gangin II\u003c/em>, miming a slapping motion as he says the words in the \u003ca href=\"https://www.youtube.com/watch?v=TnV3N4vBYuI\" target=\"_blank\" rel=\"noopener noreferrer\">music video\u003c/a>. [contextly_sidebar id=”jPle1J88AxGljmTqMfqKIqJ6BL1b7Yyi”]\u003c/p>\n\u003cp>SOB x RBE aren’t the only young, rising rap artists making light of violence against women in recent releases. Twenty-two-year-old breakout Atlanta star Playboi Carti also brags, “Got me mad as shit, so I slapped that bitch” on “\u003ca href=\"https://www.youtube.com/watch?v=GRoa6w-wnT4\" target=\"_blank\" rel=\"noopener noreferrer\">R.I.P.\u003c/a>” from his album \u003cem>Die Lit\u003c/em>, which peaked at No. 2 on Billboard’s rap albums chart in May.\u003c/p>\n\u003cp>The dialogue surrounding misogyny and abuse in rap culture—whether in lyrics or real life—has been a constant for decades. But it’s notably regressed since last fall, when the #MeToo movement reached a fever pitch. Yes, some of the main protagonists in that debate, namely 6ix9ine and XXXtentacion, continue to elicit a loud minority of detractors. But 6ix9ine has enjoyed chart success and a \u003ca href=\"https://www.thedailybeast.com/why-is-nicki-minaj-co-signing-convicted-sex-criminal-tekashi-6ix9ine\" target=\"_blank\" rel=\"noopener noreferrer\">high-profile collaboration with Nicki Minaj\u003c/a> despite his guilty plea to using a child in a sex tape. Meanwhile, many fans and artists have re-imagined the late XXXtentacion as a romantic fallen hero while glossing over the\u003ca href=\"https://www.miaminewtimes.com/music/the-real-story-of-rapper-xxxtentacion-10410980\" target=\"_blank\" rel=\"noopener noreferrer\"> allegations\u003c/a> of brutal domestic violence against him.\u003c/p>\n\u003cp>https://youtu.be/RZhcRrurulc\u003c/p>\n\u003cp>“I’ma be sympathetic to a kid who has clearly been through so much f-cked up shit that he inflicted this on someone else,” rapper J. Cole told \u003ca href=\"https://www.billboard.com/articles/columns/hip-hop/8476757/j-cole-interview-billboard-cover-story\" target=\"_blank\" rel=\"noopener noreferrer\">Billboard\u003c/a> in September. In the same interview, Cole expressed disappointment with his hero, Nas (Nas’ ex, Kelis, recently accused him of domestic violence). But even as some factions of the rap world grapple with talented artists who have appalling accusations against them, we seem to not have a problem with lyrics that reinforce the same behavior.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This isn’t to say that domestic violence shouldn’t be categorically exempt as thematic material in rap. There are plenty of songs where it’s treated with nuance, such as when Vic Mensa raps with remorse about choking his girlfriend on the 2016 track, “\u003ca href=\"https://www.youtube.com/watch?v=d4VflaXIJCQ\" target=\"_blank\" rel=\"noopener noreferrer\">There’s Alot Going On\u003c/a>“: “She came out the room swingin’, hit me in the jaw / I was really tryna fend her off / But I ended up in the closet with my hands around her neck / I was trippin’, dawg.” (Mensa recently stoked XXXtentacion fans’ ire with his unreleased freestyle from the BET Hip-Hop Awards, which air on Oct. 16. He says he was calling out a “trend in hip-hop of championing abusers.”)\u003c/p>\n\u003cp>https://twitter.com/PopCrave/status/1049476232633573376\u003c/p>\n\u003cp>Still, one of the challenges of critically discussing abusive artists is the increasing pushback against the concept of “cancel” culture. “We’re talking less about whether a work is good art but simply whether it’s good—good for us, good for the culture, good for the world,” writes Wesley Morris in a recent \u003ca href=\"https://www.nytimes.com/interactive/2018/10/03/magazine/morality-social-justice-art-entertainment.html\" target=\"_blank\" rel=\"noopener noreferrer\">essay\u003c/a> for \u003cem>The New York Times\u003c/em>. His concern is that morality and so‐called identity politics are overtaking aesthetics as the primary reasons for celebrating popular art. Besides, “cancel” culture doesn’t seem to work in popular music, which is more decentralized and less contained by corporations than the film and television industry.[contextly_sidebar id=”JE0pIQJoiIYdavnXCytg1sp7mSORod5d”]\u003c/p>\n\u003cp>It’s one thing to try and “cancel” artists’ careers over taboo lyrics and real‐life criminal allegations—and indeed, there are some corners of social media that try to do that—and another to insist that artists simply be held to account for their bodies of work. No one claims that ’80s and ’90s rap stars like Beatnuts (where Psycho Les called himself “the crazy rapist” on “\u003ca href=\"https://www.youtube.com/watch?v=SXeypq9dWAA\" target=\"_blank\" rel=\"noopener noreferrer\">Reign of the Tec\u003c/a>“) or Geto Boys (with their notorious rape-and-pillage horrorcore classic, “\u003ca href=\"https://www.youtube.com/watch?v=66Tuirx98Qk\" target=\"_blank\" rel=\"noopener noreferrer\">Assassins\u003c/a>“) should be wiped from history. However, rap audiences’ tastes have evolved considerably over the past 30 years.\u003c/p>\n\u003cp>As Rich Homie Quan and Rick Ross learned when they apologized for their lyrics on the songs “\u003ca href=\"http://theboombox.com/rich-homie-quan-apologizes-for-controversial-rape-lyrics-on-i-made-it/\" target=\"_blank\" rel=\"noopener noreferrer\">I Made It\u003c/a>” and “\u003ca href=\"https://www.spin.com/2013/05/rick-ross-rocko-rape-rap-controversy-uoeno-childish-major/\" target=\"_blank\" rel=\"noopener noreferrer\">UOENO\u003c/a>“—which both coyly described rape scenarios—that type of material is becoming less acceptable, especially in front of mass audiences. Hip-hop loves its outlaws, but outrageously noxious tropes about sexual assault and statutory rape have become taboo. If the culture is to continue to evolve, it’s worth asking why rap songs about beating women still fly under the radar.[contextly_sidebar id=”OKWCdWGTyEhe7zOsFNFPVAQ8MZvjAqZR”]\u003c/p>\n\u003cp>At its best, rap music reflects society as a whole, no matter how beautiful or ugly. But tracks where violence against women is treated like a joke—like Playboi Carti’s “R.I.P.” and SOB x RBE’s “All Facts Not 1 Opinion”—seem beyond the pale now.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>People of all genders deserve better from the art form.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Got no sympathy for hoes / I’ll slap a bitch!” rages Slimmy B of SOB x RBE on the song “All Facts Not 1 Opinion” from the Vallejo rap group’s new album, \u003cem>Gangin II\u003c/em>, miming a slapping motion as he says the words in the \u003ca href=\"https://www.youtube.com/watch?v=TnV3N4vBYuI\" target=\"_blank\" rel=\"noopener noreferrer\">music video\u003c/a>. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>SOB x RBE aren’t the only young, rising rap artists making light of violence against women in recent releases. Twenty-two-year-old breakout Atlanta star Playboi Carti also brags, “Got me mad as shit, so I slapped that bitch” on “\u003ca href=\"https://www.youtube.com/watch?v=GRoa6w-wnT4\" target=\"_blank\" rel=\"noopener noreferrer\">R.I.P.\u003c/a>” from his album \u003cem>Die Lit\u003c/em>, which peaked at No. 2 on Billboard’s rap albums chart in May.\u003c/p>\n\u003cp>The dialogue surrounding misogyny and abuse in rap culture—whether in lyrics or real life—has been a constant for decades. But it’s notably regressed since last fall, when the #MeToo movement reached a fever pitch. Yes, some of the main protagonists in that debate, namely 6ix9ine and XXXtentacion, continue to elicit a loud minority of detractors. But 6ix9ine has enjoyed chart success and a \u003ca href=\"https://www.thedailybeast.com/why-is-nicki-minaj-co-signing-convicted-sex-criminal-tekashi-6ix9ine\" target=\"_blank\" rel=\"noopener noreferrer\">high-profile collaboration with Nicki Minaj\u003c/a> despite his guilty plea to using a child in a sex tape. Meanwhile, many fans and artists have re-imagined the late XXXtentacion as a romantic fallen hero while glossing over the\u003ca href=\"https://www.miaminewtimes.com/music/the-real-story-of-rapper-xxxtentacion-10410980\" target=\"_blank\" rel=\"noopener noreferrer\"> allegations\u003c/a> of brutal domestic violence against him.\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/RZhcRrurulc'\n title='//www.youtube.com/embed/RZhcRrurulc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I’ma be sympathetic to a kid who has clearly been through so much f-cked up shit that he inflicted this on someone else,” rapper J. Cole told \u003ca href=\"https://www.billboard.com/articles/columns/hip-hop/8476757/j-cole-interview-billboard-cover-story\" target=\"_blank\" rel=\"noopener noreferrer\">Billboard\u003c/a> in September. In the same interview, Cole expressed disappointment with his hero, Nas (Nas’ ex, Kelis, recently accused him of domestic violence). But even as some factions of the rap world grapple with talented artists who have appalling accusations against them, we seem to not have a problem with lyrics that reinforce the same behavior.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This isn’t to say that domestic violence shouldn’t be categorically exempt as thematic material in rap. There are plenty of songs where it’s treated with nuance, such as when Vic Mensa raps with remorse about choking his girlfriend on the 2016 track, “\u003ca href=\"https://www.youtube.com/watch?v=d4VflaXIJCQ\" target=\"_blank\" rel=\"noopener noreferrer\">There’s Alot Going On\u003c/a>“: “She came out the room swingin’, hit me in the jaw / I was really tryna fend her off / But I ended up in the closet with my hands around her neck / I was trippin’, dawg.” (Mensa recently stoked XXXtentacion fans’ ire with his unreleased freestyle from the BET Hip-Hop Awards, which air on Oct. 16. He says he was calling out a “trend in hip-hop of championing abusers.”)\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Still, one of the challenges of critically discussing abusive artists is the increasing pushback against the concept of “cancel” culture. “We’re talking less about whether a work is good art but simply whether it’s good—good for us, good for the culture, good for the world,” writes Wesley Morris in a recent \u003ca href=\"https://www.nytimes.com/interactive/2018/10/03/magazine/morality-social-justice-art-entertainment.html\" target=\"_blank\" rel=\"noopener noreferrer\">essay\u003c/a> for \u003cem>The New York Times\u003c/em>. His concern is that morality and so‐called identity politics are overtaking aesthetics as the primary reasons for celebrating popular art. Besides, “cancel” culture doesn’t seem to work in popular music, which is more decentralized and less contained by corporations than the film and television industry.\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>It’s one thing to try and “cancel” artists’ careers over taboo lyrics and real‐life criminal allegations—and indeed, there are some corners of social media that try to do that—and another to insist that artists simply be held to account for their bodies of work. No one claims that ’80s and ’90s rap stars like Beatnuts (where Psycho Les called himself “the crazy rapist” on “\u003ca href=\"https://www.youtube.com/watch?v=SXeypq9dWAA\" target=\"_blank\" rel=\"noopener noreferrer\">Reign of the Tec\u003c/a>“) or Geto Boys (with their notorious rape-and-pillage horrorcore classic, “\u003ca href=\"https://www.youtube.com/watch?v=66Tuirx98Qk\" target=\"_blank\" rel=\"noopener noreferrer\">Assassins\u003c/a>“) should be wiped from history. However, rap audiences’ tastes have evolved considerably over the past 30 years.\u003c/p>\n\u003cp>As Rich Homie Quan and Rick Ross learned when they apologized for their lyrics on the songs “\u003ca href=\"http://theboombox.com/rich-homie-quan-apologizes-for-controversial-rape-lyrics-on-i-made-it/\" target=\"_blank\" rel=\"noopener noreferrer\">I Made It\u003c/a>” and “\u003ca href=\"https://www.spin.com/2013/05/rick-ross-rocko-rape-rap-controversy-uoeno-childish-major/\" target=\"_blank\" rel=\"noopener noreferrer\">UOENO\u003c/a>“—which both coyly described rape scenarios—that type of material is becoming less acceptable, especially in front of mass audiences. Hip-hop loves its outlaws, but outrageously noxious tropes about sexual assault and statutory rape have become taboo. If the culture is to continue to evolve, it’s worth asking why rap songs about beating women still fly under the radar.\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>At its best, rap music reflects society as a whole, no matter how beautiful or ugly. But tracks where violence against women is treated like a joke—like Playboi Carti’s “R.I.P.” and SOB x RBE’s “All Facts Not 1 Opinion”—seem beyond the pale now.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>People of all genders deserve better from the art form.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Future Reigns at Outside Lands on Saturday",
"headTitle": "Future Reigns at Outside Lands on Saturday | KQED",
"content": "\u003cp style=\"text-align: left\">For all the songs by Future about abusing painkillers and depressants, his Saturday Outside Lands performance was so high-energy and cleanly executed that the Atlanta rapper either has to be lying (because who wants to hear an album about gym reps and green juice?), or he simply has superhuman stamina.[contextly_sidebar id=”Dc2aHjqmZVgfmnNSPaCzOO1IeYMVD5xG”]\u003c/p>\n\u003cp>Though booked at the same time as headliner Florence + the Machine, Future’s set at the Twin Peaks stage packed just as large of a crowd, if not bigger. Future wasted no time getting to his hits, getting the crowd jumping with his triumphant hook on Ace Hood’s “Bugatti.” He then quickly shifted gears to “Thought It Was a Drought,” the ode to fast money and prescription cough syrup, with thousands singing along to the infamous line about infidelity in Gucci flip-flops.\u003c/p>\n\u003cfigure id=\"attachment_13838791\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838791\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8180-800x533.jpg\" alt=\"Future performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8180.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8180-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8180-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8180-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8180-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8180-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Future performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While more novice rappers often over-rely on vocal backing tracks and yell into the mic, Future’s voice sounded rich and full throughout his 75-minute set. Future is a pioneer of the contemporary trap style currently ruling radio, and listeners often associate him with Autotune. But in reality, his unique delivery comes from his lilting inflection and vocal range, projected from the diaphragm like someone who really knows how to \u003cem>sing\u003c/em>.\u003c/p>\n\u003cp>Future’s set was the highpoint of day two of Outside Lands, which felt somewhat lackluster between Friday’s \u003ca href=\"https://www.kqed.org/arts/13838662/at-outside-lands-on-friday-lgbtq-performers-steal-the-show\" target=\"_blank\" rel=\"noopener\">exhilarating opening day\u003c/a> and Sunday’s stacked bill of Janet Jackson, Janelle Monae, The Internet and James Blake. Saturday’s heavy hitters included indie rock and pop stalwarts Bon Iver and CHVRCHES, who’ve both been fixtures of festival lineups for years. Their sets harked back to the old guard of Outside Lands, when white and mostly male musicians dominated the lineup.\u003c/p>\n\u003cfigure id=\"attachment_13838785\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838785\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8008-800x533.jpg\" alt=\"Jamie xx performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8008.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8008-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8008-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8008-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8008-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8008-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jamie xx performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There were a couple other disappointments: the schedule didn’t emphasize that Jamie xx, the producer, vocalist and guitarist from The xx, would play a DJ set during the day’s penultimate time slot; audience members murmured in confusion, having expected a live show. And “Crew” rapper Goldlink canceled his set due to travel issues. (San Francisco rapper Berner filled the slot at short notice, however, with a fun performance bursting with Bay Area pride.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>All of which set the conditions for Future to jolt the audience awake from the low-key afternoon. With his bold stage presence and expert command of the mic, Future focused the majority of his set on songs from \u003cem>DS2\u003c/em>, the album that elevated him from cult artist to rap’s favorite antihero. Washes of pink and blue projected on the screen as Future commanded the stage from a tunnel-like cylinder with light projections that looked like slime-green lightning.\u003c/p>\n\u003cfigure id=\"attachment_13838792\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838792\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8185-800x533.jpg\" alt=\"Future performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8185.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8185-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8185-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8185-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8185-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8185-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Future performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though Future’s current fame and wealth is far removed from the trap houses he once knew, he’s stayed stubbornly consistent in his lyrical content over the years—and that’s because fans want lean-sipping Future, the Future of drug abuse, risky sex and depression. During “Stick Talk,” the mostly white and affluent crowd shouted along like they were right alongside him in the trenches.\u003c/p>\n\u003ch2>Other Highlights\u003c/h2>\n\u003cfigure id=\"attachment_13838750\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838750\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7626-800x533.jpg\" alt=\"Lizzo performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7626.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7626-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7626-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7626-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7626-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7626-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lizzo performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Lizzo Took Outside Lands to the Church of Girl Power and Self-Love\u003c/strong>\u003c/p>\n\u003cp>Minneapolis singer Lizzo brings a gospel delivery to twerk-worthy trap beats, and on the Lands End stage on Saturday, she preached a message of self-love and acceptance. Dressed in a flouncy tulle leotard, she reminded audience members of their personal power between tracks: “You should hire me as your motivational speaker,” she implored jokingly, “I’ll wake up and pop out of the closet like, ‘Good morning, bitch! You’re beautiful!”\u003c/p>\n\u003cp>During her closing song, “Good As Hell,” she busted out a bottle of Patrón during the line “All the big fights, long nights / That you’ve been through / I got a bottle of tequila / That I’ve been savin’ for you.” Lizzo is like a best friend who always understands—it’s no wonder her words resonate with a generation of women attempting to break free from old standards of beauty and sexual purity, and trying to embrace the messiness that makes them unique.\u003c/p>\n\u003cfigure id=\"attachment_13838771\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838771\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7876-800x533.jpg\" alt=\"SOB X RBE performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7876.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7876-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7876-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7876-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7876-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7876-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SOB X RBE performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>SOB x RBE Brought Vallejo Out to Golden Gate Park\u003c/strong>\u003c/p>\n\u003cp>Along with Lizzo and Future, SOB x RBE, the boisterous Vallejo rap group, were one of Saturday’s emotional high points. Similarly to Caleborate the day before, they brought out an enthusiastic hometown crowd that sang along to every word of breakout hits “Anti” and “Lane Switching,” as well as deeper cuts like the Eazy-E–sampling “Calvin Cambridge.”\u003c/p>\n\u003cp>While the four-piece was mesmerizing with their aggressive flows, spat at a rapid clip, their set turned into a real party when Nef the Pharaoh turned up to perform his “Bling Blaow” featuring SOB’s Slimmy B. The crew also brought out Lil Sheik and a posse of hype men, who all turned up with the audience, visibly ecstatic to go from Vallejo’s underground scene to the big stage.\u003c/p>\n\u003cp>\u003cstrong>More photos below.\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13838755\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838755\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7688-800x533.jpg\" alt=\"Jonathan Van Ness performs at The Barbary with special guest Florence Welch and Michelle Wolf at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7688.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7688-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7688-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7688-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7688-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7688-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jonathan Van Ness performs at The Barbary with special guest Florence Welch and Michelle Wolf at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838754\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838754\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7667-800x533.jpg\" alt=\"Cuco performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7667.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7667-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7667-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7667-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7667-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7667-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cuco performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838789\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838789\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8156-800x533.jpg\" alt=\"Florence and the Machine performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8156.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8156-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8156-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8156-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8156-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8156-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Florence and the Machine performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838777\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838777\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7928-800x533.jpg\" alt=\"Tycho performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7928.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7928-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7928-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7928-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7928-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7928-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tycho performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838767\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838767\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7809-800x533.jpg\" alt=\"CHVRCHES performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7809.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7809-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7809-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7809-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7809-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7809-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">CHVRCHES performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838798\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838798\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7877-800x533.jpg\" alt=\"SOB X RBE performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7877.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7877-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7877-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7877-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7877-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7877-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SOB X RBE performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838748\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838748\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7615-800x533.jpg\" alt=\"Lizzo performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7615.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7615-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7615-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7615-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7615-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7615-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lizzo performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838757\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838757\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7698-800x533.jpg\" alt=\"Jonathan Van Ness performs at The Barbary with special guest Florence Welch at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7698.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7698-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7698-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7698-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7698-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7698-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jonathan Van Ness performs at The Barbary with special guest Florence Welch at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838758\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838758\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7728-800x533.jpg\" alt=\"CHVRCHES performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7728.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7728-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7728-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7728-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7728-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7728-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">CHVRCHES performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838768\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838768\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7824-800x533.jpg\" alt=\"The crowd at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7824.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7824-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7824-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7824-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7824-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7824-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838762\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838762\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7742-800x533.jpg\" alt=\"Cuco performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7742.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7742-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7742-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7742-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7742-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7742-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cuco performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838770\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838770\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7874-800x533.jpg\" alt=\"SOB X RBE performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7874.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7874-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7874-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7874-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7874-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7874-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SOB X RBE performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838783\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838783\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7989-800x533.jpg\" alt=\"The crowd at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7989.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7989-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7989-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7989-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7989-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7989-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838788\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838788\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8123-800x533.jpg\" alt=\"Florence and the Machine performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8123.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8123-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8123-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8123-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8123-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8123-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Florence and the Machine performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838799\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838799\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7881-800x533.jpg\" alt=\"SOB X RBE performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7881.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7881-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7881-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7881-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7881-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7881-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SOB X RBE performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838796\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838796\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7832-800x533.jpg\" alt=\"The crowd at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7832.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7832-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7832-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7832-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7832-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7832-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 11, 2018.\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838787\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838787\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8090-800x533.jpg\" alt=\"Florence and the Machine performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8090.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8090-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8090-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8090-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8090-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8090-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Florence and the Machine performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Correction:\u003c/strong> This article originally mentioned that Father John Misty was on Saturday’s Outside Lands lineup, when he actually performed on Friday Aug. 10.\u003c/em>\u003c/p>\n\n",
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"excerpt": "The Atlanta chart-topper jolted the Outside Lands audience awake after an afternoon of mellow indie rock on Saturday. ",
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"title": "Future Reigns at Outside Lands on Saturday | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp style=\"text-align: left\">For all the songs by Future about abusing painkillers and depressants, his Saturday Outside Lands performance was so high-energy and cleanly executed that the Atlanta rapper either has to be lying (because who wants to hear an album about gym reps and green juice?), or he simply has superhuman stamina.\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Though booked at the same time as headliner Florence + the Machine, Future’s set at the Twin Peaks stage packed just as large of a crowd, if not bigger. Future wasted no time getting to his hits, getting the crowd jumping with his triumphant hook on Ace Hood’s “Bugatti.” He then quickly shifted gears to “Thought It Was a Drought,” the ode to fast money and prescription cough syrup, with thousands singing along to the infamous line about infidelity in Gucci flip-flops.\u003c/p>\n\u003cfigure id=\"attachment_13838791\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838791\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8180-800x533.jpg\" alt=\"Future performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8180.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8180-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8180-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8180-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8180-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8180-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Future performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While more novice rappers often over-rely on vocal backing tracks and yell into the mic, Future’s voice sounded rich and full throughout his 75-minute set. Future is a pioneer of the contemporary trap style currently ruling radio, and listeners often associate him with Autotune. But in reality, his unique delivery comes from his lilting inflection and vocal range, projected from the diaphragm like someone who really knows how to \u003cem>sing\u003c/em>.\u003c/p>\n\u003cp>Future’s set was the highpoint of day two of Outside Lands, which felt somewhat lackluster between Friday’s \u003ca href=\"https://www.kqed.org/arts/13838662/at-outside-lands-on-friday-lgbtq-performers-steal-the-show\" target=\"_blank\" rel=\"noopener\">exhilarating opening day\u003c/a> and Sunday’s stacked bill of Janet Jackson, Janelle Monae, The Internet and James Blake. Saturday’s heavy hitters included indie rock and pop stalwarts Bon Iver and CHVRCHES, who’ve both been fixtures of festival lineups for years. Their sets harked back to the old guard of Outside Lands, when white and mostly male musicians dominated the lineup.\u003c/p>\n\u003cfigure id=\"attachment_13838785\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838785\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8008-800x533.jpg\" alt=\"Jamie xx performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8008.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8008-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8008-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8008-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8008-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8008-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jamie xx performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There were a couple other disappointments: the schedule didn’t emphasize that Jamie xx, the producer, vocalist and guitarist from The xx, would play a DJ set during the day’s penultimate time slot; audience members murmured in confusion, having expected a live show. And “Crew” rapper Goldlink canceled his set due to travel issues. (San Francisco rapper Berner filled the slot at short notice, however, with a fun performance bursting with Bay Area pride.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>All of which set the conditions for Future to jolt the audience awake from the low-key afternoon. With his bold stage presence and expert command of the mic, Future focused the majority of his set on songs from \u003cem>DS2\u003c/em>, the album that elevated him from cult artist to rap’s favorite antihero. Washes of pink and blue projected on the screen as Future commanded the stage from a tunnel-like cylinder with light projections that looked like slime-green lightning.\u003c/p>\n\u003cfigure id=\"attachment_13838792\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838792\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8185-800x533.jpg\" alt=\"Future performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8185.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8185-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8185-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8185-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8185-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8185-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Future performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though Future’s current fame and wealth is far removed from the trap houses he once knew, he’s stayed stubbornly consistent in his lyrical content over the years—and that’s because fans want lean-sipping Future, the Future of drug abuse, risky sex and depression. During “Stick Talk,” the mostly white and affluent crowd shouted along like they were right alongside him in the trenches.\u003c/p>\n\u003ch2>Other Highlights\u003c/h2>\n\u003cfigure id=\"attachment_13838750\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838750\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7626-800x533.jpg\" alt=\"Lizzo performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7626.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7626-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7626-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7626-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7626-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7626-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lizzo performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Lizzo Took Outside Lands to the Church of Girl Power and Self-Love\u003c/strong>\u003c/p>\n\u003cp>Minneapolis singer Lizzo brings a gospel delivery to twerk-worthy trap beats, and on the Lands End stage on Saturday, she preached a message of self-love and acceptance. Dressed in a flouncy tulle leotard, she reminded audience members of their personal power between tracks: “You should hire me as your motivational speaker,” she implored jokingly, “I’ll wake up and pop out of the closet like, ‘Good morning, bitch! You’re beautiful!”\u003c/p>\n\u003cp>During her closing song, “Good As Hell,” she busted out a bottle of Patrón during the line “All the big fights, long nights / That you’ve been through / I got a bottle of tequila / That I’ve been savin’ for you.” Lizzo is like a best friend who always understands—it’s no wonder her words resonate with a generation of women attempting to break free from old standards of beauty and sexual purity, and trying to embrace the messiness that makes them unique.\u003c/p>\n\u003cfigure id=\"attachment_13838771\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838771\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7876-800x533.jpg\" alt=\"SOB X RBE performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7876.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7876-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7876-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7876-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7876-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7876-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SOB X RBE performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>SOB x RBE Brought Vallejo Out to Golden Gate Park\u003c/strong>\u003c/p>\n\u003cp>Along with Lizzo and Future, SOB x RBE, the boisterous Vallejo rap group, were one of Saturday’s emotional high points. Similarly to Caleborate the day before, they brought out an enthusiastic hometown crowd that sang along to every word of breakout hits “Anti” and “Lane Switching,” as well as deeper cuts like the Eazy-E–sampling “Calvin Cambridge.”\u003c/p>\n\u003cp>While the four-piece was mesmerizing with their aggressive flows, spat at a rapid clip, their set turned into a real party when Nef the Pharaoh turned up to perform his “Bling Blaow” featuring SOB’s Slimmy B. The crew also brought out Lil Sheik and a posse of hype men, who all turned up with the audience, visibly ecstatic to go from Vallejo’s underground scene to the big stage.\u003c/p>\n\u003cp>\u003cstrong>More photos below.\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13838755\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838755\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7688-800x533.jpg\" alt=\"Jonathan Van Ness performs at The Barbary with special guest Florence Welch and Michelle Wolf at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7688.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7688-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7688-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7688-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7688-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7688-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jonathan Van Ness performs at The Barbary with special guest Florence Welch and Michelle Wolf at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838754\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838754\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7667-800x533.jpg\" alt=\"Cuco performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7667.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7667-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7667-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7667-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7667-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7667-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cuco performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838789\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838789\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8156-800x533.jpg\" alt=\"Florence and the Machine performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8156.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8156-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8156-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8156-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8156-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8156-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Florence and the Machine performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838777\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838777\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7928-800x533.jpg\" alt=\"Tycho performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7928.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7928-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7928-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7928-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7928-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7928-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tycho performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838767\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838767\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7809-800x533.jpg\" alt=\"CHVRCHES performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7809.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7809-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7809-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7809-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7809-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7809-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">CHVRCHES performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838798\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838798\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7877-800x533.jpg\" alt=\"SOB X RBE performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7877.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7877-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7877-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7877-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7877-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7877-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SOB X RBE performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838748\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838748\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7615-800x533.jpg\" alt=\"Lizzo performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7615.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7615-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7615-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7615-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7615-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7615-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lizzo performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838757\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838757\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7698-800x533.jpg\" alt=\"Jonathan Van Ness performs at The Barbary with special guest Florence Welch at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7698.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7698-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7698-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7698-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7698-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7698-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jonathan Van Ness performs at The Barbary with special guest Florence Welch at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838758\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838758\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7728-800x533.jpg\" alt=\"CHVRCHES performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7728.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7728-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7728-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7728-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7728-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7728-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">CHVRCHES performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838768\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838768\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7824-800x533.jpg\" alt=\"The crowd at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7824.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7824-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7824-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7824-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7824-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7824-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838762\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838762\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7742-800x533.jpg\" alt=\"Cuco performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7742.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7742-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7742-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7742-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7742-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7742-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cuco performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838770\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838770\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7874-800x533.jpg\" alt=\"SOB X RBE performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7874.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7874-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7874-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7874-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7874-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7874-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SOB X RBE performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838783\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838783\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7989-800x533.jpg\" alt=\"The crowd at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7989.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7989-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7989-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7989-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7989-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7989-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838788\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838788\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8123-800x533.jpg\" alt=\"Florence and the Machine performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8123.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8123-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8123-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8123-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8123-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8123-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Florence and the Machine performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838799\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838799\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7881-800x533.jpg\" alt=\"SOB X RBE performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7881.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7881-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7881-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7881-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7881-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7881-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SOB X RBE performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838796\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838796\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_7832-800x533.jpg\" alt=\"The crowd at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7832.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7832-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7832-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7832-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7832-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_7832-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 11, 2018.\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838787\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838787\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8090-800x533.jpg\" alt=\"Florence and the Machine performs at the at Outside Lands music festival in San Francisco, Aug. 11, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8090.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8090-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8090-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8090-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8090-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8090-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Florence and the Machine performs at Outside Lands music festival in San Francisco, Aug. 11, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Correction:\u003c/strong> This article originally mentioned that Father John Misty was on Saturday’s Outside Lands lineup, when he actually performed on Friday Aug. 10.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "What Happens to SOB x RBE Now That Yhung T.O. Has An Interscope Deal?",
"headTitle": "What Happens to SOB x RBE Now That Yhung T.O. Has An Interscope Deal? | KQED",
"content": "\u003cp>When SOB x RBE’s Kendrick Lamar-assisted “Paramedic!” was featured on the \u003ca href=\"https://www.kqed.org/arts/13823286\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Black Panther\u003c/em> soundtrack\u003c/a>, it seemed certain that things were about to change for the promising Vallejo rap group — the most talked-about local act of the past year.\u003c/p>\n\u003cp>And change they did. Yhung T.O., the group’s master of melody, revealed on March 23 that he’d \u003ca href=\"https://www.billboard.com/articles/columns/hip-hop/8257710/yhung-to-signs-to-interscope-sob-x-rbe\" target=\"_blank\" rel=\"noopener noreferrer\">inked a deal with Interscope\u003c/a>. He also dropped his first single with the label, the downcast, autobiographical slapper “Misunderstood,” and promised a solo project of the same name coming later this year.\u003c/p>\n\u003cp>https://youtu.be/V-fRd32FNnI\u003c/p>\n\u003cp>That’s great news for Yhung T.O. — and the Bay Area as a whole. After all, more local artists with major-label deals means more eyes on the regional scene, and T.O. joins Kamaiyah, Saweetie, Kehlani, and G-Eazy as the latest local act to sign with a major.\u003c/p>\n\u003cp>But what does Yhung T.O.’s solo deal spell for the future of SOB x RBE, which earned its avid following on the strength of their explosive group energy?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Much like the other Odd Future members often featured on Tyler, the Creator’s solo work, we’ll likely hear from Daboii, Slimmy B, and Lul G on \u003cem>Misunderstood\u003c/em>. But if one examines the history of promising solo artists leaving the groups they started with — like E-40 signing with RCA while still a member of the Click — it becomes apparent that the first of the group to sign a deal often goes the way of Beyoncé, and the others of Kelly and Michelle.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=hQt2R9Rp24w\u003c/p>\n\u003cp>The question then becomes, is Yhung T.O. really a Beyoncé? Will he shine brighter on his own than with SOB x RBE? Interscope is betting its money that the answer is yes. But although T.O.’s 2017 solo mixtape, \u003cem>On My Momma\u003c/em>, gave us the catchy “Don’t Blame ‘Em,” his solo work hasn’t generated nearly as much organic hype as SOB x RBE’s most memorable tracks. On “Paramedic!,” “Lane Changin,” and “Anti,” T.O.’s silky voice provides a momentary, groovy respite from DaBoii, Slimmy B, and Lul G’s scathing bars, and that carefully-balanced chemistry is what makes the group so entertaining.\u003c/p>\n\u003cp>https://youtu.be/W2_A89qTgwM\u003c/p>\n\u003cp>The other question is whether Interscope will do Yhung T.O. justice in marketing him to a mainstream audience. The Bay Area has an idiosyncratic and hyper-local rap culture, and regional favorites haven’t always translated to mainstream audiences. Keak Da Sneak’s group 3XKrazy, for instance, didn’t take off nationally despite a deal with Virgin.\u003c/p>\n\u003cp>There’s also the question of whether a label like Interscope — which is home to dozens of Platinum-selling artists — will invest enough resources into an upstart like T.O. One recent case study gives enough reason to be skeptical. In a 2017 \u003ca href=\"https://www.gq.com/story/kamaiyah-interview\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>GQ\u003c/em> interview\u003c/a>, Kamaiyah complained that Interscope fumbled the rollout of her debut album because of sample clearance issues, adding that she felt like her album wasn’t a priority for the label. Vocal about her frustration, she self-released her latest mixtape \u003cem>Before I Wake\u003c/em>. Her debut studio album is still pending.\u003c/p>\n\u003cp>It could be a boon for Yhung T.O., however, that his sound seems to be in the lineage of some of Interscope’s most successful rap signees — namely Dr. Dre’s Death Row Records, which Interscope acquired in the ’90s. Nate Dogg, the original crooner with gangster lyrics, was on Interscope when he and Warren G released the smash “\u003ca href=\"https://www.youtube.com/watch?v=1plPyJdXKIY\" target=\"_blank\" rel=\"noopener noreferrer\">Regulate\u003c/a>” — an early predecessor to SOB x RBE’s mix of streetwise raps and soulful melodies.\u003c/p>\n\u003cp>Only time will tell how Yhung T.O. and Interscope will handle the young artist’s new-found success, but one thing’s for certain: SOB x RBE won’t be the same.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When SOB x RBE’s Kendrick Lamar-assisted “Paramedic!” was featured on the \u003ca href=\"https://www.kqed.org/arts/13823286\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Black Panther\u003c/em> soundtrack\u003c/a>, it seemed certain that things were about to change for the promising Vallejo rap group — the most talked-about local act of the past year.\u003c/p>\n\u003cp>And change they did. Yhung T.O., the group’s master of melody, revealed on March 23 that he’d \u003ca href=\"https://www.billboard.com/articles/columns/hip-hop/8257710/yhung-to-signs-to-interscope-sob-x-rbe\" target=\"_blank\" rel=\"noopener noreferrer\">inked a deal with Interscope\u003c/a>. He also dropped his first single with the label, the downcast, autobiographical slapper “Misunderstood,” and promised a solo project of the same name coming later this year.\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/V-fRd32FNnI'\n title='//www.youtube.com/embed/V-fRd32FNnI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That’s great news for Yhung T.O. — and the Bay Area as a whole. After all, more local artists with major-label deals means more eyes on the regional scene, and T.O. joins Kamaiyah, Saweetie, Kehlani, and G-Eazy as the latest local act to sign with a major.\u003c/p>\n\u003cp>But what does Yhung T.O.’s solo deal spell for the future of SOB x RBE, which earned its avid following on the strength of their explosive group energy?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Much like the other Odd Future members often featured on Tyler, the Creator’s solo work, we’ll likely hear from Daboii, Slimmy B, and Lul G on \u003cem>Misunderstood\u003c/em>. But if one examines the history of promising solo artists leaving the groups they started with — like E-40 signing with RCA while still a member of the Click — it becomes apparent that the first of the group to sign a deal often goes the way of Beyoncé, and the others of Kelly and Michelle.\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/hQt2R9Rp24w'\n title='//www.youtube.com/embed/hQt2R9Rp24w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The question then becomes, is Yhung T.O. really a Beyoncé? Will he shine brighter on his own than with SOB x RBE? Interscope is betting its money that the answer is yes. But although T.O.’s 2017 solo mixtape, \u003cem>On My Momma\u003c/em>, gave us the catchy “Don’t Blame ‘Em,” his solo work hasn’t generated nearly as much organic hype as SOB x RBE’s most memorable tracks. On “Paramedic!,” “Lane Changin,” and “Anti,” T.O.’s silky voice provides a momentary, groovy respite from DaBoii, Slimmy B, and Lul G’s scathing bars, and that carefully-balanced chemistry is what makes the group so entertaining.\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/W2_A89qTgwM'\n title='//www.youtube.com/embed/W2_A89qTgwM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The other question is whether Interscope will do Yhung T.O. justice in marketing him to a mainstream audience. The Bay Area has an idiosyncratic and hyper-local rap culture, and regional favorites haven’t always translated to mainstream audiences. Keak Da Sneak’s group 3XKrazy, for instance, didn’t take off nationally despite a deal with Virgin.\u003c/p>\n\u003cp>There’s also the question of whether a label like Interscope — which is home to dozens of Platinum-selling artists — will invest enough resources into an upstart like T.O. One recent case study gives enough reason to be skeptical. In a 2017 \u003ca href=\"https://www.gq.com/story/kamaiyah-interview\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>GQ\u003c/em> interview\u003c/a>, Kamaiyah complained that Interscope fumbled the rollout of her debut album because of sample clearance issues, adding that she felt like her album wasn’t a priority for the label. Vocal about her frustration, she self-released her latest mixtape \u003cem>Before I Wake\u003c/em>. Her debut studio album is still pending.\u003c/p>\n\u003cp>It could be a boon for Yhung T.O., however, that his sound seems to be in the lineage of some of Interscope’s most successful rap signees — namely Dr. Dre’s Death Row Records, which Interscope acquired in the ’90s. Nate Dogg, the original crooner with gangster lyrics, was on Interscope when he and Warren G released the smash “\u003ca href=\"https://www.youtube.com/watch?v=1plPyJdXKIY\" target=\"_blank\" rel=\"noopener noreferrer\">Regulate\u003c/a>” — an early predecessor to SOB x RBE’s mix of streetwise raps and soulful melodies.\u003c/p>\n\u003cp>Only time will tell how Yhung T.O. and Interscope will handle the young artist’s new-found success, but one thing’s for certain: SOB x RBE won’t be the same.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>At this point, it’s impossible to ignore SOB x RBE, the young Vallejo group whose self-titled album quickly thrust them to the top of the Bay Area rap scene last year. (The project even made our \u003ca href=\"https://ww2.kqed.org/arts/2017/12/19/the-10-best-bay-area-albums-of-2017-sob-x-rbe-sob-x-rbe/\" rel=\"noopener\" target=\"_blank\">top-ten local albums\u003c/a> of 2017 list.) Between Yhung T.O.’s sweet melodies, DaBoii’s gravelly delivery, Slimmy B’s charming lisp, and Lul G’s rapid-fire bars, the crew’s four members have a dynamic, irresistible chemistry that’s earned them legions of devoted fans. \u003c/p>\n\u003cp>When SOB x RBE played the Regency Ballroom last year, their show sold out so quickly the venue added a second date — and then a third. Their UC Theatre show in Berkeley also sold out, which is why fans may want to get prepared for their Mar. 17 \u003ca href=\"http://thefoxoakland.com/events/sob-x-rbe\" rel=\"noopener\" target=\"_blank\">Fox Theater show\u003c/a> in Oakland. It’s hosted by KMEL’s Big Von, with openers Cuban Doll — a female rapper from Texas with her own underground buzz — plus Oakland’s ALLBLACK and Guapdad 4000.\u003c/p>\n\u003cp>Tickets go on sale Jan. 26 \u003ca href=\"https://www.ticketmaster.com/sob-x-rbe-oakland-california-03-17-2018/event/1C005436E112EB7D?camefrom=CFC_ANOTHERPLANET_web&brand=anotherplanet\" rel=\"noopener\" target=\"_blank\">here\u003c/a>, but the password “hotpot” unlocks the presale on Jan. 25 at 10am. \u003c/p>\n\u003cp>https://youtu.be/3NsnSbKsZJI\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At this point, it’s impossible to ignore SOB x RBE, the young Vallejo group whose self-titled album quickly thrust them to the top of the Bay Area rap scene last year. (The project even made our \u003ca href=\"https://ww2.kqed.org/arts/2017/12/19/the-10-best-bay-area-albums-of-2017-sob-x-rbe-sob-x-rbe/\" rel=\"noopener\" target=\"_blank\">top-ten local albums\u003c/a> of 2017 list.) Between Yhung T.O.’s sweet melodies, DaBoii’s gravelly delivery, Slimmy B’s charming lisp, and Lul G’s rapid-fire bars, the crew’s four members have a dynamic, irresistible chemistry that’s earned them legions of devoted fans. \u003c/p>\n\u003cp>When SOB x RBE played the Regency Ballroom last year, their show sold out so quickly the venue added a second date — and then a third. Their UC Theatre show in Berkeley also sold out, which is why fans may want to get prepared for their Mar. 17 \u003ca href=\"http://thefoxoakland.com/events/sob-x-rbe\" rel=\"noopener\" target=\"_blank\">Fox Theater show\u003c/a> in Oakland. It’s hosted by KMEL’s Big Von, with openers Cuban Doll — a female rapper from Texas with her own underground buzz — plus Oakland’s ALLBLACK and Guapdad 4000.\u003c/p>\n\u003cp>Tickets go on sale Jan. 26 \u003ca href=\"https://www.ticketmaster.com/sob-x-rbe-oakland-california-03-17-2018/event/1C005436E112EB7D?camefrom=CFC_ANOTHERPLANET_web&brand=anotherplanet\" rel=\"noopener\" target=\"_blank\">here\u003c/a>, but the password “hotpot” unlocks the presale on Jan. 25 at 10am. \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/3NsnSbKsZJI'\n title='//www.youtube.com/embed/3NsnSbKsZJI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>When his time came to address the crowd at the 2017 Warriors championship rally, Draymond Green \u003ca href=\"https://www.youtube.com/watch?v=7t66s8EpQQU\" rel=\"noopener\" target=\"_blank\">walked out to “Anti,”\u003c/a> SOB x RBE’s underground hit. As Green bobbed to the track on national TV, supporters of the young Vallejo rap crew danced along — their fandom affirmed — while the rest were left to ask, “Song??!” in comments and tweets.\u003c/p>\n\u003cp>https://youtu.be/WM5yCRiSQPY\u003c/p>\n\u003cp>Prior to the release of their 2017 self-titled mixtape, SOB x RBE had already amassed a Bay Area following through YouTube hits that drew millions of views. “Anti” — which blared out of countless cars this year — was the national tipping point for the rambunctious crew. \u003c/p>\n\u003cp>\u003cem>SOB x RBE\u003c/em>, the album-length release that followed, solidified the collective’s identity, showcasing its members’ different, dynamic voices. There’s Yhung T.O., a melodic master who harmonizes about love as fluidly as he does about guns; DaBoii, arguably the crew’s best lyricist, with an emphatic delivery that borders on a growl; Slimmy B, the charismatic elder who consistently delivers clever bars; and Lul G, the youngest member who experiments with both singing and rapping.\u003c/p>\n\u003cp>On \u003cem>SOB x RBE\u003c/em>, the four young men rap and sing candidly about unity, distrusting outsiders (they repeat “circle got small” throughout the album), and wariness of law enforcement. Their production travels all over the West Coast, fluctuating between laid-back, soulful melodies and brazen, minimal beats that borrow from N.W.A. But the project manages to carry a sonic cohesiveness due in large part to T.O.’s autotune-lacquered hooks — a connective tissue between the album’s spirited verses.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/playlists/344376861″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true” width=”100%” height=”450″ iframe=”true” /]\u003c/p>\n\u003cp>“Lane Changing,” which features all four members, is an exemplary showcase of SOB x RBE’s collective identity of brotherhood and self-reliance. On the jubilant track, which re-works Chaka Khan and Rufus’ “Ain’t Nobody,” each member asserts the crew’s unshakeable bond in his own style: “Strictly Only Brothers / If you not, you irrelevant,” raps DaBoii. \u003c/p>\n\u003cp>Following the success of their mixtape, SOB x RBE kept busy with a national tour, capped by a homecoming appearance at 106.1 KMEL’s Summer Jam. The crew’s members have also put out a flurry of solo releases. One of the strongest is T.O.’s \u003cem>On My Momma\u003c/em>, featuring a vulnerable, heartfelt titular track and the charming flex, “Blame ‘Em.” DaBoii’s \u003cem>Young Wild N-gga\u003c/em>, another standout solo project, gave us “Humble,” a self-assured introvert’s anthem, and “Beastmode,” a repartee with Yhung T.O. over one of the zaniest beats of the year. \u003c/p>\n\u003cp>Establishing their individual identities will, no doubt, make each member of SOB x RBE stronger for their next collective output — which fans across the country eagerly await. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>We’ll be posting our top ten local albums of 2017 everyday through Dec. 22. Check back \u003ca href=\"https://ww2.kqed.org/arts/tag/best-bay-area-albums-2017/\" target=\"_blank\" rel=\"noopener\">here\u003c/a> to see which other albums made our list. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When his time came to address the crowd at the 2017 Warriors championship rally, Draymond Green \u003ca href=\"https://www.youtube.com/watch?v=7t66s8EpQQU\" rel=\"noopener\" target=\"_blank\">walked out to “Anti,”\u003c/a> SOB x RBE’s underground hit. As Green bobbed to the track on national TV, supporters of the young Vallejo rap crew danced along — their fandom affirmed — while the rest were left to ask, “Song??!” in comments and tweets.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/WM5yCRiSQPY'\n title='//www.youtube.com/embed/WM5yCRiSQPY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Prior to the release of their 2017 self-titled mixtape, SOB x RBE had already amassed a Bay Area following through YouTube hits that drew millions of views. “Anti” — which blared out of countless cars this year — was the national tipping point for the rambunctious crew. \u003c/p>\n\u003cp>\u003cem>SOB x RBE\u003c/em>, the album-length release that followed, solidified the collective’s identity, showcasing its members’ different, dynamic voices. There’s Yhung T.O., a melodic master who harmonizes about love as fluidly as he does about guns; DaBoii, arguably the crew’s best lyricist, with an emphatic delivery that borders on a growl; Slimmy B, the charismatic elder who consistently delivers clever bars; and Lul G, the youngest member who experiments with both singing and rapping.\u003c/p>\n\u003cp>On \u003cem>SOB x RBE\u003c/em>, the four young men rap and sing candidly about unity, distrusting outsiders (they repeat “circle got small” throughout the album), and wariness of law enforcement. Their production travels all over the West Coast, fluctuating between laid-back, soulful melodies and brazen, minimal beats that borrow from N.W.A. But the project manages to carry a sonic cohesiveness due in large part to T.O.’s autotune-lacquered hooks — a connective tissue between the album’s spirited verses.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”450″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/playlists/344376861″&visual=true&”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true”'\n title='”https://api.soundcloud.com/playlists/344376861″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“Lane Changing,” which features all four members, is an exemplary showcase of SOB x RBE’s collective identity of brotherhood and self-reliance. On the jubilant track, which re-works Chaka Khan and Rufus’ “Ain’t Nobody,” each member asserts the crew’s unshakeable bond in his own style: “Strictly Only Brothers / If you not, you irrelevant,” raps DaBoii. \u003c/p>\n\u003cp>Following the success of their mixtape, SOB x RBE kept busy with a national tour, capped by a homecoming appearance at 106.1 KMEL’s Summer Jam. The crew’s members have also put out a flurry of solo releases. One of the strongest is T.O.’s \u003cem>On My Momma\u003c/em>, featuring a vulnerable, heartfelt titular track and the charming flex, “Blame ‘Em.” DaBoii’s \u003cem>Young Wild N-gga\u003c/em>, another standout solo project, gave us “Humble,” a self-assured introvert’s anthem, and “Beastmode,” a repartee with Yhung T.O. over one of the zaniest beats of the year. \u003c/p>\n\u003cp>Establishing their individual identities will, no doubt, make each member of SOB x RBE stronger for their next collective output — which fans across the country eagerly await. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>We’ll be posting our top ten local albums of 2017 everyday through Dec. 22. Check back \u003ca href=\"https://ww2.kqed.org/arts/tag/best-bay-area-albums-2017/\" target=\"_blank\" rel=\"noopener\">here\u003c/a> to see which other albums made our list. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>September was a busy month for independent music in the Bay Area: \u003ca href=\"https://soundcloud.com/thejulialewis/on-the-regular-w-elujay-mr-carmack-mikos-da-gawd\" rel=\"noopener\" target=\"_blank\">“On the Regular”\u003c/a> — San Francisco producer Julia Lewis’s soulful track with Elujay, Mr. Carmack, and Mikos Da Gawd — made it to Spotify’s Viral 50 playlist. Rayana Jay, a rising R&B star and one of KQED’s \u003ca href=\"https://ww2.kqed.org/arts/2017/07/23/women-to-watch-rayana-jay/\" rel=\"noopener\" target=\"_blank\">Women to Watch\u003c/a>, dropped her highly anticipated third EP, \u003cem>Morning After\u003c/em>, and we \u003ca href=\"https://ww2.kqed.org/arts/2017/09/18/the-five-best-lyrics-from-rayana-jays-morning-after-ep/\" rel=\"noopener\" target=\"_blank\">still can’t get enough\u003c/a>. Hot off the release of August’s \u003cem>Black Ken\u003c/em>, Lil B gave us a rare live appearance at \u003ca href=\"https://ww2.kqed.org/arts/2017/09/05/hiero-day-2017-music-highlights-and-photo-gallery/\" rel=\"noopener\" target=\"_blank\">Hiero Day\u003c/a>, where he gave his guitar and keyboard away to fans. \u003c/p>\n\u003cp>The local scene feels invigorated and active, and there’s no shortage of good music. We didn’t want anything to slip through the cracks, which is why we’ve rounded up our favorite new rap, pop, punk, and experimental releases. \u003c/p>\n\u003ch2>DaBoii, \u003cem>Young Wild N-gga\u003c/em>\u003cbr>\n(SOB x RBE)\u003c/h2>\n\u003cp>https://youtu.be/mMlWkLBF6hU\u003c/p>\n\u003cp>While the smooth, soulful Yhung T.O. might have the most pop appeal in \u003ca href=\"https://soundcloud.com/sob-rbe\" rel=\"noopener\" target=\"_blank\">SOB x RBE\u003c/a>, DaBoii’s firecracker persona is what makes the Vallejo rap group so riveting. On his solo project \u003cem>Young Wild N-gga\u003c/em>, DaBoii is explosive and brash: He’s just as quick to make puns about the rounds in his clip as he is to call out police brutality. Production-wise, \u003cem>YWN\u003c/em> contains some interesting stylistic choices. “Humble” samples the freestyle classic “\u003ca href=\"https://www.youtube.com/watch?v=_-0sUuGufmw\" rel=\"noopener\" target=\"_blank\">Let The Music Play\u003c/a>” by Shannon, and “Beast Mode” couples DaBoii and Yhung T.O.’s breathless, back-to-back flows with a whimsical, sparkly keyboard loop that contrasts with the rest of the project’s East Bay mobb-music feel. Listen \u003ca href=\"http://www.datpiff.com/SOB-X-RBE-DaBoii-YWN-mixtape.861136.html\" rel=\"noopener\" target=\"_blank\">here\u003c/a>. \u003c/p>\n\u003ch2>Pardoner, \u003cem>Uncontrollable Salvation\u003c/em> (Father/Daughter)\u003c/h2>\n\u003cp>https://youtu.be/SYdQyPvwO3U\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://pardoner.bandcamp.com/\" rel=\"noopener\" target=\"_blank\">Pardoner’s\u003c/a> debut LP, \u003cem>Uncontrollable Salvation\u003c/em> is an experiment in controlled chaos: Max Freeland and Trey Flanigan’s clanging guitars sound like they’re on the verge of spilling into unbridled noise, but despite the outward semblance of messiness, Pardoner’s compositions are tight and punchy with plenty of drive. The band’s name and album title hint at themes of redemption, but its lyrics are full of blasé humor that would make Daria, the dry-witted cartoon character, proud: “I belong in hell / It will be more fun there anyway, probably.” Listen \u003ca href=\"http://fatherdaughterrecords.bandcamp.com/album/uncontrollable-salvation\" rel=\"noopener\" target=\"_blank\">here\u003c/a>. \u003c/p>\n\u003ch2>The Classical, \u003cem>Survival of the Softest\u003c/em>\u003cbr>\n(self-released)\u003c/h2>\n\u003cp>https://youtu.be/qZi77HaJaVA\u003c/p>\n\u003cp>Even though it came out in August, \u003ca href=\"https://theclassical.bandcamp.com\" rel=\"noopener\" target=\"_blank\">the Classical’s\u003c/a> \u003cem>Survival of the Softest\u003c/em> made this list not only because it’s a phenomenal experimental pop project, but because, unfortunately, it’s the Oakland duo’s final album. The Classical was made up of former creative and romantic partners Juliet Gordon and Brett Ciampa, who have dissolved the band since their split. While their debut album, \u003cem>Diptych\u003c/em>, indulged in theatrical vocals, suspenseful pauses, and challenging drum patterns, \u003cem>Survival of the Softest\u003c/em> — which doesn’t include percussionist Ciampa in its credits — is a smoother, more danceable project with R&B undertones. Listen \u003ca href=\"http://theclassical.bandcamp.com/album/survival-of-the-softest\" rel=\"noopener\" target=\"_blank\">here\u003c/a>. \u003c/p>\n\u003ch2>Flesh World, \u003cem>Into the Shroud\u003c/em>\u003cbr>\n(Dark Entries)\u003c/h2>\n\u003cp>https://youtu.be/d9F5PPyaYgg\u003c/p>\n\u003cp>\u003ca href=\"https://fleshworldusa.bandcamp.com\" rel=\"noopener\" target=\"_blank\">Flesh World’s\u003c/a> \u003cem>Into the Shroud\u003c/em> is a bright, sunny album with a tempestuous energy — a result befitting of a collaboration between an indie-pop vocalist and a hardcore guitarist. (Bandleader Jess Scott started out in shoegaze outfit Brilliant Colors and guitarist Scott Moore came from legendary queer hardcore band \u003ca href=\"https://limpwrist.bandcamp.com/\" rel=\"noopener\" target=\"_blank\">Limp Wrist\u003c/a>.) On \u003cem>Into the Shroud\u003c/em>, Flesh World’s instrumentation is robust and frenzied yet beautiful and delicate, with the rhythm section welling up underneath the warm, reverb-laden guitars like a gathering storm. Listen \u003ca href=\"http://fleshworldusa.bandcamp.com/album/into-the-shroud\" rel=\"noopener\" target=\"_blank\">here\u003c/a>. \u003c/p>\n\u003ch2>Harris the KnowItAll, \u003cem>Stargazzer\u003c/em> (self-released)\u003c/h2>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/playlists/334356974″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”450″ iframe=”true” /]\u003c/p>\n\u003cp>Oakland rapper-producer \u003ca href=\"https://soundcloud.com/harristheknowitall\" rel=\"noopener\" target=\"_blank\">Harris the KnowItAll’s\u003c/a> new EP, \u003cem>Stargazzer\u003c/em>, is a veritable constellation of psychedelic sounds. Processed vocals call to mind Kanye’s \u003cem>808s & Heartbreak\u003c/em>, only trippier. Twinkling, jazzy keys channel Flying Lotus and Afrofuturist predecessors like Alice Coltrane. Sci-fi lyrical themes stem from the otherworldly lineage of Shabbazz Palaces. KnowItAll gives these elements an East Oakland spin, with features from 1-O.A.K., K.E.L.L.S., and other East Bay artists including Berkeley’s Marty Grimes. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"alignright size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>September was a busy month for independent music in the Bay Area: \u003ca href=\"https://soundcloud.com/thejulialewis/on-the-regular-w-elujay-mr-carmack-mikos-da-gawd\" rel=\"noopener\" target=\"_blank\">“On the Regular”\u003c/a> — San Francisco producer Julia Lewis’s soulful track with Elujay, Mr. Carmack, and Mikos Da Gawd — made it to Spotify’s Viral 50 playlist. Rayana Jay, a rising R&B star and one of KQED’s \u003ca href=\"https://ww2.kqed.org/arts/2017/07/23/women-to-watch-rayana-jay/\" rel=\"noopener\" target=\"_blank\">Women to Watch\u003c/a>, dropped her highly anticipated third EP, \u003cem>Morning After\u003c/em>, and we \u003ca href=\"https://ww2.kqed.org/arts/2017/09/18/the-five-best-lyrics-from-rayana-jays-morning-after-ep/\" rel=\"noopener\" target=\"_blank\">still can’t get enough\u003c/a>. Hot off the release of August’s \u003cem>Black Ken\u003c/em>, Lil B gave us a rare live appearance at \u003ca href=\"https://ww2.kqed.org/arts/2017/09/05/hiero-day-2017-music-highlights-and-photo-gallery/\" rel=\"noopener\" target=\"_blank\">Hiero Day\u003c/a>, where he gave his guitar and keyboard away to fans. \u003c/p>\n\u003cp>The local scene feels invigorated and active, and there’s no shortage of good music. We didn’t want anything to slip through the cracks, which is why we’ve rounded up our favorite new rap, pop, punk, and experimental releases. \u003c/p>\n\u003ch2>DaBoii, \u003cem>Young Wild N-gga\u003c/em>\u003cbr>\n(SOB x RBE)\u003c/h2>\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/mMlWkLBF6hU'\n title='//www.youtube.com/embed/mMlWkLBF6hU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>While the smooth, soulful Yhung T.O. might have the most pop appeal in \u003ca href=\"https://soundcloud.com/sob-rbe\" rel=\"noopener\" target=\"_blank\">SOB x RBE\u003c/a>, DaBoii’s firecracker persona is what makes the Vallejo rap group so riveting. On his solo project \u003cem>Young Wild N-gga\u003c/em>, DaBoii is explosive and brash: He’s just as quick to make puns about the rounds in his clip as he is to call out police brutality. Production-wise, \u003cem>YWN\u003c/em> contains some interesting stylistic choices. “Humble” samples the freestyle classic “\u003ca href=\"https://www.youtube.com/watch?v=_-0sUuGufmw\" rel=\"noopener\" target=\"_blank\">Let The Music Play\u003c/a>” by Shannon, and “Beast Mode” couples DaBoii and Yhung T.O.’s breathless, back-to-back flows with a whimsical, sparkly keyboard loop that contrasts with the rest of the project’s East Bay mobb-music feel. Listen \u003ca href=\"http://www.datpiff.com/SOB-X-RBE-DaBoii-YWN-mixtape.861136.html\" rel=\"noopener\" target=\"_blank\">here\u003c/a>. \u003c/p>\n\u003ch2>Pardoner, \u003cem>Uncontrollable Salvation\u003c/em> (Father/Daughter)\u003c/h2>\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/SYdQyPvwO3U'\n title='//www.youtube.com/embed/SYdQyPvwO3U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://pardoner.bandcamp.com/\" rel=\"noopener\" target=\"_blank\">Pardoner’s\u003c/a> debut LP, \u003cem>Uncontrollable Salvation\u003c/em> is an experiment in controlled chaos: Max Freeland and Trey Flanigan’s clanging guitars sound like they’re on the verge of spilling into unbridled noise, but despite the outward semblance of messiness, Pardoner’s compositions are tight and punchy with plenty of drive. The band’s name and album title hint at themes of redemption, but its lyrics are full of blasé humor that would make Daria, the dry-witted cartoon character, proud: “I belong in hell / It will be more fun there anyway, probably.” Listen \u003ca href=\"http://fatherdaughterrecords.bandcamp.com/album/uncontrollable-salvation\" rel=\"noopener\" target=\"_blank\">here\u003c/a>. \u003c/p>\n\u003ch2>The Classical, \u003cem>Survival of the Softest\u003c/em>\u003cbr>\n(self-released)\u003c/h2>\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/qZi77HaJaVA'\n title='//www.youtube.com/embed/qZi77HaJaVA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Even though it came out in August, \u003ca href=\"https://theclassical.bandcamp.com\" rel=\"noopener\" target=\"_blank\">the Classical’s\u003c/a> \u003cem>Survival of the Softest\u003c/em> made this list not only because it’s a phenomenal experimental pop project, but because, unfortunately, it’s the Oakland duo’s final album. The Classical was made up of former creative and romantic partners Juliet Gordon and Brett Ciampa, who have dissolved the band since their split. While their debut album, \u003cem>Diptych\u003c/em>, indulged in theatrical vocals, suspenseful pauses, and challenging drum patterns, \u003cem>Survival of the Softest\u003c/em> — which doesn’t include percussionist Ciampa in its credits — is a smoother, more danceable project with R&B undertones. Listen \u003ca href=\"http://theclassical.bandcamp.com/album/survival-of-the-softest\" rel=\"noopener\" target=\"_blank\">here\u003c/a>. \u003c/p>\n\u003ch2>Flesh World, \u003cem>Into the Shroud\u003c/em>\u003cbr>\n(Dark Entries)\u003c/h2>\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/d9F5PPyaYgg'\n title='//www.youtube.com/embed/d9F5PPyaYgg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003ca href=\"https://fleshworldusa.bandcamp.com\" rel=\"noopener\" target=\"_blank\">Flesh World’s\u003c/a> \u003cem>Into the Shroud\u003c/em> is a bright, sunny album with a tempestuous energy — a result befitting of a collaboration between an indie-pop vocalist and a hardcore guitarist. (Bandleader Jess Scott started out in shoegaze outfit Brilliant Colors and guitarist Scott Moore came from legendary queer hardcore band \u003ca href=\"https://limpwrist.bandcamp.com/\" rel=\"noopener\" target=\"_blank\">Limp Wrist\u003c/a>.) On \u003cem>Into the Shroud\u003c/em>, Flesh World’s instrumentation is robust and frenzied yet beautiful and delicate, with the rhythm section welling up underneath the warm, reverb-laden guitars like a gathering storm. Listen \u003ca href=\"http://fleshworldusa.bandcamp.com/album/into-the-shroud\" rel=\"noopener\" target=\"_blank\">here\u003c/a>. \u003c/p>\n\u003ch2>Harris the KnowItAll, \u003cem>Stargazzer\u003c/em> (self-released)\u003c/h2>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”450″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/playlists/334356974″&visual=true&”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/playlists/334356974″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Oakland rapper-producer \u003ca href=\"https://soundcloud.com/harristheknowitall\" rel=\"noopener\" target=\"_blank\">Harris the KnowItAll’s\u003c/a> new EP, \u003cem>Stargazzer\u003c/em>, is a veritable constellation of psychedelic sounds. Processed vocals call to mind Kanye’s \u003cem>808s & Heartbreak\u003c/em>, only trippier. Twinkling, jazzy keys channel Flying Lotus and Afrofuturist predecessors like Alice Coltrane. Sci-fi lyrical themes stem from the otherworldly lineage of Shabbazz Palaces. KnowItAll gives these elements an East Oakland spin, with features from 1-O.A.K., K.E.L.L.S., and other East Bay artists including Berkeley’s Marty Grimes. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"alignright size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "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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"radiolab": {
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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},
"selected-shorts": {
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"title": "Selected Shorts",
"info": "Spellbinding short stories by established and emerging writers take on a new life when they are performed by stars of the stage and screen.",
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"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
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