Double Takes is a series in which two Emerald writers compare notes on a recent piece of media. In this installment, Emerald writers Chris Berg and Emerson Malone share their thoughts on Mr. Robot’s two-part season two premiere.

“I tell you, the human condition is a straight-up tragedy, cuz.” – Leon (Joey Bada$$)

Emerson’s take:

Mr. Robot’s second season picks up a month after the first season’s finale; the “Five/Nine attack,” which scrubbed out debt and pummeled the American economy, went down like gangbusters.

This episode has President Obama, Leon Panetta and Nancy Grace, all of whom comment on fsociety and the smithereens left of the global financial market. But the hacking victory, which was spurred by Tyrell and executed by Elliot during the hours he’s lost last season, doesn’t make the future look any brighter for its architects.

Despite the hack’s ubiquitous effects, it appears that E Corp is alive and well, but hackers are still intimidating the corporation, as they re-calibrate a smart house’s speaker system, lights, shower and thermostat settings to chase away corporate lawyer Susan Jacobs (Sandrine Holt) in a masterfully filmed sequence.

Elliot, himself, is disciplining to a regimented schedule, scribbling QR codes in his journal and dealing with his increasingly violent split-personality disorder. Luckily he now has a new (real-life) friend, Leon, played by Joey Bada$$, who just discovered Seinfeld (“Man, that Kramer dude, if I knew him in real life I’d knock his ass out.”)

Elliot’s dad is getting extra vicious – shooting Elliot in the head, cutting Gideon’s throat – just to get his son’s attention. Darlene is housing some fsociety hackers, who’re beginning to act more and more like members of Project Mayhem in the post-Five/Nine world, with stunts like castrating Wall Street’s Charging Bull statue.

The show continues to be one of the most beautifully shot programs on TV, evidenced by the haunting transition between blood dripping on Elliot’s journal scrawl “Control is not an illusion” to the snarl of bronze Charging Bull statue at nighttime.

The soundtrack also includes some choice cuts, from the close-up of Elliot’s brain scan while I Monster’s “Daydream in Blue” plays to Phil Collins’ “Take Me Home” playing as an E Corp exec dons an fsociety mask and burns a hefty pile of ransom money in Battery Park.

This was only the eleventh episode of Mr. Robot in total, and it’s already relishing in a level of depravity and horror that took Breaking Bad four seasons to reach.

Follow Emerson on Twitter @allmalone

Chris’s take:

Rami Malek continues to be the on-screen soul of this show with an outstanding performance as the anti-social Elliot, whose split-personality/ghost-dad Mr. Robot (Christian Slater) is threatening to take the reins.

While the first season put Elliot’s psychological issues in the periphery, his role as an unreliable narrator is front-and-center for season two. Mr. Robot has fully embraced the madness that was once only teased.

Follow Chris on Twitter @ChrisBerg25

Sometime during sound check, a towering black curtain with the massive KISS insignia dropped before the stage in epic fashion. The audience roared. It was immediately apparent this would be no humble night.

“The suspense,” whispered one audience member, who wore Paul Stanley’s Starchild makeup with a black star covering her eye, “it’s killing me.”

Then a disembodied voice (borrowed from the “Shout it Out Loud” music video) shouted to the arena: “You wanted the best, you got the best! The hottest band in the world: KISS!”

When the curtain finally dropped, three men – Stanley, Gene Simmons and Portland native Tommy Thayer – stood atop a platform elevated above the stage and played “Detroit Rock City.” Behind them, Eric Singer was installed in the middle of an elaborate drum set.

Seeing Kiss live feels larger than life, and it’s not just the platform boots. The fireworks that detonated and punctuated each song’s end, the explosions that soared on either side of Singer’s drum riser and sent a blast wave of heat through the arena, Simmons sporadically ejecting his hooked tongue toward the crowd (not to mention his fire breathing, his performing cunnilingus on his guitar, his tongue whipping in close vicinity of Thayer’s neck, or his gargling up fake blood while gazing into the crowd during a droning bass solo) – everything was fittingly extreme.

Stanley honed Peter Pan as he zip-lined to a rotating saucer stage on the opposite end of MKA and Simmons levitated to perform “I Love It Loud” up in the rafters. Kiss’ live act is like Cirque du Soleil, just with more blood, fireballs and rock ‘n’ roll. It’s precisely what you want.

Musically, the band still sounds incredible and the set came with numerous things to love: Thayer’s inky, sludgy guitar in “Calling Dr. Love” and “Strutter,” Singer’s drum fills in “Cold Gin,” and Singer taking the reins on vocals during the lighter-sparking ballad “Beth.”

Paul Stanley capped the Freedom to Rock set encore by inviting members of the Oregon National Guard out to stage; the band, he said, raised $150,000 for the “Hiring Our Heroes” campaign, an initiative to help veterans find work.

Stanley praised the military, decried the unfair treatment of veterans returning home, and then – in true, patriotic Kiss fashion – asked the entire arena to recite the Pledge of Allegiance with him before the band played an explosive version of the Star-Spangled Banner.

Stanley himself is endlessly entertaining to watch. He strutted around the stage, casually addressed the audience, exploding a word or two per sentence. His showmanship was best exhibited as he often struck a power stance to play guitar between his legs or tossed dozens of picks (conveniently duct-taped to the bottom of each guitar) into the audience.

“We’ve been to Portland and we’ve been to Medford,” Stanley told the Matt Knight crowd. But, he offered, they’re in Eugene tonight because “it’s not about the size, it’s about the quality” and declared that Saturday, July 9 would be a night that we would all remember forever. He’s not wrong.

Matthew Knight Arena is on a tear of head-banging nostalgia, with eminent heavy metal acts regularly paying a visit: a year ago this month, Alice Cooper and Mötley Crüe stopped by the arena; this September, Def Leppard will play the venue as well.

This Saturday, July 9, the New York City-based hair metal group Kiss will bring its “Freedom to Rock” tour to the 12,000-seat arena. Much like how Mötley Crüe required some custom installation within MKA for drummer Tommy Lee to ride around on a steel roller coaster, Kiss is notorious for its spectacular live shows, which feature the members, clad in black-and-white face makeup, with special effects the likes of pyrotechnics, rocket flares, levitating drum kits, and blood spitting. Supposedly, Kiss is also responsible for being one of the first popular bands to bear its name on a large light-up backdrop during its live sets.

“Kiss fans classify Kiss as the best live arena act of all time, almost to the point of utter obviousness,” wrote Chuck Klosterman in his comprehensive guide to all things Kiss on Grantland.

Some elements of Kiss’ legacy are obvious: the band is responsible for the immortal, karaoke-ready jams like “Rock & Roll All Nite” (from 1975’s Dressed to Kill), “Detroit Rock City” (from 1976’s Destroyer) and “I Was Made For Lovin’ You” (from 1979’s Dynasty). Kiss has had a prolific streak of album sales, both as an ensemble and solo releases, with more than 100-million album sales worldwide. On April 10, 2014, the band was inducted into the Rock and Roll Hall of Fame.

Outside of their musical prowess, the band has permeated pop culture in numerous fascinating ways. In 1977, Marvel Comics published “A Marvel Comics Super Special!: Kiss” with the band as vigilante superheroes; a nurse drew blood from each band member, which was then poured into vats of red ink used for printing the comics.

The iconic KISS logo, with its bold, lightning bolt-shaped ‘S’s drew some controversy when the band first began touring in the late seventies, since the letters recall the insignia of the Nazi SS. Since 1979, an alternate “Kiss” logo has been used in Germany, Austria, Switzerland and Israel, where Nazi iconography is outlawed.

This time last year, the film Scooby-Doo! And Kiss: Rock and Roll Mystery was released. It features the Scooby-Doo mystery gang traveling to a Kiss show, since Daphne has the hots for Paul Stanley, only to find that a witch from an alternate universe called KISSteria is planning to summon a monster to destroy the earth, and the Kiss show plays a lynchpin role in the witch’s plot.

Its lineup has also transformed into several iterations; the current touring members include Paul Stanley (persona “The Starchild,” who plays rhythm guitar, lead vocals), Gene Simmons (“The Demon” – bass guitar, lead vocals), both of whom have been with the band since 1972, Tommy Thayer (“The Spaceman” – lead guitar, vocals) and Eric Singer (“The Catman” – drums, vocals).

The show starts at 8 p.m. this Saturday, July 9 in Matthew Knight Arena. Doors open at 7. Tickets are $39-$125. Caleb Johnson, winner of American Idol season 13, will open.

Listen to “Strutter” by KISS below.

Monday, June 27 — Disney’s The Little Mermaid – 8 p.m. on July 1-2, 8-9, 22-23 and 2 p.m. on July 10 and 17 at the Actors Cabaret Theater (996 Willamette St.) Tickets are $16-$24 and $33-$43 for a meal and a show.

The popular Disney film, based on the fairy tale by Danish scribe Hans Christian Andersen, looks to a mermaid’s existential crisis as she considers the potential upside of living on dry land. The musical features an ensemble cast of aquatic characters, including Ariel (played by Jenny Parks), Prince Eric (Joel Ibanez), Flounder (Joely Hatcher) and King Triton (Donovan Seitzinger). Make a night out of it and enjoy a meal in the theater an hour and a half before the show begins. Tickets can be purchased at actorscabaret.org or by calling the box office at (541) 683-4368.

Tuesday, June 28 — Make It: Banana Pianos and More – 6 p.m. at the Eugene Library’s Sheldon Branch (1566 Coburg Rd.) Free.

Budding engineers of all ages: It’s about time you create a piano with a few bananas. Check out this unusual workshop and construct your own quasi-useful but nonetheless hilarious contraptions using the Makey Makey Kit, a novelty invention created by graduate students from MIT. A quick YouTube search will pull up a video of how the Makey Makey Kit works: You can conceive of your own pencil-drawn Pacman game pad, plug cables into bananas to create a make-shift computer keyboard, retrofit a staircase as a piano or turn buckets of water into the stomping pads for Dance Dance Revolution. Taken at face value, it doesn’t make much sense, but it’s hysterical to watch. Supplies will be provided during the event.

Wednesday, June 29 — Various funk music gigs around town.

This is likely the best night this week for funk music in Eugene; Alvin and the Chipfunks, a local six-piece jazz-funk fusion group, will play an 8 p.m. show at Luckey’s Club (933 Olive St, $3 cover). Later, HiFi Music Hall’s Free Funk Jam begins at 9 p.m. (44 East 7^th Ave) and Agate Alley Bistro (1461 East 19^th Ave) will host Lounge Jams with Bue Brown and Chilly Soup (9 p.m., no cover).

Thursday, June 30 — Leo “Bud” Welch at WOW Hall – Doors open at 7 p.m. Show starts at 8. (291 West 8^th Ave.) Tickets are $20 in advance; $25 at the door. 

Much like Muddy Waters, Robert Johnson and B.B. King, Leo “Bud” Welch, who’s playing the WOW Hall this Thursday, is part of a generation of Delta blues musicians hailing from rural Mississippi in the early twentieth century. But unlike his coevals’ prolific recording careers, Welch’s didn’t start until 2014 with his first studio album Sabougla Voices, followed by 2015’s I Don’t Prefer No Blues, which was released two days after his 83^rd birthday. Welch has planned for two forthcoming albums, including one with The Black Keys’ Dan Auerbach. Eugene’s Cherry & the Lowboys will open for Welch.

Friday, July 1 — “Whose Life Is It Anyway?” – Thurs.-Sat. 7:30 p.m.; Sun. 2 p.m. At the Very Little Theatre (2350 Hilyard St.) Tickets are $12. 

This drama focuses on Ken Harrison (played by local actor Blake Beardsley), a famous sculptor, who, after a car accident leaves him paralyzed and bedridden in a hospital room, fights for his right to die. British playwright Brian Clark was nominated for a Tony Award for Best Play in 1979 when this production was brought to Broadway.

Saturday, July 2 — Carlos Mencia at Cozmic Pizza – Doors open at 8:30 p.m.; show starts at 9:30. (199 West 8^th St.) Tickets are $18-$23. 21+.

If you were in grade school roughly a decade ago, you likely overheard other students cracking jokes they heard on the Comedy Central sketch-variety program Mind of Mencia. The show’s host Carlos Mencia will drop by Cozmic this Saturday as part of his “C 4 Urself” tour. Mencia, born in San Pedro Sula in Honduras as the 17^th of 18 children, has released the stand-up specials “Not for the Easily Offended” in 2003 and “No Strings Attached” in 2006. Call Cozmic for more information: (541) 338-9333.

Sunday, July 3 — Eugene Emeralds vs. Salem-Keizer Volcanoes at PK Park Game begins at 7:35 p.m. (2760 Martin Luther King Jr Blvd.) Tickets are $8-$14.

This Sunday, see the Emeralds (first in Northwest League South) play the Volcanoes (who are second in the league) on home turf. After the game, a special fireworks show will be scored by a quintet of musicians from the Oregon Bach Festival.

Food trucks have come a long way in the mind of the foodie. Once, they were seen as ‘roach coaches’ that lurked in back alleys and sold questionable tacos. Today, they have a strong foothold in Willamette Valley culture.

“It’s been a lot of work to convince people that food trucks are a legitimate business model that can be successful,” said Caitiln Vargas, coordinator for Saturday’s first annual Eugene Food Truck Fest. “But these trucks are esteemed. It’s some seriously delicious cuisine.”

Eugene’s first annual Food Truck Festival showcased some of Willamette Valley’s finest at the Valley River Center on Saturday, June 18, from vegan Philly cheesesteaks supplied by Viva! Vegetarian Grill to sustainably sourced burgers from CRUSH Burger.

More than 13,000 people turned up for the fest, a fundraiser for the homeless and wellness center Eugene Mission, with 10 percent of all sales going to the shelter. Two days prior to the event, a fire broke out in the Mission’s kitchen, which is used to make more than 750 meals a day for its 350-400 occupants.

A customer grabs food from the window of the KunFusion truck. Eugene’s first annual Food Truck Fest is held at the Valley River Center in Eugene, Oregon on June 18, 2016. (Kaylee Domzalski/Emerald)

Food trucks are usually a peripheral component of a larger event parked outside a brewery or a pub, noted Vargas, the Eugene Mission’s development director and the Food Truck Fest’s coordinator. So when trucks are the focus of the event, it’s a different dynamic.

But above all, the event highlighted cross-cultural food inventions: noodles wrapped in burritos, a Filipino spring roll filled with carne asada, onion and cilantro and even Currywurst and bratwurst kimchi.

UO graduate Shantel Sederia has found her niche within the local food truck culture with her Salem-based truck Nanay’s Ba-Hi, which combines Mexican and Filipino cuisine.

Last year, Sederia and her friend Antonio opened the food cart El Taco. The cart offered traditional Mexican cuisine – tacos, burritos and quesadillas. But the pair had aspirations of including more Filipino influences into the menu, and she eventually sold the cart and opened Nanay’s.

“The Piglet” at Eugene’s first annual Food Truck Fest, held at the Valley River Center in Eugene, Ore. on June 18, 2016. (Kaylee Domzalski/Emerald)

The name “Nanay” (Filipino for “mother”) is the name Sederia called her Filipino grandmother when she was growing up, and “bahay” means “home.”

“I’m in the kitchen now because of her influence. I was the only granddaughter, so I felt that it was my place to learn those recipes and contribute to the family and pass down those generational recipes.”

Part of the reason food trucks do so well with the food fusion enterprise is because they’re selling themselves, Vargas said.

“When you go to a truck and interface with an owner, you’re tasting the love that they put into the dish and hearing about the history behind it from the owner,” Vargas said. “You’re meeting these eclectic individuals. It’s the benefit of the food truck: there’s the owner. It makes the food that much better.”

Food trucks are giving people a new way to eat, Kun FusionGrill owner Shawn Werner claims.

“This is America,” Werner said. “If it weren’t for different cultures migrating to your country, we wouldn’t know about Thai food or Mexican food. We’d be eating cheeseburgers and apple pie every day.”

The food truck community is composed of an array of personalities, from recent UO graduates to former executive chefs of local restaurants. Here are some of the people behind Eugene’s food fusion trucks.

Kun FusionGrill

Eugene’s first annual Food Truck Fest is held at the Valley River Center in Eugene, Ore. on June 18, 2016. (Kaylee Domzalski/Emerald)

Style: Mexican and Korean.

What the menu looks like: The menu is based on its protein choices, including chicken, tofu, pork tacos ($3 or 2 for $5), burritos ($8), quesadillas ($7), burrito bowls, the Kyro — a Korean take on a gyro — ($7) or a Grown Up Grilled Cheese with sriracha, aioli and Kunfusion sauce on grilled Texas toast ($6).

The backstory: Owner-operator Shawn Werner hails from Los Angeles.

“We wanted to bring something amazing to Eugene,” said Werner. “We were going to bring our fusion done our way.”

For Werner, fusion means blending the traditional dishes of both cultures – and incorporating some curveballs, like the Kyro.

“People are beginning to try things they never could [in Lane County],” said Werner.

Kun FusionGrill was named Eugene’s Best Food Truck of 2016 during Saturday’s fest.

Where to find it: Look up Kun FusionGrill on the Street Food Eugene app, or call the truck at (541) 232-9733.

Kalani’s Curbside Island Style Grinds

An employee at the Kalani Curbside Island Style Grinds truck prepares free samples. Eugene’s first annual Food Truck Fest is held at the Valley River Center in Eugene, Ore. on June 18, 2016. (Kaylee Domzalski/Emerald)

Style: Hawaiian, Filipino, Chinese and Portuguese.

The backstory: On the Big Island in Hawaii, where Dale Kalani San Jose grew up, “grinds” is slang for grub. He’s been in Eugene for 21 years, but Hawaii hasn’t left him. He learned a breadth of his culinary disciplines from his mixed-heritage family of Hawaiian, Filipino and Chinese.

“This is basically home-style cooking,” he said. “To set something up in a brick-and-mortar type situation, you need to be brave enough to either make a lot of money or lose a lot of money. People know what a steakhouse is, what a hamburger joint is, what a Chinese restaurant is, but you have to try to educate people. That’s what I had to do in the beginning.”

What the menu looks like: Teriyaki chicken, Hawaiian pineapple chicken, Kalua pork, sweet and sour pork, jerk chicken, all with a side of macaroni and potato salad or yakisoba noodles. (Prices from $7-$11.50).

Where to find it: Corner of 6th and Garfield. Open Monday through Friday, 11-3. Give the truck a call at (541) 870-5278.

Afghani Cuisine and German Sausage

Visitors wait in line to order at the Afghani Cuisine and German Sausage truck. Eugene’s first annual Food Truck Fest is held at the Valley River Center in Eugene, Ore. on June 18, 2016. (Kaylee Domzalski/Emerald)

Style: Afghani and German.

The backstory: Abdul-Waheed Wahed grew up in Kabul, where he played on the Afghanistan national soccer team. He left in 1979 to live in Frankfurt, Germany.

“If you go back to history, you’ll see Afghanistan and Germany were always best friends since the Second World War,” Wahed said.

He signed up for the team once again, but a bad car accident left him unable to play. He’s been in Eugene since 2009, cooking up bratwurst and bolanis (Afghani flatbread with a vegetable filling) downtown.

“Now I am the king of Kesey Square!” Wahed says.

What the menu looks like: Bratwurst kimchi ($7), Rindswurst ($5), Thüringer ($6), and Currywurst ($6).

Where to find the truck: Typically parked in downtown Eugene at Kesey Square.

Nanay’s Ba-Hi

Style: Filipino and Mexican.

What the menu looks like: Pancit (thin rice noodles) with celery, carrots, cabbage, chicken, pork, beef and fried rice ($7.50), Adobo burritos ($6.00), Lumpia (a Filipino spring roll, similar to an egg roll) prepared like a taco with carne asada, onion and cilantro (four for $1.00).

The backstory: Shantel Sederia’s grandfather, a sailor in the Navy, met her grandmother in the Philippines during the ’60s. The two got married and had two children in the Philippines before moving back and eventually settling in Salem, Oregon.

Sederia, who’s of Mexican and Filipino descent, said that her grandmother would only make Filipino food on special occasions.

“It’s my favorite, but not a lot of folks had tried it,” she said. “You’re really getting the best of both worlds.”

Where to find it: Based outside Willamette University in Salem at 1390 Mill Street, Sederia hopes to bring Nanay’s to Eugene on the weekends. Nanay’s is open Monday – Saturday 11 a.m.-9 p.m. Closed on Sunday. Call the truck at (541) 870-2156.

Who among us hasn’t sat through a roommate’s footage from a Mt. Hood ski trip, scored to something obnoxious and filmed dizzily with a GoPro helmet camera?

This spring term, University of Oregon assistant professor Rick Silva led the course ARTD 410: “Stoked 101” to look into the craft behind action sports filmmaking. Silva says he dreamt of the course since he was a film student at the University of Colorado, where his professors discouraged students from producing ski films and music videos.

“I understood that, and they wanted us to experiment with a variety of different approaches,” said Silva, an assistant professor in the UO Art & Technology Program (formerly known as the Digital Arts Program). “But I also thought they were dismissing a whole genre; there is an entire history of thoughtful and brilliant outdoor sports films.”

During “Stoked 101” — named for the sort of lingo you’d hear from the amped skiers and skaters — students produced a variety of short films, including documentaries, mockumentaries and experimental movies that blended motion graphics with drone footage.

This Friday, June 10, you can catch some of the student films from “Stoked 101” at 6 p.m. when they’re screened at the Outdoor Program Barn at the corner of 18^th and University.

In her documentary “Ebb & Fly,” UO junior Makensy Venneri followed Jasper Trout Marshall, a local 21-year-old fly fisherman. The seven-minute film was shot at the McKenzie River and the Crooked River near Bend, OR. Venneri says that she recorded more than 100 gigabytes of footage, which made this the largest project she’s ever directed.

Although Silva made a point of encouraging students “beyond the GoPro style” of a single point-of-view video, Venneri used the GoPro to capture underwater shots in her documentary.

“I can easily say this was my favorite production class ever,” said Venneri, a cinema studies major.

Another student project titled “Slip Up: The Real Story” is a comical mockumentary produced by Alex Kramer and Chris Morgan. “Slip Up” focused on Slip ‘N’ Sliding as an extreme sport, focused on the made-up character and self-proclaimed “slipper” A.J. Connors, who pursued the sport as a diversion after his father — a famed baseball player known for sliding to bases — left the family.

The film blends archival footage (as though it were filmed on a grainy VHS tape) of fabled “slipping” moments among beer-chugging athletes with earnest talking head interviews with other fictional slippers, and adrenalized recordings of friends gliding down a Slip ‘N’ Slide.

Silva invited guest filmmakers to speak during “Stoked 101,” including Trent Ludwig, who has created movies for Snowboarder Magazine and Ayleen Crotty, director of the Filmed by Bike Festival in Portland.

Venneri said, “I think Trent Ludwig put it really well when he said, ‘Action sport athletes are always about finding the hardest and baddest trick, and as action sport filmmakers, we have to elevate with them.’”

Monday marks the day of Sasquatch’s most emotionally manipulative lineup, with the hardcore Jersey boys Titus Andronicus, the heavy metal outfit Baroness from Savannah, GA and the electronic combo Jamie xx back-to-back with Caribou and Eugene homeboy Sufjan Stevens.

Highlights from today:

• Hard rock band Thunderpussy was the first act on the main stage today. Singer Molly Sides, dressed in chrome rags that she called her “disco ball outfit” honed Grace Slick in her domineering stage presence, rolling around, doing high kicks, slithering on the ground winding the microphone cord into a cat’s cradle with her hands and around herself. This group — which has yet to release a single — absolutely rules.

• Sir the Baptist congregated over the Yeti stage with a gospel-funk sermon. Much like listening to Chance the Rapper’s Coloring Book, Sir the Baptist really makes a strong sell for the holy spirit.

• New Jersey-based indie punk band Titus Andronicus are still playing shows since The Most Lamentable Tragedy came out last summer. I last saw Titus in 2011 during a noon show at Coachella, soon after they came out with The Monitor. The band is every bit as potent. It opened with “No Future Part III,” with the interminable refrain “You will always be a loser!” The crowd responded with as much violent force. Moshing, as it were, is like sex for your violent impulses. And Titus is a good place to exorcise those feelings.

• Further: Baroness and Australian psych-rock group King Lizard and the Wizard Gizzards are two acts to watch.

• Tim Heidecker (of Tim and Eric fame) recently put out a non-comedy, “somewhat earnest” album In Glendale. “Everybody loves it. It’s got a 10 on Pitchfork,” Heidecker told the crowd at Sasquatch. “It’s the Sgt. Pepper of this generation,” Heidecker immediately proved it by jumping into “Cleaning Up the Dog Shit.” And later after “Scientology (That’s the Plan for Me),” he started “Ghost in my Bed,” which begins “I buried your head under the Hollywood sign.” Someone in the front row must’ve gasped, as the whole band looked at them. Heidecker stopped abruptly, looked down and asked, “Do we have a problem?” Later with “Slurp It Up” – a song he wrote about drinking your own piss. The audience sang “Hot piss on the top of my lips!” with Heidecker, like it was “Juke Box Hero.” When he sang about peering into his toilet bowl, he got sidetracked to talk about his “20/20 vision” and “beautiful blue eyes.” “Everybody with glasses needs to leave,” he demanded. He pointed at his bespectacled bassist. “I’m talking to you.” Then he pointed to a blind festivalgoer with a cane in the front row. “He’s going to get some merch.”

High winds closed Sasquatch’s main stage on Sunday, which meant at 9 p.m., Alabama Shakes was the first band of the day to take the stage. The day’s lineup was light and youthful, from the nicotine bluegrass of Mac DeMarco to the masterful southern blues of the Shakes. BAIO’s delightful electronic work, Shamir Bailey’s rubbery disco and the lo-fi punk of Seattle’s Wimps were also landmark acts to this excellent day.

Check out our photos from Sunday over here. You can also read our recaps from day one and day two of the festival.

Highlights from Sunday at Sasquatch:

• COSMOS, a hip-hop group from Seattle, was an excellent start to the day with solid beats infused with saxophone. The group landed first place EMP Sound Off! battle of the bands, which secured the band a spot at the festival. Lead singer Teron Bell performs in a NASA jumpsuit.

• Stand-up comedians Lauren Lapkus and Todd Barry took the Chupacabra tent for a podcast recording of With Special Guest Lauren Lapkus. In each episode, someone new is the host and Lapkus improvises a character. The interview of Lapkus’s vegan-restaurant owner-turned-steakhouse owner included references to Scottish band The Twilight Sad (who were playing next door at Bigfoot stage), and the drunk, sobbing audience member who shouted incoherent flattery at Lapkus toward the end.

• Also in the Chupacabra: Shamir Bailey had the most baller entrance of anyone at the festival. He got on stage and sat down on the edge, one knee up, one leg dangling off the side. Photographers in the pit circled him. He said nothing, slowly took out a pack of cigarettes and lit one before jumping into his rubbery, elastic dance set.

• Chris Baio wears a balaclava and black t-shirt to hook up his synth before he takes the stage in a beige suit and bowtie.

• Tacocat were among the displaced by the high winds to El Chupacabra tent. Clad in matching glitter jackets and plastic skirts, the power-pop group attacked some visceral things like cat-calling and the first day of one’s period. Singer Emily Nokes directed the incendiary track “Men Explain Things To Me” to the guys at the main stage who’d asked if they were backup dancers. In February it was announced that Earlier this year, Tacocat was tapped to record the new theme song for the Powerpuff Girls reboot. Truly there could not be a better match.