When Generator Punk Shows Ruled the Mission District
Oakland Library Is Once Again Asking You to Make Weird History Dioramas
San Francisco’s First Serial Killer Was a Doctor Named J. Milton Bowers ... Probably
The Dome Exemplifies the Kind of Artistic Community the Bay Area Needs Now
The San Francisco AIDS Protest That Lasted a Decade
A Vallejo Naval Museum Exhibit Celebrates Gender Rebels Across History
Thrilling ‘Pressure’ Tells the Heroic, High Stakes Tale of a WWII ... Meteorologist?
A Dazzling New Children’s Book Honors an Indigenous Teen Heroine From California
Sublime's Last Show: The Oral History
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You could just see people around, and as soon as the gear started coming out, everyone would just descend,” said Karoline Collins, a local photographer and roadie for the band \u003ca href=\"https://mattyluv.com/\">Hickey\u003c/a>.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1326\" height=\"2000\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Miami-9-Ivy-Pointing_BART-Show_Karoline-Hanson-Collins.jpg\" alt=\"\" class=\"wp-image-13991192\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Miami-9-Ivy-Pointing_BART-Show_Karoline-Hanson-Collins.jpg 1326w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Miami-9-Ivy-Pointing_BART-Show_Karoline-Hanson-Collins-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Miami-9-Ivy-Pointing_BART-Show_Karoline-Hanson-Collins-768x1158.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Miami-9-Ivy-Pointing_BART-Show_Karoline-Hanson-Collins-1018x1536.jpg 1018w\" sizes=\"auto, (max-width: 1326px) 100vw, 1326px\">\u003cfigcaption class=\"wp-element-caption\">Ivy McClelland sings with the Mission District punk band Miami at 16th and Mission BART plaza, circa 2000. (Karoline Collins)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>This would be one of many illegal generator-powered \u003ca href=\"https://www.kqed.org/arts/tag/punk\">punk\u003c/a> shows happening on Mission Street, a tradition that would carry into San Francisco’s present day. While San Francisco’s punk shows of the ’70s and ’80s had taken place in unlikely settings — a \u003ca href=\"https://www.kqed.org/arts/13980619/mabuhay-gardens-reopening-sf-punk-club-north-beach\">Filipino restaurant\u003c/a>, a \u003ca href=\"https://www.kqed.org/arts/13938024/old-san-francisco-punk-venues-deaf-club-farm-sound-music-tool-die\">social club for the deaf\u003c/a>, literal \u003ca href=\"https://www.kqed.org/arts/13902953/alternative-voices-1980s-san-francisco-punk-jeanne-hansen-photography-jonah-raskin\">beer vats\u003c/a> — the tradition of guerilla generator shows that flourished in Mission District’s ragged and dedicated punk scene of the ’90s \u003ca href=\"https://www.kqed.org/arts/13923420/punk-show-on-bart\">continues today with bands like False Flag, Surprise Privilege and WIFE\u003c/a>. \u003c/p>\n\n\n\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The \u003ca href=\"https://www.kqed.org/arts/tag/mission-district\">Mission District\u003c/a>’s punk history runs deep, boasting bands like MDC and Jawbreaker, and venues like Tool & Die, Kommotion and Epicenter. But in the late ’90s, something shifted. A new wave of punks dedicated to cheap living, harm reduction and the DIY ethos took over the streets. From 1994 through 2002, bands like Hickey, Shotwell, 50 Million and the aforementioned Miami would creatively resist San Francisco’s then-Mayor \u003ca href=\"https://www.kqed.org/news/tag/willie-brown\">Willie Brown\u003c/a> and the powers that be with both music and action.\u003cbr>\u003cbr>Their headquarters would become Mission Records, and later 16th and Mission BART Plaza, for amplifying their frustrations with gentrification, war and the police.\u003c/p>\n\n\n\n\u003cp>\u003cstrong>The City That Never Sleeps\u003c/strong>\u003c/p>\n\n\n\n\u003cp>Ivy Jeanne McClelland moved to San Francisco in 1997 after years of moving back and forth, sometimes by hopping trains, between her hometown of Miami and the East Bay as a teenage runaway. Though she’d crossed paths with Bay Area bands like Rancid, Green Day and Blatz, she decided to make San Francisco home thanks to Hickey. That year, McClelland hopped in the band’s van on their final tour, and moved into the band’s squalid apartment, the Hickey Hotel, on 24th Street.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1326\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Aesop-Kitchen-Patches_1996_Karoline-Hanson-Collins.jpg\" alt=\"\" class=\"wp-image-13991186\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Aesop-Kitchen-Patches_1996_Karoline-Hanson-Collins.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Aesop-Kitchen-Patches_1996_Karoline-Hanson-Collins-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Aesop-Kitchen-Patches_1996_Karoline-Hanson-Collins-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Aesop-Kitchen-Patches_1996_Karoline-Hanson-Collins-1536x1018.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Aesop Dekker screenprints Hickey patches in the kitchen at the Hickey Hotel, circa mid-1990s. (Karoline Collins)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>McClelland had played in bands like the Tri-Rails and Los Canadians, but when she made it to San Francisco, she teamed up with best friend and fellow Floridian Erica Dawn Lyle to start a new band called Miami, bolstered by Dekker and Luv from Hickey.\u003c/p>\n\n\n\n\u003cp>With more and more local venues like Klub Kommotion, Starcleaners Warehouse and Epicenter Records winding down operations, Miami and their longtime friends in the band Shotwell colluded to create a new commotion down Mission Street. Lyle and Broutis decided to host an illegal pop-up show, powered by generators, in front of the defunct Leed’s Shoes building at 22nd and Mission. Borrowing the idea from a band of buskers known as Rube Waddell, the two fueled their iteration with political angst.\u003c/p>\n\n\n\n\u003cp>“The generator shows were a product of when gentrification really ramped up in the Mission,” said McClelland. “There was already this feeling of frustration and upset about all of these DIY show spaces that were targeted and shut down, and in our grumblings, we decided to have generator shows in response to them.”\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1326\" height=\"2000\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Miami-7-Matty_BART-Show_Karoline-Hanson-Collins.jpg\" alt=\"\" class=\"wp-image-13991194\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Miami-7-Matty_BART-Show_Karoline-Hanson-Collins.jpg 1326w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Miami-7-Matty_BART-Show_Karoline-Hanson-Collins-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Miami-7-Matty_BART-Show_Karoline-Hanson-Collins-768x1158.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Miami-7-Matty_BART-Show_Karoline-Hanson-Collins-1018x1536.jpg 1018w\" sizes=\"auto, (max-width: 1326px) 100vw, 1326px\">\u003cfigcaption class=\"wp-element-caption\">Matty Luv plays with Mission District punk band Miami at 16th and Mission BART Plaza, circa 2000. (Karoline Collins)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Miami didn’t last long, breaking up around 2001. Luv’s addiction to heroin had gotten more serious. He’d moved back to Florida for a time before being convinced to come back to San Francisco. Luv helped operate Mission Records in its near-final days, and played music with friends, but the scene was on its last legs.\u003c/p>\n\n\n\n\u003cp>Miami and its generator shows, to be clear, came from a lineage of Mission punks before them. Half of Miami, after all, had roots in a band that had started four years prior. \u003c/p>\n\n\n\n\u003cp>\u003cstrong>The Naked Cult of Hickey\u003c/strong>\u003c/p>\n\n\n\n\u003cp>Led by \u003ca href=\"https://www.mattyluv.com/\">Matty Luv\u003c/a>, a charismatic, manic frontman dedicated to a DIY anticapitalist interpretation of punk rock, Hickey was the band often called The Naked Cult of Hickey. With best friend Aesop Dekker behind the drum kit, the two produced a controlled chaos that would come to define the band. Originally accompanied by friend Chubby on bass, Hickey became known for confrontational antics and a prolific catalog of music, fueled by members’ use of both methamphetamine and heroin. \u003c/p>\n\n\n\n\n\n\u003cp>Hickey burned bright and fast, touring constantly. Their song titles included “Hickey Is About Long Hair and Getting High” and “Everything I Know About Sex I Learned From KISS.” Live shows would often devolve into standoffs with the crowd, where the band might play one or two songs and then rant at the audience.\u003c/p>\n\n\n\n\u003cp>“We would show up with the intention of being a band and playing our fucking songs as good as we could for an adoring crowd,” said Dekker. “A lot of times that would go fucky because the promoter was a dick, or, before we even played, would express how they weren’t going to pay us. Or the bands we were playing with were dicks.”\u003c/p>\n\n\n\n\u003cp>The band’s live sets amplified their view on how punk rock should operate, with the members dedicated to an ethic that rebelled against the intrusion of money and power into their scene.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1600\" height=\"766\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/HickeyLPs.jpg\" alt=\"\" class=\"wp-image-13991199\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/HickeyLPs.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/HickeyLPs-160x77.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/HickeyLPs-768x368.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/HickeyLPs-1536x735.jpg 1536w\" sizes=\"auto, (max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-element-caption\">(L–R) Hickey’s full-length self-titled LP, and ‘Various States of Disrepair,’ a compilation of songs released posthumously. (Probe Records / Poverty Records)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>“We hated the fucking corporatization of punk, and we hated people making money off of this. And we were at war with people that didn’t care about this shit,” said Dekker.\u003c/p>\n\n\n\n\u003cp>The chaos that famously propelled the band eventually led to their downfall. During a 1997 U.S. tour, the band decided to break up. The three members had a fight in Tuscon, Arizona, and realized that none of them wanted to continue with the project. After that decision, they felt a shift amongst themselves.\u003c/p>\n\n\n\n\u003cp>“A weird curse had been lifted, because we went back to our friend’s house and sat under the fire, drank and talked,” said Dekker. “We were friends again, like, this fucking weight had been lifted.”\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1326\" height=\"2000\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Ivy-in-Crowd-cool-hands_BART-Show_Karoline-Hanson-Collins.jpg\" alt=\"\" class=\"wp-image-13991187\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Ivy-in-Crowd-cool-hands_BART-Show_Karoline-Hanson-Collins.jpg 1326w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Ivy-in-Crowd-cool-hands_BART-Show_Karoline-Hanson-Collins-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Ivy-in-Crowd-cool-hands_BART-Show_Karoline-Hanson-Collins-768x1158.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Ivy-in-Crowd-cool-hands_BART-Show_Karoline-Hanson-Collins-1018x1536.jpg 1018w\" sizes=\"auto, (max-width: 1326px) 100vw, 1326px\">\u003cfigcaption class=\"wp-element-caption\">Ivy McClelland (center) during a show at 16th and Mission BART plaza, circa 2000. (Karoline Collins)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>\u003cstrong>Mission Records \u003c/strong>\u003c/p>\n\n\n\n\u003cp>After opening its doors in 1997, Mission Records, run by Adam White and Chris Myers, quickly became a place of refuge. Located at 2548 Mission Street, the shop soon had to move to its more permanent location across the street, on the corner of Mission and 19th, and gradually shifted to exist less as a record store and more as a living space and venue for shows.\u003c/p>\n\n\n\n\u003cp>“It started off as a straight-up business proposition,” said White. “I got a bunch of credit cards. We both borrowed as much money as we could from whoever, and fucking went for it. And then, right away, we started getting decimated as a record store. It was the worst time. CDs were at their peak, and the internet was just starting to take the whole thing and destroy it. And we also didn’t know what the fuck we were doing.”\u003c/p>\n\n\n\n\u003cp>As time went on, members of several bands lived at Mission Records, helping volunteer and put on shows. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1535\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/liveatleedsflier.jpg\" alt=\"\" class=\"wp-image-13991188\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/liveatleedsflier.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/liveatleedsflier-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/liveatleedsflier-768x589.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/liveatleedsflier-1536x1179.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">‘The cops can shut down Mission punk clubs, but not Mission Street’: A flyer for a ‘short, illegal show’ on 22nd and Mission. (Erica Dawn Lyle)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Across the Bay, another wave of bands was gaining traction. Green Day had already signed to a major label and released their massive record \u003cem>Dookie\u003c/em>, and Rancid was taking off. The East Bay and San Francisco punk scenes weren’t completely isolated, and Mission District bands still made their way across the bridge. But in San Francisco, there was a different energy emanating. \u003c/p>\n\n\n\n\u003cp>Maybe they played faster, maybe they were more confrontational. And maybe it was the drugs.\u003c/p>\n\n\n\n\u003cp>“It was all benzos,” said Broustis. “You go to Mission Records, and there’d be a band rehearsing there at two in the morning while people are trying to sleep.”\u003c/p>\n\n\n\n\u003cp>Band members got drugs from local corner stores, and used that to fuel their productivity.\u003c/p>\n\n\n\n\u003cp>“We did so much crystal meth in the fucking ’90s, and then it was heroin, and we were also eating lots of pills and drinking a lot — all the things that go with doing tons of crystal meth,” said Dekker. “That’s why we did so much in three years. Because we didn’t fucking sleep.”\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1319\" height=\"2000\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/LOW-RES-Matty_Broken-Tub_Hickey-Hotel_KHC.jpg\" alt=\"\" class=\"wp-image-13991189\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/LOW-RES-Matty_Broken-Tub_Hickey-Hotel_KHC.jpg 1319w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/LOW-RES-Matty_Broken-Tub_Hickey-Hotel_KHC-160x243.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/LOW-RES-Matty_Broken-Tub_Hickey-Hotel_KHC-768x1165.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/LOW-RES-Matty_Broken-Tub_Hickey-Hotel_KHC-1013x1536.jpg 1013w\" sizes=\"auto, (max-width: 1319px) 100vw, 1319px\">\u003cfigcaption class=\"wp-element-caption\">Matty Luv, and a broken bathtub, at the Hickey Hotel, circa mid-1990s. (Karoline Collins)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>\u003cstrong>A sudden shock \u003c/strong>\u003c/p>\n\n\n\n\u003cp>As the drugs took their toll, elements of the scene wound down. Miami broke up, White left Mission Records, and increasingly, cops harassed local punks. \u003c/p>\n\n\n\n\u003cp>On Oct. 5, 2002, Matty Luv, 34, was found dead of a heroin overdose at the Hickey Hotel. He had spent the day helping out at Mission Records, while McClelland and other friends went to a protest against the Iraq war. The group of friends had crossed paths on the way to the protest, and Luv waved hi. It would be the last time many of them would see him. \u003c/p>\n\n\n\n\u003cp>The next day, a show at Mission Records was turned into a wake. Later, a number of his friends gathered at Dolores Park for his funeral, where \u003ca href=\"https://web.archive.org/web/20180107014931/https://archives.sfweekly.com/sanfrancisco/make-sure-there-arent-any-squares-at-my-funeral/Content?oid=2146143\">zines and Hickey records were handed out\u003c/a>, and where Luv was remembered by his friends as funny, prolific and intense.\u003c/p>\n\n\n\n\n\n\u003cp>“Learning how to take better care of each other. I think that’s the lesson. And the wisdom of losing him was about really changing. It changed my relationship to what it meant to show up for people in need or in crisis,” said McLelland.\u003c/p>\n\n\n\n\u003cp>“He was the funniest person I’ve ever met, and I think I was the funniest person he ever met. And when we met, that was our bond, is that we felt the same way ideologically about everything, and we were both funny,” said Dekker.\u003c/p>\n\n\n\n\u003cp>Shortly after Luv’s death, Mission Records closed. White attempted to pass the business on to Buzz Lee, but the finances weren’t there. Dekker had recently found sobriety and become a father. McLelland continued to play in bands, and remains active in activism and harm reduction to this day.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1326\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Erica-Aesop_BART-Show_Karoline-Hanson-Collins.jpg\" alt=\"\" class=\"wp-image-13991191\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Erica-Aesop_BART-Show_Karoline-Hanson-Collins.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Erica-Aesop_BART-Show_Karoline-Hanson-Collins-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Erica-Aesop_BART-Show_Karoline-Hanson-Collins-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Erica-Aesop_BART-Show_Karoline-Hanson-Collins-1536x1018.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">(L–R) Erica Dawn Lyle and Aesop Dekker of the punk band Miami play a generator show at 16th and Mission BART plaza, circa 2000. (Karoline Collins)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Today, a new generation is picking up the torch. San Francisco bands False Flag and Surprise Privilege have played generator shows on the sidewalks in front of \u003ca href=\"https://www.facebook.com/groups/228217405293069/posts/1372002734247858/\">the Warfield \u003c/a>\u003ca href=\"https://www.kqed.org/arts/13984468/best-concerts-2025-bay-area-live-music\">and the Castro Theatre\u003c/a>, and \u003ca href=\"https://www.kqed.org/arts/13923420/punk-show-on-bart\">on a moving BART train\u003c/a>. (Their store \u003ca href=\"https://ihaterecords.com/pages/about-us\">I Hate Records\u003c/a>, in the Lower Haight, carries echoes of Mission Records.) A group known as the \u003ca href=\"https://www.instagram.com/outhouse_sf/?hl=en\">Outhouse Collective\u003c/a> puts on their own generator shows, and have been taken under the wing by McLelland.\u003c/p>\n\n\n\n\u003cp>Last year saw the return of the \u003ca href=\"https://clarionalleymuralproject.org/clarion-alley-block-party/\">Clarion Alley Block Party\u003c/a>, which has largely been organized by McClelland since 1994. In its most recent installment, McLelland brought on members of Outhouse Collective to help organize the day’s live music. The combining of these two forces hints at an intergenerational cross-pollination which McLelland sees as essential for the continuation of the punk community into the future.\u003c/p>\n\n\n\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“We have shared visions, we have shared values. We have shared connection through these rad creative and rad political movements,” said McClelland. “When we are able to embrace people across community lines, build solidarity across race, gender, ability, mental health — finding those connections is really, really sacred.”\u003c/p>\n\n",
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"innerHTML": "\n\u003cp>The scene: 16th and Mission BART in \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco\">San Francisco\u003c/a>, 1998. Trains careen underground, while above, another kind of noise is happening.\u003c/p>\n",
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"\n\u003cp>The scene: 16th and Mission BART in \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco\">San Francisco\u003c/a>, 1998. Trains careen underground, while above, another kind of noise is happening.\u003c/p>\n"
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"innerHTML": "\n\u003cp>Ivy Jeanne’s raspy, blues-inflected voice screams out of PAs borrowed from friends, powered by a generator borrowed from other friends. Erica Lyle’s guitar wails into the ether, making its way to Capp Street. Young punks dance, free of harassment. The show is over before anyone really knows it.\u003c/p>\n",
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"\n\u003cp>Ivy Jeanne’s raspy, blues-inflected voice screams out of PAs borrowed from friends, powered by a generator borrowed from other friends. Erica Lyle’s guitar wails into the ether, making its way to Capp Street. Young punks dance, free of harassment. The show is over before anyone really knows it.\u003c/p>\n"
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"innerHTML": "\n\u003cp>Miami and Shotwell have just played an illegal show at BART.\u003c/p>\n",
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"\n\u003cp>Miami and Shotwell have just played an illegal show at BART.\u003c/p>\n"
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"innerHTML": "\n\u003cp>“You’d roll up. Sometimes I was with whoever had the PA. You would just see punks on the periphery. Nobody was assembled in the plaza exactly. You could just see people around, and as soon as the gear started coming out, everyone would just descend,” said Karoline Collins, a local photographer and roadie for the band \u003ca href=\"https://mattyluv.com/\">Hickey\u003c/a>.\u003c/p>\n",
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"\n\u003cp>“You’d roll up. Sometimes I was with whoever had the PA. You would just see punks on the periphery. Nobody was assembled in the plaza exactly. You could just see people around, and as soon as the gear started coming out, everyone would just descend,” said Karoline Collins, a local photographer and roadie for the band \u003ca href=\"https://mattyluv.com/\">Hickey\u003c/a>.\u003c/p>\n"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Miami-9-Ivy-Pointing_BART-Show_Karoline-Hanson-Collins.jpg\" alt=\"\" class=\"wp-image-13991192\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Miami-9-Ivy-Pointing_BART-Show_Karoline-Hanson-Collins.jpg 1326w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Miami-9-Ivy-Pointing_BART-Show_Karoline-Hanson-Collins-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Miami-9-Ivy-Pointing_BART-Show_Karoline-Hanson-Collins-768x1158.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Miami-9-Ivy-Pointing_BART-Show_Karoline-Hanson-Collins-1018x1536.jpg 1018w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Ivy McClelland sings with the Mission District punk band Miami at 16th and Mission BART plaza, circa 2000.\u003c/figcaption>\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Miami-9-Ivy-Pointing_BART-Show_Karoline-Hanson-Collins.jpg\" alt=\"\" class=\"wp-image-13991192\"/>\u003cfigcaption class=\"wp-element-caption\">Ivy McClelland sings with the Mission District punk band Miami at 16th and Mission BART plaza, circa 2000.\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cp>This would be one of many illegal generator-powered \u003ca href=\"https://www.kqed.org/arts/tag/punk\">punk\u003c/a> shows happening on Mission Street, a tradition that would carry into San Francisco’s present day. While San Francisco’s punk shows of the ’70s and ’80s had taken place in unlikely settings — a \u003ca href=\"https://www.kqed.org/arts/13980619/mabuhay-gardens-reopening-sf-punk-club-north-beach\">Filipino restaurant\u003c/a>, a \u003ca href=\"https://www.kqed.org/arts/13938024/old-san-francisco-punk-venues-deaf-club-farm-sound-music-tool-die\">social club for the deaf\u003c/a>, literal \u003ca href=\"https://www.kqed.org/arts/13902953/alternative-voices-1980s-san-francisco-punk-jeanne-hansen-photography-jonah-raskin\">beer vats\u003c/a> — the tradition of guerilla generator shows that flourished in Mission District’s ragged and dedicated punk scene of the ’90s \u003ca href=\"https://www.kqed.org/arts/13923420/punk-show-on-bart\">continues today with bands like False Flag, Surprise Privilege and WIFE\u003c/a>. \u003c/p>\n",
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"\n\u003cp>This would be one of many illegal generator-powered \u003ca href=\"https://www.kqed.org/arts/tag/punk\">punk\u003c/a> shows happening on Mission Street, a tradition that would carry into San Francisco’s present day. While San Francisco’s punk shows of the ’70s and ’80s had taken place in unlikely settings — a \u003ca href=\"https://www.kqed.org/arts/13980619/mabuhay-gardens-reopening-sf-punk-club-north-beach\">Filipino restaurant\u003c/a>, a \u003ca href=\"https://www.kqed.org/arts/13938024/old-san-francisco-punk-venues-deaf-club-farm-sound-music-tool-die\">social club for the deaf\u003c/a>, literal \u003ca href=\"https://www.kqed.org/arts/13902953/alternative-voices-1980s-san-francisco-punk-jeanne-hansen-photography-jonah-raskin\">beer vats\u003c/a> — the tradition of guerilla generator shows that flourished in Mission District’s ragged and dedicated punk scene of the ’90s \u003ca href=\"https://www.kqed.org/arts/13923420/punk-show-on-bart\">continues today with bands like False Flag, Surprise Privilege and WIFE\u003c/a>. \u003c/p>\n"
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"innerHTML": "\n\u003cp>The \u003ca href=\"https://www.kqed.org/arts/tag/mission-district\">Mission District\u003c/a>’s punk history runs deep, boasting bands like MDC and Jawbreaker, and venues like Tool & Die, Kommotion and Epicenter. But in the late ’90s, something shifted. A new wave of punks dedicated to cheap living, harm reduction and the DIY ethos took over the streets. From 1994 through 2002, bands like Hickey, Shotwell, 50 Million and the aforementioned Miami would creatively resist San Francisco’s then-Mayor \u003ca href=\"https://www.kqed.org/news/tag/willie-brown\">Willie Brown\u003c/a> and the powers that be with both music and action.\u003cbr>\u003cbr>Their headquarters would become Mission Records, and later 16th and Mission BART Plaza, for amplifying their frustrations with gentrification, war and the police.\u003c/p>\n",
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"\n\u003cp>The \u003ca href=\"https://www.kqed.org/arts/tag/mission-district\">Mission District\u003c/a>’s punk history runs deep, boasting bands like MDC and Jawbreaker, and venues like Tool & Die, Kommotion and Epicenter. But in the late ’90s, something shifted. A new wave of punks dedicated to cheap living, harm reduction and the DIY ethos took over the streets. From 1994 through 2002, bands like Hickey, Shotwell, 50 Million and the aforementioned Miami would creatively resist San Francisco’s then-Mayor \u003ca href=\"https://www.kqed.org/news/tag/willie-brown\">Willie Brown\u003c/a> and the powers that be with both music and action.\u003cbr>\u003cbr>Their headquarters would become Mission Records, and later 16th and Mission BART Plaza, for amplifying their frustrations with gentrification, war and the police.\u003c/p>\n"
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"innerHTML": "\n\u003cp>\u003cstrong>The City That Never Sleeps\u003c/strong>\u003c/p>\n",
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"\n\u003cp>\u003cstrong>The City That Never Sleeps\u003c/strong>\u003c/p>\n"
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"innerHTML": "\n\u003cp>Ivy Jeanne McClelland moved to San Francisco in 1997 after years of moving back and forth, sometimes by hopping trains, between her hometown of Miami and the East Bay as a teenage runaway. Though she’d crossed paths with Bay Area bands like Rancid, Green Day and Blatz, she decided to make San Francisco home thanks to Hickey. That year, McClelland hopped in the band’s van on their final tour, and moved into the band’s squalid apartment, the Hickey Hotel, on 24th Street.\u003c/p>\n",
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"\n\u003cp>Ivy Jeanne McClelland moved to San Francisco in 1997 after years of moving back and forth, sometimes by hopping trains, between her hometown of Miami and the East Bay as a teenage runaway. Though she’d crossed paths with Bay Area bands like Rancid, Green Day and Blatz, she decided to make San Francisco home thanks to Hickey. That year, McClelland hopped in the band’s van on their final tour, and moved into the band’s squalid apartment, the Hickey Hotel, on 24th Street.\u003c/p>\n"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Aesop-Kitchen-Patches_1996_Karoline-Hanson-Collins.jpg\" alt=\"\" class=\"wp-image-13991186\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Aesop-Kitchen-Patches_1996_Karoline-Hanson-Collins.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Aesop-Kitchen-Patches_1996_Karoline-Hanson-Collins-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Aesop-Kitchen-Patches_1996_Karoline-Hanson-Collins-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Aesop-Kitchen-Patches_1996_Karoline-Hanson-Collins-1536x1018.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Aesop Dekker screenprints Hickey patches in the kitchen at the Hickey Hotel, circa mid-1990s. \u003c/figcaption>\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Aesop-Kitchen-Patches_1996_Karoline-Hanson-Collins.jpg\" alt=\"\" class=\"wp-image-13991186\"/>\u003cfigcaption class=\"wp-element-caption\">Aesop Dekker screenprints Hickey patches in the kitchen at the Hickey Hotel, circa mid-1990s. \u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cp>McClelland had played in bands like the Tri-Rails and Los Canadians, but when she made it to San Francisco, she teamed up with best friend and fellow Floridian Erica Dawn Lyle to start a new band called Miami, bolstered by Dekker and Luv from Hickey.\u003c/p>\n",
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"\n\u003cp>McClelland had played in bands like the Tri-Rails and Los Canadians, but when she made it to San Francisco, she teamed up with best friend and fellow Floridian Erica Dawn Lyle to start a new band called Miami, bolstered by Dekker and Luv from Hickey.\u003c/p>\n"
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"innerHTML": "\n\u003cp>With more and more local venues like Klub Kommotion, Starcleaners Warehouse and Epicenter Records winding down operations, Miami and their longtime friends in the band Shotwell colluded to create a new commotion down Mission Street. Lyle and Broutis decided to host an illegal pop-up show, powered by generators, in front of the defunct Leed’s Shoes building at 22nd and Mission. Borrowing the idea from a band of buskers known as Rube Waddell, the two fueled their iteration with political angst.\u003c/p>\n",
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"\n\u003cp>With more and more local venues like Klub Kommotion, Starcleaners Warehouse and Epicenter Records winding down operations, Miami and their longtime friends in the band Shotwell colluded to create a new commotion down Mission Street. Lyle and Broutis decided to host an illegal pop-up show, powered by generators, in front of the defunct Leed’s Shoes building at 22nd and Mission. Borrowing the idea from a band of buskers known as Rube Waddell, the two fueled their iteration with political angst.\u003c/p>\n"
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"innerHTML": "\n\u003cp>“The generator shows were a product of when gentrification really ramped up in the Mission,” said McClelland. “There was already this feeling of frustration and upset about all of these DIY show spaces that were targeted and shut down, and in our grumblings, we decided to have generator shows in response to them.”\u003c/p>\n",
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"\n\u003cp>“The generator shows were a product of when gentrification really ramped up in the Mission,” said McClelland. “There was already this feeling of frustration and upset about all of these DIY show spaces that were targeted and shut down, and in our grumblings, we decided to have generator shows in response to them.”\u003c/p>\n"
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"srcset": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Miami-7-Matty_BART-Show_Karoline-Hanson-Collins.jpg 1326w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Miami-7-Matty_BART-Show_Karoline-Hanson-Collins-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Miami-7-Matty_BART-Show_Karoline-Hanson-Collins-768x1158.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Miami-7-Matty_BART-Show_Karoline-Hanson-Collins-1018x1536.jpg 1018w",
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Miami-7-Matty_BART-Show_Karoline-Hanson-Collins.jpg\" alt=\"\" class=\"wp-image-13991194\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Miami-7-Matty_BART-Show_Karoline-Hanson-Collins.jpg 1326w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Miami-7-Matty_BART-Show_Karoline-Hanson-Collins-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Miami-7-Matty_BART-Show_Karoline-Hanson-Collins-768x1158.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Miami-7-Matty_BART-Show_Karoline-Hanson-Collins-1018x1536.jpg 1018w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Matty Luv plays with Mission District punk band Miami at 16th and Mission BART Plaza, circa 2000.\u003c/figcaption>\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Miami-7-Matty_BART-Show_Karoline-Hanson-Collins.jpg\" alt=\"\" class=\"wp-image-13991194\"/>\u003cfigcaption class=\"wp-element-caption\">Matty Luv plays with Mission District punk band Miami at 16th and Mission BART Plaza, circa 2000.\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cp>Miami didn’t last long, breaking up around 2001. Luv’s addiction to heroin had gotten more serious. He’d moved back to Florida for a time before being convinced to come back to San Francisco. Luv helped operate Mission Records in its near-final days, and played music with friends, but the scene was on its last legs.\u003c/p>\n",
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"\n\u003cp>Miami didn’t last long, breaking up around 2001. Luv’s addiction to heroin had gotten more serious. He’d moved back to Florida for a time before being convinced to come back to San Francisco. Luv helped operate Mission Records in its near-final days, and played music with friends, but the scene was on its last legs.\u003c/p>\n"
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"innerHTML": "\n\u003cp>Miami and its generator shows, to be clear, came from a lineage of Mission punks before them. Half of Miami, after all, had roots in a band that had started four years prior. \u003c/p>\n",
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"\n\u003cp>Miami and its generator shows, to be clear, came from a lineage of Mission punks before them. Half of Miami, after all, had roots in a band that had started four years prior. \u003c/p>\n"
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"innerHTML": "\n\u003cp>\u003cstrong>The Naked Cult of Hickey\u003c/strong>\u003c/p>\n",
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"\n\u003cp>\u003cstrong>The Naked Cult of Hickey\u003c/strong>\u003c/p>\n"
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"innerHTML": "\n\u003cp>Led by \u003ca href=\"https://www.mattyluv.com/\">Matty Luv\u003c/a>, a charismatic, manic frontman dedicated to a DIY anticapitalist interpretation of punk rock, Hickey was the band often called The Naked Cult of Hickey. With best friend Aesop Dekker behind the drum kit, the two produced a controlled chaos that would come to define the band. Originally accompanied by friend Chubby on bass, Hickey became known for confrontational antics and a prolific catalog of music, fueled by members’ use of both methamphetamine and heroin. \u003c/p>\n",
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"\n\u003cp>Led by \u003ca href=\"https://www.mattyluv.com/\">Matty Luv\u003c/a>, a charismatic, manic frontman dedicated to a DIY anticapitalist interpretation of punk rock, Hickey was the band often called The Naked Cult of Hickey. With best friend Aesop Dekker behind the drum kit, the two produced a controlled chaos that would come to define the band. Originally accompanied by friend Chubby on bass, Hickey became known for confrontational antics and a prolific catalog of music, fueled by members’ use of both methamphetamine and heroin. \u003c/p>\n"
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"innerHTML": "\n\u003cp>Hickey burned bright and fast, touring constantly. Their song titles included “Hickey Is About Long Hair and Getting High” and “Everything I Know About Sex I Learned From KISS.” Live shows would often devolve into standoffs with the crowd, where the band might play one or two songs and then rant at the audience.\u003c/p>\n",
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"\n\u003cp>Hickey burned bright and fast, touring constantly. Their song titles included “Hickey Is About Long Hair and Getting High” and “Everything I Know About Sex I Learned From KISS.” Live shows would often devolve into standoffs with the crowd, where the band might play one or two songs and then rant at the audience.\u003c/p>\n"
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"innerHTML": "\n\u003cp>“We would show up with the intention of being a band and playing our fucking songs as good as we could for an adoring crowd,” said Dekker. “A lot of times that would go fucky because the promoter was a dick, or, before we even played, would express how they weren’t going to pay us. Or the bands we were playing with were dicks.”\u003c/p>\n",
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"\n\u003cp>“We would show up with the intention of being a band and playing our fucking songs as good as we could for an adoring crowd,” said Dekker. “A lot of times that would go fucky because the promoter was a dick, or, before we even played, would express how they weren’t going to pay us. Or the bands we were playing with were dicks.”\u003c/p>\n"
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"innerHTML": "\n\u003cp>The band’s live sets amplified their view on how punk rock should operate, with the members dedicated to an ethic that rebelled against the intrusion of money and power into their scene.\u003c/p>\n",
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"\n\u003cp>The band’s live sets amplified their view on how punk rock should operate, with the members dedicated to an ethic that rebelled against the intrusion of money and power into their scene.\u003c/p>\n"
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"srcset": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/HickeyLPs.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/HickeyLPs-160x77.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/HickeyLPs-768x368.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/HickeyLPs-1536x735.jpg 1536w",
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/HickeyLPs.jpg\" alt=\"\" class=\"wp-image-13991199\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/HickeyLPs.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/HickeyLPs-160x77.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/HickeyLPs-768x368.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/HickeyLPs-1536x735.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">(L–R) Hickey’s full-length self-titled LP, and ‘Various States of Disrepair,’ a compilation of songs released posthumously. \u003c/figcaption>\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/HickeyLPs.jpg\" alt=\"\" class=\"wp-image-13991199\"/>\u003cfigcaption class=\"wp-element-caption\">(L–R) Hickey’s full-length self-titled LP, and ‘Various States of Disrepair,’ a compilation of songs released posthumously. \u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cp>“We hated the fucking corporatization of punk, and we hated people making money off of this. And we were at war with people that didn’t care about this shit,” said Dekker.\u003c/p>\n",
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"\n\u003cp>“We hated the fucking corporatization of punk, and we hated people making money off of this. And we were at war with people that didn’t care about this shit,” said Dekker.\u003c/p>\n"
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"innerHTML": "\n\u003cp>The chaos that famously propelled the band eventually led to their downfall. During a 1997 U.S. tour, the band decided to break up. The three members had a fight in Tuscon, Arizona, and realized that none of them wanted to continue with the project. After that decision, they felt a shift amongst themselves.\u003c/p>\n",
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"\n\u003cp>The chaos that famously propelled the band eventually led to their downfall. During a 1997 U.S. tour, the band decided to break up. The three members had a fight in Tuscon, Arizona, and realized that none of them wanted to continue with the project. After that decision, they felt a shift amongst themselves.\u003c/p>\n"
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"innerHTML": "\n\u003cp>“A weird curse had been lifted, because we went back to our friend’s house and sat under the fire, drank and talked,” said Dekker. “We were friends again, like, this fucking weight had been lifted.”\u003c/p>\n",
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"\n\u003cp>“A weird curse had been lifted, because we went back to our friend’s house and sat under the fire, drank and talked,” said Dekker. “We were friends again, like, this fucking weight had been lifted.”\u003c/p>\n"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Ivy-in-Crowd-cool-hands_BART-Show_Karoline-Hanson-Collins.jpg\" alt=\"\" class=\"wp-image-13991187\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Ivy-in-Crowd-cool-hands_BART-Show_Karoline-Hanson-Collins.jpg 1326w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Ivy-in-Crowd-cool-hands_BART-Show_Karoline-Hanson-Collins-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Ivy-in-Crowd-cool-hands_BART-Show_Karoline-Hanson-Collins-768x1158.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Ivy-in-Crowd-cool-hands_BART-Show_Karoline-Hanson-Collins-1018x1536.jpg 1018w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Ivy McClelland (center) during a show at 16th and Mission BART plaza, circa 2000.\u003c/figcaption>\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Ivy-in-Crowd-cool-hands_BART-Show_Karoline-Hanson-Collins.jpg\" alt=\"\" class=\"wp-image-13991187\"/>\u003cfigcaption class=\"wp-element-caption\">Ivy McClelland (center) during a show at 16th and Mission BART plaza, circa 2000.\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cp>\u003cstrong>Mission Records \u003c/strong>\u003c/p>\n",
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"innerHTML": "\n\u003cp>After opening its doors in 1997, Mission Records, run by Adam White and Chris Myers, quickly became a place of refuge. Located at 2548 Mission Street, the shop soon had to move to its more permanent location across the street, on the corner of Mission and 19th, and gradually shifted to exist less as a record store and more as a living space and venue for shows.\u003c/p>\n",
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"\n\u003cp>After opening its doors in 1997, Mission Records, run by Adam White and Chris Myers, quickly became a place of refuge. Located at 2548 Mission Street, the shop soon had to move to its more permanent location across the street, on the corner of Mission and 19th, and gradually shifted to exist less as a record store and more as a living space and venue for shows.\u003c/p>\n"
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"innerHTML": "\n\u003cp>“It started off as a straight-up business proposition,” said White. “I got a bunch of credit cards. We both borrowed as much money as we could from whoever, and fucking went for it. And then, right away, we started getting decimated as a record store. It was the worst time. CDs were at their peak, and the internet was just starting to take the whole thing and destroy it. And we also didn’t know what the fuck we were doing.”\u003c/p>\n",
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"\n\u003cp>“It started off as a straight-up business proposition,” said White. “I got a bunch of credit cards. We both borrowed as much money as we could from whoever, and fucking went for it. And then, right away, we started getting decimated as a record store. It was the worst time. CDs were at their peak, and the internet was just starting to take the whole thing and destroy it. And we also didn’t know what the fuck we were doing.”\u003c/p>\n"
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"innerHTML": "\n\u003cp>As time went on, members of several bands lived at Mission Records, helping volunteer and put on shows. \u003c/p>\n",
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/liveatleedsflier.jpg\" alt=\"\" class=\"wp-image-13991188\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/liveatleedsflier.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/liveatleedsflier-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/liveatleedsflier-768x589.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/liveatleedsflier-1536x1179.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">‘The cops can shut down Mission punk clubs, but not Mission Street’: A flyer for a ‘short, illegal show’ on 22nd and Mission. \u003c/figcaption>\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/liveatleedsflier.jpg\" alt=\"\" class=\"wp-image-13991188\"/>\u003cfigcaption class=\"wp-element-caption\">‘The cops can shut down Mission punk clubs, but not Mission Street’: A flyer for a ‘short, illegal show’ on 22nd and Mission. \u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cp>Across the Bay, another wave of bands was gaining traction. Green Day had already signed to a major label and released their massive record \u003cem>Dookie\u003c/em>, and Rancid was taking off. The East Bay and San Francisco punk scenes weren’t completely isolated, and Mission District bands still made their way across the bridge. But in San Francisco, there was a different energy emanating. \u003c/p>\n",
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"\n\u003cp>Across the Bay, another wave of bands was gaining traction. Green Day had already signed to a major label and released their massive record \u003cem>Dookie\u003c/em>, and Rancid was taking off. The East Bay and San Francisco punk scenes weren’t completely isolated, and Mission District bands still made their way across the bridge. But in San Francisco, there was a different energy emanating. \u003c/p>\n"
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"innerHTML": "\n\u003cp>Maybe they played faster, maybe they were more confrontational. And maybe it was the drugs.\u003c/p>\n",
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"\n\u003cp>Maybe they played faster, maybe they were more confrontational. And maybe it was the drugs.\u003c/p>\n"
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"innerHTML": "\n\u003cp>“It was all benzos,” said Broustis. “You go to Mission Records, and there’d be a band rehearsing there at two in the morning while people are trying to sleep.”\u003c/p>\n",
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"\n\u003cp>“It was all benzos,” said Broustis. “You go to Mission Records, and there’d be a band rehearsing there at two in the morning while people are trying to sleep.”\u003c/p>\n"
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"innerHTML": "\n\u003cp>Band members got drugs from local corner stores, and used that to fuel their productivity.\u003c/p>\n",
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"innerHTML": "\n\u003cp>“We did so much crystal meth in the fucking ’90s, and then it was heroin, and we were also eating lots of pills and drinking a lot — all the things that go with doing tons of crystal meth,” said Dekker. “That’s why we did so much in three years. Because we didn’t fucking sleep.”\u003c/p>\n",
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"\n\u003cp>“We did so much crystal meth in the fucking ’90s, and then it was heroin, and we were also eating lots of pills and drinking a lot — all the things that go with doing tons of crystal meth,” said Dekker. “That’s why we did so much in three years. Because we didn’t fucking sleep.”\u003c/p>\n"
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"srcset": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/LOW-RES-Matty_Broken-Tub_Hickey-Hotel_KHC.jpg 1319w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/LOW-RES-Matty_Broken-Tub_Hickey-Hotel_KHC-160x243.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/LOW-RES-Matty_Broken-Tub_Hickey-Hotel_KHC-768x1165.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/LOW-RES-Matty_Broken-Tub_Hickey-Hotel_KHC-1013x1536.jpg 1013w",
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/LOW-RES-Matty_Broken-Tub_Hickey-Hotel_KHC.jpg\" alt=\"\" class=\"wp-image-13991189\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/LOW-RES-Matty_Broken-Tub_Hickey-Hotel_KHC.jpg 1319w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/LOW-RES-Matty_Broken-Tub_Hickey-Hotel_KHC-160x243.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/LOW-RES-Matty_Broken-Tub_Hickey-Hotel_KHC-768x1165.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/LOW-RES-Matty_Broken-Tub_Hickey-Hotel_KHC-1013x1536.jpg 1013w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Matty Luv, and a broken bathtub, at the Hickey Hotel, circa mid-1990s. \u003c/figcaption>\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/LOW-RES-Matty_Broken-Tub_Hickey-Hotel_KHC.jpg\" alt=\"\" class=\"wp-image-13991189\"/>\u003cfigcaption class=\"wp-element-caption\">Matty Luv, and a broken bathtub, at the Hickey Hotel, circa mid-1990s. \u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cp>\u003cstrong>A sudden shock \u003c/strong>\u003c/p>\n",
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"\n\u003cp>\u003cstrong>A sudden shock \u003c/strong>\u003c/p>\n"
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"innerHTML": "\n\u003cp>As the drugs took their toll, elements of the scene wound down. Miami broke up, White left Mission Records, and increasingly, cops harassed local punks. \u003c/p>\n",
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"\n\u003cp>As the drugs took their toll, elements of the scene wound down. Miami broke up, White left Mission Records, and increasingly, cops harassed local punks. \u003c/p>\n"
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"innerHTML": "\n\u003cp>On Oct. 5, 2002, Matty Luv, 34, was found dead of a heroin overdose at the Hickey Hotel. He had spent the day helping out at Mission Records, while McClelland and other friends went to a protest against the Iraq war. The group of friends had crossed paths on the way to the protest, and Luv waved hi. It would be the last time many of them would see him. \u003c/p>\n",
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"\n\u003cp>On Oct. 5, 2002, Matty Luv, 34, was found dead of a heroin overdose at the Hickey Hotel. He had spent the day helping out at Mission Records, while McClelland and other friends went to a protest against the Iraq war. The group of friends had crossed paths on the way to the protest, and Luv waved hi. It would be the last time many of them would see him. \u003c/p>\n"
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"innerHTML": "\n\u003cp>The next day, a show at Mission Records was turned into a wake. Later, a number of his friends gathered at Dolores Park for his funeral, where \u003ca href=\"https://web.archive.org/web/20180107014931/https://archives.sfweekly.com/sanfrancisco/make-sure-there-arent-any-squares-at-my-funeral/Content?oid=2146143\">zines and Hickey records were handed out\u003c/a>, and where Luv was remembered by his friends as funny, prolific and intense.\u003c/p>\n",
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"\n\u003cp>The next day, a show at Mission Records was turned into a wake. Later, a number of his friends gathered at Dolores Park for his funeral, where \u003ca href=\"https://web.archive.org/web/20180107014931/https://archives.sfweekly.com/sanfrancisco/make-sure-there-arent-any-squares-at-my-funeral/Content?oid=2146143\">zines and Hickey records were handed out\u003c/a>, and where Luv was remembered by his friends as funny, prolific and intense.\u003c/p>\n"
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"innerHTML": "\n\u003cp>“Learning how to take better care of each other. I think that’s the lesson. And the wisdom of losing him was about really changing. It changed my relationship to what it meant to show up for people in need or in crisis,” said McLelland.\u003c/p>\n",
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"\n\u003cp>“Learning how to take better care of each other. I think that’s the lesson. And the wisdom of losing him was about really changing. It changed my relationship to what it meant to show up for people in need or in crisis,” said McLelland.\u003c/p>\n"
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"innerHTML": "\n\u003cp>“He was the funniest person I’ve ever met, and I think I was the funniest person he ever met. And when we met, that was our bond, is that we felt the same way ideologically about everything, and we were both funny,” said Dekker.\u003c/p>\n",
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"\n\u003cp>“He was the funniest person I’ve ever met, and I think I was the funniest person he ever met. And when we met, that was our bond, is that we felt the same way ideologically about everything, and we were both funny,” said Dekker.\u003c/p>\n"
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"innerHTML": "\n\u003cp>Shortly after Luv’s death, Mission Records closed. White attempted to pass the business on to Buzz Lee, but the finances weren’t there. Dekker had recently found sobriety and become a father. McLelland continued to play in bands, and remains active in activism and harm reduction to this day.\u003c/p>\n",
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"\n\u003cp>Shortly after Luv’s death, Mission Records closed. White attempted to pass the business on to Buzz Lee, but the finances weren’t there. Dekker had recently found sobriety and become a father. McLelland continued to play in bands, and remains active in activism and harm reduction to this day.\u003c/p>\n"
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"srcset": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Erica-Aesop_BART-Show_Karoline-Hanson-Collins.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Erica-Aesop_BART-Show_Karoline-Hanson-Collins-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Erica-Aesop_BART-Show_Karoline-Hanson-Collins-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Erica-Aesop_BART-Show_Karoline-Hanson-Collins-1536x1018.jpg 1536w",
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Erica-Aesop_BART-Show_Karoline-Hanson-Collins.jpg\" alt=\"\" class=\"wp-image-13991191\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Erica-Aesop_BART-Show_Karoline-Hanson-Collins.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Erica-Aesop_BART-Show_Karoline-Hanson-Collins-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Erica-Aesop_BART-Show_Karoline-Hanson-Collins-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Erica-Aesop_BART-Show_Karoline-Hanson-Collins-1536x1018.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">(L–R) Erica Dawn Lyle and Aesop Dekker of the punk band Miami play a generator show at 16th and Mission BART plaza, circa 2000.\u003c/figcaption>\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Erica-Aesop_BART-Show_Karoline-Hanson-Collins.jpg\" alt=\"\" class=\"wp-image-13991191\"/>\u003cfigcaption class=\"wp-element-caption\">(L–R) Erica Dawn Lyle and Aesop Dekker of the punk band Miami play a generator show at 16th and Mission BART plaza, circa 2000.\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cp>Today, a new generation is picking up the torch. San Francisco bands False Flag and Surprise Privilege have played generator shows on the sidewalks in front of \u003ca href=\"https://www.facebook.com/groups/228217405293069/posts/1372002734247858/\">the Warfield \u003c/a>\u003ca href=\"https://www.kqed.org/arts/13984468/best-concerts-2025-bay-area-live-music\">and the Castro Theatre\u003c/a>, and \u003ca href=\"https://www.kqed.org/arts/13923420/punk-show-on-bart\">on a moving BART train\u003c/a>. (Their store \u003ca href=\"https://ihaterecords.com/pages/about-us\">I Hate Records\u003c/a>, in the Lower Haight, carries echoes of Mission Records.) A group known as the \u003ca href=\"https://www.instagram.com/outhouse_sf/?hl=en\">Outhouse Collective\u003c/a> puts on their own generator shows, and have been taken under the wing by McLelland.\u003c/p>\n",
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"\n\u003cp>Today, a new generation is picking up the torch. San Francisco bands False Flag and Surprise Privilege have played generator shows on the sidewalks in front of \u003ca href=\"https://www.facebook.com/groups/228217405293069/posts/1372002734247858/\">the Warfield \u003c/a>\u003ca href=\"https://www.kqed.org/arts/13984468/best-concerts-2025-bay-area-live-music\">and the Castro Theatre\u003c/a>, and \u003ca href=\"https://www.kqed.org/arts/13923420/punk-show-on-bart\">on a moving BART train\u003c/a>. (Their store \u003ca href=\"https://ihaterecords.com/pages/about-us\">I Hate Records\u003c/a>, in the Lower Haight, carries echoes of Mission Records.) A group known as the \u003ca href=\"https://www.instagram.com/outhouse_sf/?hl=en\">Outhouse Collective\u003c/a> puts on their own generator shows, and have been taken under the wing by McLelland.\u003c/p>\n"
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"innerHTML": "\n\u003cp>Last year saw the return of the \u003ca href=\"https://clarionalleymuralproject.org/clarion-alley-block-party/\">Clarion Alley Block Party\u003c/a>, which has largely been organized by McClelland since 1994. In its most recent installment, McLelland brought on members of Outhouse Collective to help organize the day’s live music. The combining of these two forces hints at an intergenerational cross-pollination which McLelland sees as essential for the continuation of the punk community into the future.\u003c/p>\n",
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"\n\u003cp>Last year saw the return of the \u003ca href=\"https://clarionalleymuralproject.org/clarion-alley-block-party/\">Clarion Alley Block Party\u003c/a>, which has largely been organized by McClelland since 1994. In its most recent installment, McLelland brought on members of Outhouse Collective to help organize the day’s live music. The combining of these two forces hints at an intergenerational cross-pollination which McLelland sees as essential for the continuation of the punk community into the future.\u003c/p>\n"
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"innerHTML": "\n\u003cp>“We have shared visions, we have shared values. We have shared connection through these rad creative and rad political movements,” said McClelland. “When we are able to embrace people across community lines, build solidarity across race, gender, ability, mental health — finding those connections is really, really sacred.”\u003c/p>\n",
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"excerpt": "From 1994–2002, a group of scrappy punks forged a template for today's guerrilla shows in San Francisco.",
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"title": "When Generator Punk Shows Ruled the Mission District | KQED",
"description": "From 1994–2002, a group of scrappy punks forged a template for today's guerrilla shows in San Francisco.",
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"headline": "When Generator Punk Shows Ruled the Mission District",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The scene: 16th and Mission BART in \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco\">San Francisco\u003c/a>, 1998. Trains careen underground, while above, another kind of noise is happening.\u003c/p>\n\n\n\n\u003cp>Ivy Jeanne’s raspy, blues-inflected voice screams out of PAs borrowed from friends, powered by a generator borrowed from other friends. Erica Lyle’s guitar wails into the ether, making its way to Capp Street. Young punks dance, free of harassment. The show is over before anyone really knows it.\u003c/p>\n\n\n\n\u003cp>Miami and Shotwell have just played an illegal show at BART.\u003c/p>\n\n\n\n\u003cp>“You’d roll up. Sometimes I was with whoever had the PA. You would just see punks on the periphery. Nobody was assembled in the plaza exactly. You could just see people around, and as soon as the gear started coming out, everyone would just descend,” said Karoline Collins, a local photographer and roadie for the band \u003ca href=\"https://mattyluv.com/\">Hickey\u003c/a>.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1326\" height=\"2000\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Miami-9-Ivy-Pointing_BART-Show_Karoline-Hanson-Collins.jpg\" alt=\"\" class=\"wp-image-13991192\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Miami-9-Ivy-Pointing_BART-Show_Karoline-Hanson-Collins.jpg 1326w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Miami-9-Ivy-Pointing_BART-Show_Karoline-Hanson-Collins-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Miami-9-Ivy-Pointing_BART-Show_Karoline-Hanson-Collins-768x1158.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Miami-9-Ivy-Pointing_BART-Show_Karoline-Hanson-Collins-1018x1536.jpg 1018w\" sizes=\"auto, (max-width: 1326px) 100vw, 1326px\">\u003cfigcaption class=\"wp-element-caption\">Ivy McClelland sings with the Mission District punk band Miami at 16th and Mission BART plaza, circa 2000. (Karoline Collins)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>This would be one of many illegal generator-powered \u003ca href=\"https://www.kqed.org/arts/tag/punk\">punk\u003c/a> shows happening on Mission Street, a tradition that would carry into San Francisco’s present day. While San Francisco’s punk shows of the ’70s and ’80s had taken place in unlikely settings — a \u003ca href=\"https://www.kqed.org/arts/13980619/mabuhay-gardens-reopening-sf-punk-club-north-beach\">Filipino restaurant\u003c/a>, a \u003ca href=\"https://www.kqed.org/arts/13938024/old-san-francisco-punk-venues-deaf-club-farm-sound-music-tool-die\">social club for the deaf\u003c/a>, literal \u003ca href=\"https://www.kqed.org/arts/13902953/alternative-voices-1980s-san-francisco-punk-jeanne-hansen-photography-jonah-raskin\">beer vats\u003c/a> — the tradition of guerilla generator shows that flourished in Mission District’s ragged and dedicated punk scene of the ’90s \u003ca href=\"https://www.kqed.org/arts/13923420/punk-show-on-bart\">continues today with bands like False Flag, Surprise Privilege and WIFE\u003c/a>. \u003c/p>\n\n\n\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The \u003ca href=\"https://www.kqed.org/arts/tag/mission-district\">Mission District\u003c/a>’s punk history runs deep, boasting bands like MDC and Jawbreaker, and venues like Tool & Die, Kommotion and Epicenter. But in the late ’90s, something shifted. A new wave of punks dedicated to cheap living, harm reduction and the DIY ethos took over the streets. From 1994 through 2002, bands like Hickey, Shotwell, 50 Million and the aforementioned Miami would creatively resist San Francisco’s then-Mayor \u003ca href=\"https://www.kqed.org/news/tag/willie-brown\">Willie Brown\u003c/a> and the powers that be with both music and action.\u003cbr>\u003cbr>Their headquarters would become Mission Records, and later 16th and Mission BART Plaza, for amplifying their frustrations with gentrification, war and the police.\u003c/p>\n\n\n\n\u003cp>\u003cstrong>The City That Never Sleeps\u003c/strong>\u003c/p>\n\n\n\n\u003cp>Ivy Jeanne McClelland moved to San Francisco in 1997 after years of moving back and forth, sometimes by hopping trains, between her hometown of Miami and the East Bay as a teenage runaway. Though she’d crossed paths with Bay Area bands like Rancid, Green Day and Blatz, she decided to make San Francisco home thanks to Hickey. That year, McClelland hopped in the band’s van on their final tour, and moved into the band’s squalid apartment, the Hickey Hotel, on 24th Street.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1326\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Aesop-Kitchen-Patches_1996_Karoline-Hanson-Collins.jpg\" alt=\"\" class=\"wp-image-13991186\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Aesop-Kitchen-Patches_1996_Karoline-Hanson-Collins.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Aesop-Kitchen-Patches_1996_Karoline-Hanson-Collins-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Aesop-Kitchen-Patches_1996_Karoline-Hanson-Collins-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Aesop-Kitchen-Patches_1996_Karoline-Hanson-Collins-1536x1018.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Aesop Dekker screenprints Hickey patches in the kitchen at the Hickey Hotel, circa mid-1990s. (Karoline Collins)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>McClelland had played in bands like the Tri-Rails and Los Canadians, but when she made it to San Francisco, she teamed up with best friend and fellow Floridian Erica Dawn Lyle to start a new band called Miami, bolstered by Dekker and Luv from Hickey.\u003c/p>\n\n\n\n\u003cp>With more and more local venues like Klub Kommotion, Starcleaners Warehouse and Epicenter Records winding down operations, Miami and their longtime friends in the band Shotwell colluded to create a new commotion down Mission Street. Lyle and Broutis decided to host an illegal pop-up show, powered by generators, in front of the defunct Leed’s Shoes building at 22nd and Mission. Borrowing the idea from a band of buskers known as Rube Waddell, the two fueled their iteration with political angst.\u003c/p>\n\n\n\n\u003cp>“The generator shows were a product of when gentrification really ramped up in the Mission,” said McClelland. “There was already this feeling of frustration and upset about all of these DIY show spaces that were targeted and shut down, and in our grumblings, we decided to have generator shows in response to them.”\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1326\" height=\"2000\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Miami-7-Matty_BART-Show_Karoline-Hanson-Collins.jpg\" alt=\"\" class=\"wp-image-13991194\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Miami-7-Matty_BART-Show_Karoline-Hanson-Collins.jpg 1326w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Miami-7-Matty_BART-Show_Karoline-Hanson-Collins-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Miami-7-Matty_BART-Show_Karoline-Hanson-Collins-768x1158.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Miami-7-Matty_BART-Show_Karoline-Hanson-Collins-1018x1536.jpg 1018w\" sizes=\"auto, (max-width: 1326px) 100vw, 1326px\">\u003cfigcaption class=\"wp-element-caption\">Matty Luv plays with Mission District punk band Miami at 16th and Mission BART Plaza, circa 2000. (Karoline Collins)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Miami didn’t last long, breaking up around 2001. Luv’s addiction to heroin had gotten more serious. He’d moved back to Florida for a time before being convinced to come back to San Francisco. Luv helped operate Mission Records in its near-final days, and played music with friends, but the scene was on its last legs.\u003c/p>\n\n\n\n\u003cp>Miami and its generator shows, to be clear, came from a lineage of Mission punks before them. Half of Miami, after all, had roots in a band that had started four years prior. \u003c/p>\n\n\n\n\u003cp>\u003cstrong>The Naked Cult of Hickey\u003c/strong>\u003c/p>\n\n\n\n\u003cp>Led by \u003ca href=\"https://www.mattyluv.com/\">Matty Luv\u003c/a>, a charismatic, manic frontman dedicated to a DIY anticapitalist interpretation of punk rock, Hickey was the band often called The Naked Cult of Hickey. With best friend Aesop Dekker behind the drum kit, the two produced a controlled chaos that would come to define the band. Originally accompanied by friend Chubby on bass, Hickey became known for confrontational antics and a prolific catalog of music, fueled by members’ use of both methamphetamine and heroin. \u003c/p>\n\n\n\n\n\n\u003cp>Hickey burned bright and fast, touring constantly. Their song titles included “Hickey Is About Long Hair and Getting High” and “Everything I Know About Sex I Learned From KISS.” Live shows would often devolve into standoffs with the crowd, where the band might play one or two songs and then rant at the audience.\u003c/p>\n\n\n\n\u003cp>“We would show up with the intention of being a band and playing our fucking songs as good as we could for an adoring crowd,” said Dekker. “A lot of times that would go fucky because the promoter was a dick, or, before we even played, would express how they weren’t going to pay us. Or the bands we were playing with were dicks.”\u003c/p>\n\n\n\n\u003cp>The band’s live sets amplified their view on how punk rock should operate, with the members dedicated to an ethic that rebelled against the intrusion of money and power into their scene.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1600\" height=\"766\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/HickeyLPs.jpg\" alt=\"\" class=\"wp-image-13991199\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/HickeyLPs.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/HickeyLPs-160x77.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/HickeyLPs-768x368.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/HickeyLPs-1536x735.jpg 1536w\" sizes=\"auto, (max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-element-caption\">(L–R) Hickey’s full-length self-titled LP, and ‘Various States of Disrepair,’ a compilation of songs released posthumously. (Probe Records / Poverty Records)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>“We hated the fucking corporatization of punk, and we hated people making money off of this. And we were at war with people that didn’t care about this shit,” said Dekker.\u003c/p>\n\n\n\n\u003cp>The chaos that famously propelled the band eventually led to their downfall. During a 1997 U.S. tour, the band decided to break up. The three members had a fight in Tuscon, Arizona, and realized that none of them wanted to continue with the project. After that decision, they felt a shift amongst themselves.\u003c/p>\n\n\n\n\u003cp>“A weird curse had been lifted, because we went back to our friend’s house and sat under the fire, drank and talked,” said Dekker. “We were friends again, like, this fucking weight had been lifted.”\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1326\" height=\"2000\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Ivy-in-Crowd-cool-hands_BART-Show_Karoline-Hanson-Collins.jpg\" alt=\"\" class=\"wp-image-13991187\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Ivy-in-Crowd-cool-hands_BART-Show_Karoline-Hanson-Collins.jpg 1326w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Ivy-in-Crowd-cool-hands_BART-Show_Karoline-Hanson-Collins-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Ivy-in-Crowd-cool-hands_BART-Show_Karoline-Hanson-Collins-768x1158.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Ivy-in-Crowd-cool-hands_BART-Show_Karoline-Hanson-Collins-1018x1536.jpg 1018w\" sizes=\"auto, (max-width: 1326px) 100vw, 1326px\">\u003cfigcaption class=\"wp-element-caption\">Ivy McClelland (center) during a show at 16th and Mission BART plaza, circa 2000. (Karoline Collins)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>\u003cstrong>Mission Records \u003c/strong>\u003c/p>\n\n\n\n\u003cp>After opening its doors in 1997, Mission Records, run by Adam White and Chris Myers, quickly became a place of refuge. Located at 2548 Mission Street, the shop soon had to move to its more permanent location across the street, on the corner of Mission and 19th, and gradually shifted to exist less as a record store and more as a living space and venue for shows.\u003c/p>\n\n\n\n\u003cp>“It started off as a straight-up business proposition,” said White. “I got a bunch of credit cards. We both borrowed as much money as we could from whoever, and fucking went for it. And then, right away, we started getting decimated as a record store. It was the worst time. CDs were at their peak, and the internet was just starting to take the whole thing and destroy it. And we also didn’t know what the fuck we were doing.”\u003c/p>\n\n\n\n\u003cp>As time went on, members of several bands lived at Mission Records, helping volunteer and put on shows. \u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1535\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/liveatleedsflier.jpg\" alt=\"\" class=\"wp-image-13991188\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/liveatleedsflier.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/liveatleedsflier-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/liveatleedsflier-768x589.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/liveatleedsflier-1536x1179.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">‘The cops can shut down Mission punk clubs, but not Mission Street’: A flyer for a ‘short, illegal show’ on 22nd and Mission. (Erica Dawn Lyle)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Across the Bay, another wave of bands was gaining traction. Green Day had already signed to a major label and released their massive record \u003cem>Dookie\u003c/em>, and Rancid was taking off. The East Bay and San Francisco punk scenes weren’t completely isolated, and Mission District bands still made their way across the bridge. But in San Francisco, there was a different energy emanating. \u003c/p>\n\n\n\n\u003cp>Maybe they played faster, maybe they were more confrontational. And maybe it was the drugs.\u003c/p>\n\n\n\n\u003cp>“It was all benzos,” said Broustis. “You go to Mission Records, and there’d be a band rehearsing there at two in the morning while people are trying to sleep.”\u003c/p>\n\n\n\n\u003cp>Band members got drugs from local corner stores, and used that to fuel their productivity.\u003c/p>\n\n\n\n\u003cp>“We did so much crystal meth in the fucking ’90s, and then it was heroin, and we were also eating lots of pills and drinking a lot — all the things that go with doing tons of crystal meth,” said Dekker. “That’s why we did so much in three years. Because we didn’t fucking sleep.”\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1319\" height=\"2000\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/LOW-RES-Matty_Broken-Tub_Hickey-Hotel_KHC.jpg\" alt=\"\" class=\"wp-image-13991189\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/LOW-RES-Matty_Broken-Tub_Hickey-Hotel_KHC.jpg 1319w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/LOW-RES-Matty_Broken-Tub_Hickey-Hotel_KHC-160x243.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/LOW-RES-Matty_Broken-Tub_Hickey-Hotel_KHC-768x1165.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/LOW-RES-Matty_Broken-Tub_Hickey-Hotel_KHC-1013x1536.jpg 1013w\" sizes=\"auto, (max-width: 1319px) 100vw, 1319px\">\u003cfigcaption class=\"wp-element-caption\">Matty Luv, and a broken bathtub, at the Hickey Hotel, circa mid-1990s. (Karoline Collins)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>\u003cstrong>A sudden shock \u003c/strong>\u003c/p>\n\n\n\n\u003cp>As the drugs took their toll, elements of the scene wound down. Miami broke up, White left Mission Records, and increasingly, cops harassed local punks. \u003c/p>\n\n\n\n\u003cp>On Oct. 5, 2002, Matty Luv, 34, was found dead of a heroin overdose at the Hickey Hotel. He had spent the day helping out at Mission Records, while McClelland and other friends went to a protest against the Iraq war. The group of friends had crossed paths on the way to the protest, and Luv waved hi. It would be the last time many of them would see him. \u003c/p>\n\n\n\n\u003cp>The next day, a show at Mission Records was turned into a wake. Later, a number of his friends gathered at Dolores Park for his funeral, where \u003ca href=\"https://web.archive.org/web/20180107014931/https://archives.sfweekly.com/sanfrancisco/make-sure-there-arent-any-squares-at-my-funeral/Content?oid=2146143\">zines and Hickey records were handed out\u003c/a>, and where Luv was remembered by his friends as funny, prolific and intense.\u003c/p>\n\n\n\n\n\n\u003cp>“Learning how to take better care of each other. I think that’s the lesson. And the wisdom of losing him was about really changing. It changed my relationship to what it meant to show up for people in need or in crisis,” said McLelland.\u003c/p>\n\n\n\n\u003cp>“He was the funniest person I’ve ever met, and I think I was the funniest person he ever met. And when we met, that was our bond, is that we felt the same way ideologically about everything, and we were both funny,” said Dekker.\u003c/p>\n\n\n\n\u003cp>Shortly after Luv’s death, Mission Records closed. White attempted to pass the business on to Buzz Lee, but the finances weren’t there. Dekker had recently found sobriety and become a father. McLelland continued to play in bands, and remains active in activism and harm reduction to this day.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1326\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Erica-Aesop_BART-Show_Karoline-Hanson-Collins.jpg\" alt=\"\" class=\"wp-image-13991191\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Erica-Aesop_BART-Show_Karoline-Hanson-Collins.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Erica-Aesop_BART-Show_Karoline-Hanson-Collins-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Erica-Aesop_BART-Show_Karoline-Hanson-Collins-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Erica-Aesop_BART-Show_Karoline-Hanson-Collins-1536x1018.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">(L–R) Erica Dawn Lyle and Aesop Dekker of the punk band Miami play a generator show at 16th and Mission BART plaza, circa 2000. (Karoline Collins)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Today, a new generation is picking up the torch. San Francisco bands False Flag and Surprise Privilege have played generator shows on the sidewalks in front of \u003ca href=\"https://www.facebook.com/groups/228217405293069/posts/1372002734247858/\">the Warfield \u003c/a>\u003ca href=\"https://www.kqed.org/arts/13984468/best-concerts-2025-bay-area-live-music\">and the Castro Theatre\u003c/a>, and \u003ca href=\"https://www.kqed.org/arts/13923420/punk-show-on-bart\">on a moving BART train\u003c/a>. (Their store \u003ca href=\"https://ihaterecords.com/pages/about-us\">I Hate Records\u003c/a>, in the Lower Haight, carries echoes of Mission Records.) A group known as the \u003ca href=\"https://www.instagram.com/outhouse_sf/?hl=en\">Outhouse Collective\u003c/a> puts on their own generator shows, and have been taken under the wing by McLelland.\u003c/p>\n\n\n\n\u003cp>Last year saw the return of the \u003ca href=\"https://clarionalleymuralproject.org/clarion-alley-block-party/\">Clarion Alley Block Party\u003c/a>, which has largely been organized by McClelland since 1994. In its most recent installment, McLelland brought on members of Outhouse Collective to help organize the day’s live music. The combining of these two forces hints at an intergenerational cross-pollination which McLelland sees as essential for the continuation of the punk community into the future.\u003c/p>\n\n\n\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We have shared visions, we have shared values. We have shared connection through these rad creative and rad political movements,” said McClelland. “When we are able to embrace people across community lines, build solidarity across race, gender, ability, mental health — finding those connections is really, really sacred.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "oakland-library-history-diorama-contest-2026-rules-entry-dates",
"title": "Oakland Library Is Once Again Asking You to Make Weird History Dioramas",
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"headTitle": "Oakland Library Is Once Again Asking You to Make Weird History Dioramas | KQED",
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"content": "\u003cp>We’ve all been there. One minute you’re casually browsing newspaper archives in the library, the next you’re stumbling across a story from yore that’s so bizarre, you just \u003cem>have\u003c/em> to render it in miniature form.\u003c/p>\n\n\n\n\u003cp>Yeah, okay, so, no. We clearly haven’t all been \u003cem>there\u003c/em>. But apparently, there are enough people who get overcome with a history-fueled desire to create dioramas that the Oakland Library is building an exhibition around the concept for the second time in two years.\u003c/p>\n\n\n\n\u003cp>\u003cem>All the News That’s Fit to Build: Local News Dioramas \u003c/em>will take over the Oakland History Center on the second floor of the Oakland library’s main branch between July 17 and Oct. 3. The plan is for the show to be a creative and engaging way to bring stories from Bay Area history into the present day.\u003c/p>\n\n\n\n\u003cp>Best of all? The Oakland Library specifically encourages participants to get as weird as possible. Last year’s winners included: a detailed rendition of \u003ca href=\"https://library.biblioboard.com/viewer/fc23a099-091f-4c08-afa8-4717b1a4f283\">drunken seagulls\u003c/a>; \u003ca href=\"https://library.biblioboard.com/viewer/4c21db59-8990-41eb-8e6d-b282ff26ffb4\">a pickler in a pickle\u003c/a>; \u003ca href=\"https://library.biblioboard.com/viewer/0f51b1ce-d876-465a-9baa-09ab64df8d2e\">the tenacious women\u003c/a> who founded \u003ca href=\"https://www.kqed.org/arts/13911567/the-1960s-women-whose-environmental-activism-saved-the-bay\">Save the Bay\u003c/a>; \u003ca href=\"https://library.biblioboard.com/viewer/e0259e45-b014-49b3-b7df-5dba27436074\">noisy peacocks\u003c/a>; and \u003ca href=\"https://library.biblioboard.com/viewer/82a13365-1e44-4aa3-909b-bfbde7767666\">Harry Houdini hanging upside down\u003c/a> outside the \u003cem>Oakland Tribune\u003c/em>. So basically, anything goes.\u003c/p>\n\n\n\n\u003cp>We at KQED Arts & Culture would like to add some historically accurate diorama suggestions to the pile, if we may be so bold. Such as:\u003c/p>\n\n\n\n\u003col class=\"wp-block-list\">\n\u003cli>The \u003ca href=\"https://www.kqed.org/arts/13976828/haunted-toys-r-us-sunnyvale-yonny-johnson-murphy-ranch-doll\">haunted Toys R Us in Sunnyvale\u003c/a> that made headlines in the 1970s and ’80s \u003c/li>\n\n\n\n\u003cli>The oddly costumed dancing girls of Lake Merritt’s \u003ca href=\"https://www.kqed.org/arts/13900997/3-exceptionally-weird-bay-area-festivals-we-should-bring-back\">Wild Duck Festival\u003c/a> in the 1920s\u003c/li>\n\n\n\n\u003cli>The \u003ca href=\"https://www.kqed.org/arts/13957514/1896-mystery-airship-bay-area-ufo-history-victorian-aliens\">entire streetcar of witnesses in Fruitvale who saw a Victorian UFO\u003c/a> one night in 1896\u003c/li>\n\n\n\n\u003cli>The extorter, attempted murderer and bomb plotter \u003ca href=\"https://www.kqed.org/arts/13926069/meet-isabella-j-martin-the-crappiest-criminal-in-bay-area-history\">Isabella J. Martin\u003c/a>, who forced her own son to burn down Oakland homes in 1901\u003c/li>\n\n\n\n\u003cli>The “City of Oakland” hot air balloon pilots who went on a \u003ca href=\"https://www.kqed.org/arts/13910308/city-of-oakland-hot-air-balloon-idora-park-piedmont-baths-neptune-beach\">mayhem-drenched near-death ride\u003c/a> in 1909\u003c/li>\n\u003c/ol>\n\n\n\n\u003cp>Feeling inspired yet?\u003c/p>\n\n\n\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>If you need some extra incentive, outstanding creations will be honored at a special reception on Oct. 3, with prizes provided by Kala Art Institute, the \u003ca href=\"https://www.kqed.org/arts/tag/oakland-museum-of-california\">Oakland Museum of California\u003c/a>, the \u003ca href=\"https://www.kqed.org/news/11878712/this-is-who-we-are-the-black-liberation-walking-tour-launches-in-oakland\">Black Liberation Walking Tour\u003c/a>, Mrs. Dalloway’s, \u003ca href=\"https://www.kqed.org/news/10524326/my-spot-golden-state-model-railroad-museum\">Golden State Model Railroad Museum\u003c/a> and the East Bay Depot for Creative Reuse. Special prizes will be awarded to dioramas that honor the Black Panthers, Oakland’s Latinx communities and unusual East Bay happenings from 1951. KQED Forum’s own \u003ca href=\"https://www.kqed.org/author/amadrigal\">Alexis Madrigal\u003c/a> will be on the judging panel, but the public can have their say by voting for a special People’s Choice award.\u003c/p>\n\n\n\n\u003cp>The Oakland Library is requesting that all dioramas — which must not exceed 6 inches in height — be delivered sometime before July 5, 2026, along with a copy of the newspaper story it’s based on. (This should include important details like name of newspaper and publication date.) Competitors must also fill out an \u003ca href=\"https://oaklandlibrary.librariescreate.com/dioramacontest#guidelines\">online entry form\u003c/a>. Creators are welcome to access the library’s archives and newspapers.com account for inspiration. \u003c/p>\n\n\n\n\u003cp>Finding misbehaving animals and/or inverted illusionists, however, is entirely up to you.\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\">\n\n\n\n\u003cp>\u003cem>‘All the News That’s Fit to Build: Local News Dioramas’ will be on display at The Oakland Library’s History Center (125 14th Street, 2nd Floor) July 17–Oct. 3, 2026. Potential participants can find \u003ca href=\"https://oaklandlibrary.org/diorama/\">full instructions at the library’s website\u003c/a>.\u003c/em>\u003c/p>\n\n\n\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\n",
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"innerHTML": "\n\u003cp>Yeah, okay, so, no. We clearly haven’t all been \u003cem>there\u003c/em>. But apparently, there are enough people who get overcome with a history-fueled desire to create dioramas that the Oakland Library is building an exhibition around the concept for the second time in two years.\u003c/p>\n",
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"innerHTML": "\n\u003cp>\u003cem>All the News That’s Fit to Build: Local News Dioramas \u003c/em>will take over the Oakland History Center on the second floor of the Oakland library’s main branch between July 17 and Oct. 3. The plan is for the show to be a creative and engaging way to bring stories from Bay Area history into the present day.\u003c/p>\n",
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"innerHTML": "\n\u003cp>Best of all? The Oakland Library specifically encourages participants to get as weird as possible. Last year’s winners included: a detailed rendition of \u003ca href=\"https://library.biblioboard.com/viewer/fc23a099-091f-4c08-afa8-4717b1a4f283\">drunken seagulls\u003c/a>; \u003ca href=\"https://library.biblioboard.com/viewer/4c21db59-8990-41eb-8e6d-b282ff26ffb4\">a pickler in a pickle\u003c/a>; \u003ca href=\"https://library.biblioboard.com/viewer/0f51b1ce-d876-465a-9baa-09ab64df8d2e\">the tenacious women\u003c/a> who founded \u003ca href=\"https://www.kqed.org/arts/13911567/the-1960s-women-whose-environmental-activism-saved-the-bay\">Save the Bay\u003c/a>; \u003ca href=\"https://library.biblioboard.com/viewer/e0259e45-b014-49b3-b7df-5dba27436074\">noisy peacocks\u003c/a>; and \u003ca href=\"https://library.biblioboard.com/viewer/82a13365-1e44-4aa3-909b-bfbde7767666\">Harry Houdini hanging upside down\u003c/a> outside the \u003cem>Oakland Tribune\u003c/em>. So basically, anything goes.\u003c/p>\n",
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"innerHTML": "\n\u003cp>We at KQED Arts & Culture would like to add some historically accurate diorama suggestions to the pile, if we may be so bold. Such as:\u003c/p>\n",
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"innerHTML": "\n\u003cli>The \u003ca href=\"https://www.kqed.org/arts/13976828/haunted-toys-r-us-sunnyvale-yonny-johnson-murphy-ranch-doll\">haunted Toys R Us in Sunnyvale\u003c/a> that made headlines in the 1970s and ’80s \u003c/li>\n",
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"innerHTML": "\n\u003cli>The oddly costumed dancing girls of Lake Merritt’s \u003ca href=\"https://www.kqed.org/arts/13900997/3-exceptionally-weird-bay-area-festivals-we-should-bring-back\">Wild Duck Festival\u003c/a> in the 1920s\u003c/li>\n",
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"innerHTML": "\n\u003cli>The \u003ca href=\"https://www.kqed.org/arts/13957514/1896-mystery-airship-bay-area-ufo-history-victorian-aliens\">entire streetcar of witnesses in Fruitvale who saw a Victorian UFO\u003c/a> one night in 1896\u003c/li>\n",
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"innerHTML": "\n\u003cli>The extorter, attempted murderer and bomb plotter \u003ca href=\"https://www.kqed.org/arts/13926069/meet-isabella-j-martin-the-crappiest-criminal-in-bay-area-history\">Isabella J. Martin\u003c/a>, who forced her own son to burn down Oakland homes in 1901\u003c/li>\n",
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"innerHTML": "\n\u003cli>The “City of Oakland” hot air balloon pilots who went on a \u003ca href=\"https://www.kqed.org/arts/13910308/city-of-oakland-hot-air-balloon-idora-park-piedmont-baths-neptune-beach\">mayhem-drenched near-death ride\u003c/a> in 1909\u003c/li>\n",
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"innerHTML": "\n\u003cp>If you need some extra incentive, outstanding creations will be honored at a special reception on Oct. 3, with prizes provided by Kala Art Institute, the \u003ca href=\"https://www.kqed.org/arts/tag/oakland-museum-of-california\">Oakland Museum of California\u003c/a>, the \u003ca href=\"https://www.kqed.org/news/11878712/this-is-who-we-are-the-black-liberation-walking-tour-launches-in-oakland\">Black Liberation Walking Tour\u003c/a>, Mrs. Dalloway’s, \u003ca href=\"https://www.kqed.org/news/10524326/my-spot-golden-state-model-railroad-museum\">Golden State Model Railroad Museum\u003c/a> and the East Bay Depot for Creative Reuse. Special prizes will be awarded to dioramas that honor the Black Panthers, Oakland’s Latinx communities and unusual East Bay happenings from 1951. KQED Forum’s own \u003ca href=\"https://www.kqed.org/author/amadrigal\">Alexis Madrigal\u003c/a> will be on the judging panel, but the public can have their say by voting for a special People’s Choice award.\u003c/p>\n",
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"innerHTML": "\n\u003cp>The Oakland Library is requesting that all dioramas — which must not exceed 6 inches in height — be delivered sometime before July 5, 2026, along with a copy of the newspaper story it’s based on. (This should include important details like name of newspaper and publication date.) Competitors must also fill out an \u003ca href=\"https://oaklandlibrary.librariescreate.com/dioramacontest#guidelines\">online entry form\u003c/a>. Creators are welcome to access the library’s archives and newspapers.com account for inspiration. \u003c/p>\n",
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"\n\u003cp>The Oakland Library is requesting that all dioramas — which must not exceed 6 inches in height — be delivered sometime before July 5, 2026, along with a copy of the newspaper story it’s based on. (This should include important details like name of newspaper and publication date.) Competitors must also fill out an \u003ca href=\"https://oaklandlibrary.librariescreate.com/dioramacontest#guidelines\">online entry form\u003c/a>. Creators are welcome to access the library’s archives and newspapers.com account for inspiration. \u003c/p>\n"
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"innerHTML": "\n\u003cp>Finding misbehaving animals and/or inverted illusionists, however, is entirely up to you.\u003c/p>\n",
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"innerHTML": "\n\u003cp>\u003cem>‘All the News That’s Fit to Build: Local News Dioramas’ will be on display at The Oakland Library’s History Center (125 14th Street, 2nd Floor) July 17–Oct. 3, 2026. Potential participants can find \u003ca href=\"https://oaklandlibrary.org/diorama/\">full instructions at the library’s website\u003c/a>.\u003c/em>\u003c/p>\n",
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"\n\u003cp>\u003cem>‘All the News That’s Fit to Build: Local News Dioramas’ will be on display at The Oakland Library’s History Center (125 14th Street, 2nd Floor) July 17–Oct. 3, 2026. Potential participants can find \u003ca href=\"https://oaklandlibrary.org/diorama/\">full instructions at the library’s website\u003c/a>.\u003c/em>\u003c/p>\n"
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We’ve all been there. One minute you’re casually browsing newspaper archives in the library, the next you’re stumbling across a story from yore that’s so bizarre, you just \u003cem>have\u003c/em> to render it in miniature form.\u003c/p>\n\n\n\n\u003cp>Yeah, okay, so, no. We clearly haven’t all been \u003cem>there\u003c/em>. But apparently, there are enough people who get overcome with a history-fueled desire to create dioramas that the Oakland Library is building an exhibition around the concept for the second time in two years.\u003c/p>\n\n\n\n\u003cp>\u003cem>All the News That’s Fit to Build: Local News Dioramas \u003c/em>will take over the Oakland History Center on the second floor of the Oakland library’s main branch between July 17 and Oct. 3. The plan is for the show to be a creative and engaging way to bring stories from Bay Area history into the present day.\u003c/p>\n\n\n\n\u003cp>Best of all? The Oakland Library specifically encourages participants to get as weird as possible. Last year’s winners included: a detailed rendition of \u003ca href=\"https://library.biblioboard.com/viewer/fc23a099-091f-4c08-afa8-4717b1a4f283\">drunken seagulls\u003c/a>; \u003ca href=\"https://library.biblioboard.com/viewer/4c21db59-8990-41eb-8e6d-b282ff26ffb4\">a pickler in a pickle\u003c/a>; \u003ca href=\"https://library.biblioboard.com/viewer/0f51b1ce-d876-465a-9baa-09ab64df8d2e\">the tenacious women\u003c/a> who founded \u003ca href=\"https://www.kqed.org/arts/13911567/the-1960s-women-whose-environmental-activism-saved-the-bay\">Save the Bay\u003c/a>; \u003ca href=\"https://library.biblioboard.com/viewer/e0259e45-b014-49b3-b7df-5dba27436074\">noisy peacocks\u003c/a>; and \u003ca href=\"https://library.biblioboard.com/viewer/82a13365-1e44-4aa3-909b-bfbde7767666\">Harry Houdini hanging upside down\u003c/a> outside the \u003cem>Oakland Tribune\u003c/em>. So basically, anything goes.\u003c/p>\n\n\n\n\u003cp>We at KQED Arts & Culture would like to add some historically accurate diorama suggestions to the pile, if we may be so bold. Such as:\u003c/p>\n\n\n\n\u003col class=\"wp-block-list\">\n\u003cli>The \u003ca href=\"https://www.kqed.org/arts/13976828/haunted-toys-r-us-sunnyvale-yonny-johnson-murphy-ranch-doll\">haunted Toys R Us in Sunnyvale\u003c/a> that made headlines in the 1970s and ’80s \u003c/li>\n\n\n\n\u003cli>The oddly costumed dancing girls of Lake Merritt’s \u003ca href=\"https://www.kqed.org/arts/13900997/3-exceptionally-weird-bay-area-festivals-we-should-bring-back\">Wild Duck Festival\u003c/a> in the 1920s\u003c/li>\n\n\n\n\u003cli>The \u003ca href=\"https://www.kqed.org/arts/13957514/1896-mystery-airship-bay-area-ufo-history-victorian-aliens\">entire streetcar of witnesses in Fruitvale who saw a Victorian UFO\u003c/a> one night in 1896\u003c/li>\n\n\n\n\u003cli>The extorter, attempted murderer and bomb plotter \u003ca href=\"https://www.kqed.org/arts/13926069/meet-isabella-j-martin-the-crappiest-criminal-in-bay-area-history\">Isabella J. Martin\u003c/a>, who forced her own son to burn down Oakland homes in 1901\u003c/li>\n\n\n\n\u003cli>The “City of Oakland” hot air balloon pilots who went on a \u003ca href=\"https://www.kqed.org/arts/13910308/city-of-oakland-hot-air-balloon-idora-park-piedmont-baths-neptune-beach\">mayhem-drenched near-death ride\u003c/a> in 1909\u003c/li>\n\u003c/ol>\n\n\n\n\u003cp>Feeling inspired yet?\u003c/p>\n\n\n\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If you need some extra incentive, outstanding creations will be honored at a special reception on Oct. 3, with prizes provided by Kala Art Institute, the \u003ca href=\"https://www.kqed.org/arts/tag/oakland-museum-of-california\">Oakland Museum of California\u003c/a>, the \u003ca href=\"https://www.kqed.org/news/11878712/this-is-who-we-are-the-black-liberation-walking-tour-launches-in-oakland\">Black Liberation Walking Tour\u003c/a>, Mrs. Dalloway’s, \u003ca href=\"https://www.kqed.org/news/10524326/my-spot-golden-state-model-railroad-museum\">Golden State Model Railroad Museum\u003c/a> and the East Bay Depot for Creative Reuse. Special prizes will be awarded to dioramas that honor the Black Panthers, Oakland’s Latinx communities and unusual East Bay happenings from 1951. KQED Forum’s own \u003ca href=\"https://www.kqed.org/author/amadrigal\">Alexis Madrigal\u003c/a> will be on the judging panel, but the public can have their say by voting for a special People’s Choice award.\u003c/p>\n\n\n\n\u003cp>The Oakland Library is requesting that all dioramas — which must not exceed 6 inches in height — be delivered sometime before July 5, 2026, along with a copy of the newspaper story it’s based on. (This should include important details like name of newspaper and publication date.) Competitors must also fill out an \u003ca href=\"https://oaklandlibrary.librariescreate.com/dioramacontest#guidelines\">online entry form\u003c/a>. Creators are welcome to access the library’s archives and newspapers.com account for inspiration. \u003c/p>\n\n\n\n\u003cp>Finding misbehaving animals and/or inverted illusionists, however, is entirely up to you.\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\">\n\n\n\n\u003cp>\u003cem>‘All the News That’s Fit to Build: Local News Dioramas’ will be on display at The Oakland Library’s History Center (125 14th Street, 2nd Floor) July 17–Oct. 3, 2026. Potential participants can find \u003ca href=\"https://oaklandlibrary.org/diorama/\">full instructions at the library’s website\u003c/a>.\u003c/em>\u003c/p>\n\n\n\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "San Francisco’s First Serial Killer Was a Doctor Named J. Milton Bowers ... Probably",
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"content": "\u003cp>If you’re a Bay Area true crime nerd with an extensive knowledge of the region’s most notorious serial killers, you might be wondering why you’ve never heard of San Francisco’s very first serial killer, Dr. J. Milton Bowers. The answer is that nobody ever conclusively proved it. (Okay, fine, then: \u003cem>alleged\u003c/em> serial killer.) If you were a San Franciscan in the 1880s, however, you’d know all about Dr. Bowers. You’d certainly know enough not to marry the bearded weirdo.\u003c/p>\n\n\n\n\u003cp>Bowers was a physician whose medical specialty was, according to newspaper ads of the era, “diseases of women and children.” Which is unfortunate given that his first three wives ended up dead under suspicious circumstances while under his care. The first, Fannie Hammond, died in 1874 of “undetermined causes” and the couple’s Chicago home burned down shortly after her death. Not suspicious at all!\u003c/p>\n\n\n\n\u003cp>Bowers immediately moved to New York and married a popular actress and writer named Theresa Sherek, who was 15 years his junior. Together, the couple relocated to San Francisco, but marital bliss was short-lived. Sherek died on Jan. 28, 1881, aged 24, and was buried the very same day. The presumed cause of death was an abscess of the liver.\u003c/p>\n\n\n\n\n\n\u003cp>Within a year, Bowers was married yet again. This time to 29-year-old Cecelia Benhayon, who was a beloved San Francisco socialite. After a sudden and excruciating illness, Cecelia died on Nov. 3, 1885. And — wouldn’t you know it? — her initial death certificate suggested the cause was an abscess of the liver, just like the second Mrs. Bowers.\u003c/p>\n\n\n\n\u003cp>After Cecelia’s death, San Francisco coroner C. C. O’Donnell was quickly tipped off, via anonymous note, that there was cause to perform an autopsy. When O’Donnell rushed to the Bowers home on Market Street and demanded one, Bowers did everything in his power to prevent the procedure. This included burying Cecelia’s body before the city physician, Dr. Black, could get to it. After some legal wrangling, O’Donnell managed to get poor Cecelia disinterred. One of his arguments for it: Bowers had recently taken out a $17,000 life insurance policy on his wife.\u003c/p>\n\n\n\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When Dr. Black finally got his scalpel on Cecelia’s remains, lo and behold he found zero evidence of a liver abscess. What he \u003cem>did\u003c/em> find was an abnormal-looking stomach, which he promptly placed in a jar and sent to a chemist named Dr. William Johnson. (Pity the delivery boy…) Johnson later testified that he could smell phosphorus on the organ before he’d even tested it for chemicals. His findings were backed by several other doctors and they were conclusive: Cecelia had been poisoned.\u003c/p>\n\n\n\n\u003cp>At the Nov. 10 inquest, when Bowers was asked to account for the phosphorus in Cecelia’s stomach, he stumbled incredulously for a while, before stating: “I did not give it to her. She must have taken it herself!” When the inquest also raised the fact that the coroner had found evidence of a recent abortion, Bowers replied, “Yes [but] I did not perform it. She did it herself!”\u003c/p>\n\n\n\n\u003cp>Faced with this level of buffoonery, nine inquest jurors decided that Bowers needed to be placed under arrest immediately. Once in the county jail, Bowers talked to the local press at every opportunity. He complained to the \u003cem>San Francisco Call\u003c/em> that he was “unused to close confinement,” but found the strength to insist that if was going to poison his wife, he would have used something less traceable than phosphorus.\u003c/p>\n\n\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"aligncenter size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"650\" height=\"950\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Chron-mar-8-1904.png\" alt=\"A grainy black and white portrait of a white man with coiffed hair and a long white beard, accompanied by two courtroom illustrations.\" class=\"wp-image-13990863\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Chron-mar-8-1904.png 650w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Chron-mar-8-1904-160x234.png 160w\" sizes=\"auto, (max-width: 650px) 100vw, 650px\">\u003cfigcaption class=\"wp-element-caption\">Dr. J. Milton Bower as depicted in the San Francisco Chronicle on March 8, 1904. (Archival image)\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\n\n\u003cp>Bowers’ six-week trial — the longest in San Francisco history at the time — began on March 9, 1886 and saw 130 witnesses testify. Cecelia’s loved ones said they had been denied access to her in her final days, and claimed repeatedly that Bowers was a chronically unfaithful man who treated his wife terribly. Cecelia’s brother Henry Benhayon said Bowers once forced Cecelia to share a bed with one of Bowers’ mistresses. More explicit details were shared in court that the \u003cem>San Francisco Chronicle\u003c/em> deemed “unfit for publication, even in technical terms.”\u003c/p>\n\n\n\n\u003cp>Additionally, Henry testified that he found two pills in Cecelia’s deathbed that contained phosphorus. He also said he’d witnessed Cecelia sobbing to Bowers, “You are torturing me to death with medicine.”\u003c/p>\n\n\n\n\u003cp>In contrast, Bowers’ associates testified that the marriage had been a happy one, and Bowers himself denied all accusations in a day-long testimony. It didn’t work. After a 35-minute deliberation, the jury found Bowers guilty of murder in the first degree. He was sentenced to death by hanging.\u003c/p>\n\n\n\n\u003cp>All’s well that ends well, right? Well, no. This is actually where things get even stranger…\u003c/p>\n\n\n\n\u003cp>Eighteen months after the end of Bowers’ trial, Henry Benhayon (yes, Cecelia’s brother again) was found dead in a Geary Street rooming house that was next door to Bowers’ former medical office. Near Henry’s lifeless body (which was found in an odd, face-down position) were three bottles: whiskey, chloroform and a tightly capped bottle of cyanide. Close to those were three letters signed with Henry’s name, one of which stated that he’d planned to murder both his sister and Bowers so he could become guardian to his niece and inherit the insurance money. The letter also stated that Henry had bought the phosphorus used to kill his sister from a unnamed man who had later committed suicide. (How convenient!)\u003c/p>\n\n\n\n\u003cp>When reporters told Bowers about the confession letter, the doctor said, rather smugly, “Strange that with all my watchfulness, and despite the fact that I was continually at her bedside, that [Henry] should be able to get in and poison her in such a mysterious manner.”\u003c/p>\n\n\n\n\n\n\u003cp>Now, if you’re thinking, “Sounds like Dr. Bowers had his brother-in-law murdered,” you’re not the first. Investigators quickly jumped on the case, and after following some boulder-sized breadcrumbs, arrested a friend of Bowers’ named John Dimmig. Not only was Dimmig a frequent visitor to Bowers in prison, he’d also recently rented the room that Henry’s body was found in. (Dimmig claimed that Henry must have stolen his key.)\u003c/p>\n\n\n\n\u003cp>Despite Dimmig making several preposterous assertions (like admitting he’d recently bought cyanide, yes, but that it was just for a doctor friend), Dimmig’s murder trial was complicated by confusing witness testimony and conflicting handwriting analysis. (One expert said the confession letter was definitely fake, the other said it absolutely matched Henry’s penmanship.) The trial ended in a hung jury. A second trial six months later also resulted in a deadlock, but this time the judge refused to let the jury give up and go home. The end result? Dimmig was found not guilty.\u003c/p>\n\n\n\n\u003cp>As a result of Dimmig being acquitted — and brace yourself for this nonsense — the California Supreme Court decided that the confession letter with Henry’s name on it was enough grounds for Bowers to be released. The doctor got out after just four years in the clink. He quickly opened a medical practice in San Francisco that no one wanted to go to. Then he tried again in Oakland, another location where he was a pariah. Finally, he limped on down to San José, where he was less well-known, and opened an office there.\u003c/p>\n\n\n\n\u003cp>Dr. Bowers died of a stroke in 1904, after battling health problems for two years. The \u003cem>San Francisco\u003c/em> \u003cem>Call\u003c/em>’s report of his death kindly noted that his fourth wife — a schoolteacher named Mary Bird who married him in 1895 — “fortunately survives him.” The article also quoted one detective, Robert Hogan, who had never forgotten the details of Cecelia Benhayon’s agonizing death. \u003c/p>\n\n\n\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“Dr. Bowers should have broken his neck from a trap,” Hogan asserted, “instead of dying peaceably from paralysis.”\u003c/p>\n\n",
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"innerHTML": "\n\u003cp>Bowers was a physician whose medical specialty was, according to newspaper ads of the era, “diseases of women and children.” Which is unfortunate given that his first three wives ended up dead under suspicious circumstances while under his care. The first, Fannie Hammond, died in 1874 of “undetermined causes” and the couple’s Chicago home burned down shortly after her death. Not suspicious at all!\u003c/p>\n",
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"innerHTML": "\n\u003cp>Bowers immediately moved to New York and married a popular actress and writer named Theresa Sherek, who was 15 years his junior. Together, the couple relocated to San Francisco, but marital bliss was short-lived. Sherek died on Jan. 28, 1881, aged 24, and was buried the very same day. The presumed cause of death was an abscess of the liver.\u003c/p>\n",
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"innerHTML": "\n\u003cp>Within a year, Bowers was married yet again. This time to 29-year-old Cecelia Benhayon, who was a beloved San Francisco socialite. After a sudden and excruciating illness, Cecelia died on Nov. 3, 1885. And — wouldn’t you know it? — her initial death certificate suggested the cause was an abscess of the liver, just like the second Mrs. Bowers.\u003c/p>\n",
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"innerHTML": "\n\u003cp>After Cecelia’s death, San Francisco coroner C. C. O’Donnell was quickly tipped off, via anonymous note, that there was cause to perform an autopsy. When O’Donnell rushed to the Bowers home on Market Street and demanded one, Bowers did everything in his power to prevent the procedure. This included burying Cecelia’s body before the city physician, Dr. Black, could get to it. After some legal wrangling, O’Donnell managed to get poor Cecelia disinterred. One of his arguments for it: Bowers had recently taken out a $17,000 life insurance policy on his wife.\u003c/p>\n",
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"innerHTML": "\n\u003cp>When Dr. Black finally got his scalpel on Cecelia’s remains, lo and behold he found zero evidence of a liver abscess. What he \u003cem>did\u003c/em> find was an abnormal-looking stomach, which he promptly placed in a jar and sent to a chemist named Dr. William Johnson. (Pity the delivery boy…) Johnson later testified that he could smell phosphorus on the organ before he’d even tested it for chemicals. His findings were backed by several other doctors and they were conclusive: Cecelia had been poisoned.\u003c/p>\n",
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"innerHTML": "\n\u003cp>At the Nov. 10 inquest, when Bowers was asked to account for the phosphorus in Cecelia’s stomach, he stumbled incredulously for a while, before stating: “I did not give it to her. She must have taken it herself!” When the inquest also raised the fact that the coroner had found evidence of a recent abortion, Bowers replied, “Yes [but] I did not perform it. She did it herself!”\u003c/p>\n",
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"\n\u003cp>At the Nov. 10 inquest, when Bowers was asked to account for the phosphorus in Cecelia’s stomach, he stumbled incredulously for a while, before stating: “I did not give it to her. She must have taken it herself!” When the inquest also raised the fact that the coroner had found evidence of a recent abortion, Bowers replied, “Yes [but] I did not perform it. She did it herself!”\u003c/p>\n"
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"innerHTML": "\n\u003cp>Faced with this level of buffoonery, nine inquest jurors decided that Bowers needed to be placed under arrest immediately. Once in the county jail, Bowers talked to the local press at every opportunity. He complained to the \u003cem>San Francisco Call\u003c/em> that he was “unused to close confinement,” but found the strength to insist that if was going to poison his wife, he would have used something less traceable than phosphorus.\u003c/p>\n",
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"innerHTML": "\n\u003cfigure class=\"wp-block-image aligncenter size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Chron-mar-8-1904.png\" alt=\"A grainy black and white portrait of a white man with coiffed hair and a long white beard, accompanied by two courtroom illustrations.\" class=\"wp-image-13990863\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Chron-mar-8-1904.png 650w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Chron-mar-8-1904-160x234.png 160w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Dr. J. Milton Bower as depicted in the San Francisco Chronicle on March 8, 1904.\u003c/figcaption>\u003c/figure>\n",
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"innerHTML": "\n\u003cp>Bowers’ six-week trial — the longest in San Francisco history at the time — began on March 9, 1886 and saw 130 witnesses testify. Cecelia’s loved ones said they had been denied access to her in her final days, and claimed repeatedly that Bowers was a chronically unfaithful man who treated his wife terribly. Cecelia’s brother Henry Benhayon said Bowers once forced Cecelia to share a bed with one of Bowers’ mistresses. More explicit details were shared in court that the \u003cem>San Francisco Chronicle\u003c/em> deemed “unfit for publication, even in technical terms.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>Additionally, Henry testified that he found two pills in Cecelia’s deathbed that contained phosphorus. He also said he’d witnessed Cecelia sobbing to Bowers, “You are torturing me to death with medicine.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>In contrast, Bowers’ associates testified that the marriage had been a happy one, and Bowers himself denied all accusations in a day-long testimony. It didn’t work. After a 35-minute deliberation, the jury found Bowers guilty of murder in the first degree. He was sentenced to death by hanging.\u003c/p>\n",
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"\n\u003cp>In contrast, Bowers’ associates testified that the marriage had been a happy one, and Bowers himself denied all accusations in a day-long testimony. It didn’t work. After a 35-minute deliberation, the jury found Bowers guilty of murder in the first degree. He was sentenced to death by hanging.\u003c/p>\n"
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"innerHTML": "\n\u003cp>All’s well that ends well, right? Well, no. This is actually where things get even stranger…\u003c/p>\n",
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"innerHTML": "\n\u003cp>Eighteen months after the end of Bowers’ trial, Henry Benhayon (yes, Cecelia’s brother again) was found dead in a Geary Street rooming house that was next door to Bowers’ former medical office. Near Henry’s lifeless body (which was found in an odd, face-down position) were three bottles: whiskey, chloroform and a tightly capped bottle of cyanide. Close to those were three letters signed with Henry’s name, one of which stated that he’d planned to murder both his sister and Bowers so he could become guardian to his niece and inherit the insurance money. The letter also stated that Henry had bought the phosphorus used to kill his sister from a unnamed man who had later committed suicide. (How convenient!)\u003c/p>\n",
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"\n\u003cp>Eighteen months after the end of Bowers’ trial, Henry Benhayon (yes, Cecelia’s brother again) was found dead in a Geary Street rooming house that was next door to Bowers’ former medical office. Near Henry’s lifeless body (which was found in an odd, face-down position) were three bottles: whiskey, chloroform and a tightly capped bottle of cyanide. Close to those were three letters signed with Henry’s name, one of which stated that he’d planned to murder both his sister and Bowers so he could become guardian to his niece and inherit the insurance money. The letter also stated that Henry had bought the phosphorus used to kill his sister from a unnamed man who had later committed suicide. (How convenient!)\u003c/p>\n"
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"innerHTML": "\n\u003cp>When reporters told Bowers about the confession letter, the doctor said, rather smugly, “Strange that with all my watchfulness, and despite the fact that I was continually at her bedside, that [Henry] should be able to get in and poison her in such a mysterious manner.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>Now, if you’re thinking, “Sounds like Dr. Bowers had his brother-in-law murdered,” you’re not the first. Investigators quickly jumped on the case, and after following some boulder-sized breadcrumbs, arrested a friend of Bowers’ named John Dimmig. Not only was Dimmig a frequent visitor to Bowers in prison, he’d also recently rented the room that Henry’s body was found in. (Dimmig claimed that Henry must have stolen his key.)\u003c/p>\n",
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"innerHTML": "\n\u003cp>Despite Dimmig making several preposterous assertions (like admitting he’d recently bought cyanide, yes, but that it was just for a doctor friend), Dimmig’s murder trial was complicated by confusing witness testimony and conflicting handwriting analysis. (One expert said the confession letter was definitely fake, the other said it absolutely matched Henry’s penmanship.) The trial ended in a hung jury. A second trial six months later also resulted in a deadlock, but this time the judge refused to let the jury give up and go home. The end result? Dimmig was found not guilty.\u003c/p>\n",
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"innerHTML": "\n\u003cp>As a result of Dimmig being acquitted — and brace yourself for this nonsense — the California Supreme Court decided that the confession letter with Henry’s name on it was enough grounds for Bowers to be released. The doctor got out after just four years in the clink. He quickly opened a medical practice in San Francisco that no one wanted to go to. Then he tried again in Oakland, another location where he was a pariah. Finally, he limped on down to San José, where he was less well-known, and opened an office there.\u003c/p>\n",
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"\n\u003cp>As a result of Dimmig being acquitted — and brace yourself for this nonsense — the California Supreme Court decided that the confession letter with Henry’s name on it was enough grounds for Bowers to be released. The doctor got out after just four years in the clink. He quickly opened a medical practice in San Francisco that no one wanted to go to. Then he tried again in Oakland, another location where he was a pariah. Finally, he limped on down to San José, where he was less well-known, and opened an office there.\u003c/p>\n"
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"innerHTML": "\n\u003cp>Dr. Bowers died of a stroke in 1904, after battling health problems for two years. The \u003cem>San Francisco\u003c/em> \u003cem>Call\u003c/em>’s report of his death kindly noted that his fourth wife — a schoolteacher named Mary Bird who married him in 1895 — “fortunately survives him.” The article also quoted one detective, Robert Hogan, who had never forgotten the details of Cecelia Benhayon’s agonizing death. \u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’re a Bay Area true crime nerd with an extensive knowledge of the region’s most notorious serial killers, you might be wondering why you’ve never heard of San Francisco’s very first serial killer, Dr. J. Milton Bowers. The answer is that nobody ever conclusively proved it. (Okay, fine, then: \u003cem>alleged\u003c/em> serial killer.) If you were a San Franciscan in the 1880s, however, you’d know all about Dr. Bowers. You’d certainly know enough not to marry the bearded weirdo.\u003c/p>\n\n\n\n\u003cp>Bowers was a physician whose medical specialty was, according to newspaper ads of the era, “diseases of women and children.” Which is unfortunate given that his first three wives ended up dead under suspicious circumstances while under his care. The first, Fannie Hammond, died in 1874 of “undetermined causes” and the couple’s Chicago home burned down shortly after her death. Not suspicious at all!\u003c/p>\n\n\n\n\u003cp>Bowers immediately moved to New York and married a popular actress and writer named Theresa Sherek, who was 15 years his junior. Together, the couple relocated to San Francisco, but marital bliss was short-lived. Sherek died on Jan. 28, 1881, aged 24, and was buried the very same day. The presumed cause of death was an abscess of the liver.\u003c/p>\n\n\n\n\n\n\u003cp>Within a year, Bowers was married yet again. This time to 29-year-old Cecelia Benhayon, who was a beloved San Francisco socialite. After a sudden and excruciating illness, Cecelia died on Nov. 3, 1885. And — wouldn’t you know it? — her initial death certificate suggested the cause was an abscess of the liver, just like the second Mrs. Bowers.\u003c/p>\n\n\n\n\u003cp>After Cecelia’s death, San Francisco coroner C. C. O’Donnell was quickly tipped off, via anonymous note, that there was cause to perform an autopsy. When O’Donnell rushed to the Bowers home on Market Street and demanded one, Bowers did everything in his power to prevent the procedure. This included burying Cecelia’s body before the city physician, Dr. Black, could get to it. After some legal wrangling, O’Donnell managed to get poor Cecelia disinterred. One of his arguments for it: Bowers had recently taken out a $17,000 life insurance policy on his wife.\u003c/p>\n\n\n\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When Dr. Black finally got his scalpel on Cecelia’s remains, lo and behold he found zero evidence of a liver abscess. What he \u003cem>did\u003c/em> find was an abnormal-looking stomach, which he promptly placed in a jar and sent to a chemist named Dr. William Johnson. (Pity the delivery boy…) Johnson later testified that he could smell phosphorus on the organ before he’d even tested it for chemicals. His findings were backed by several other doctors and they were conclusive: Cecelia had been poisoned.\u003c/p>\n\n\n\n\u003cp>At the Nov. 10 inquest, when Bowers was asked to account for the phosphorus in Cecelia’s stomach, he stumbled incredulously for a while, before stating: “I did not give it to her. She must have taken it herself!” When the inquest also raised the fact that the coroner had found evidence of a recent abortion, Bowers replied, “Yes [but] I did not perform it. She did it herself!”\u003c/p>\n\n\n\n\u003cp>Faced with this level of buffoonery, nine inquest jurors decided that Bowers needed to be placed under arrest immediately. Once in the county jail, Bowers talked to the local press at every opportunity. He complained to the \u003cem>San Francisco Call\u003c/em> that he was “unused to close confinement,” but found the strength to insist that if was going to poison his wife, he would have used something less traceable than phosphorus.\u003c/p>\n\n\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"aligncenter size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"650\" height=\"950\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Chron-mar-8-1904.png\" alt=\"A grainy black and white portrait of a white man with coiffed hair and a long white beard, accompanied by two courtroom illustrations.\" class=\"wp-image-13990863\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Chron-mar-8-1904.png 650w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/Chron-mar-8-1904-160x234.png 160w\" sizes=\"auto, (max-width: 650px) 100vw, 650px\">\u003cfigcaption class=\"wp-element-caption\">Dr. J. Milton Bower as depicted in the San Francisco Chronicle on March 8, 1904. (Archival image)\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\n\n\u003cp>Bowers’ six-week trial — the longest in San Francisco history at the time — began on March 9, 1886 and saw 130 witnesses testify. Cecelia’s loved ones said they had been denied access to her in her final days, and claimed repeatedly that Bowers was a chronically unfaithful man who treated his wife terribly. Cecelia’s brother Henry Benhayon said Bowers once forced Cecelia to share a bed with one of Bowers’ mistresses. More explicit details were shared in court that the \u003cem>San Francisco Chronicle\u003c/em> deemed “unfit for publication, even in technical terms.”\u003c/p>\n\n\n\n\u003cp>Additionally, Henry testified that he found two pills in Cecelia’s deathbed that contained phosphorus. He also said he’d witnessed Cecelia sobbing to Bowers, “You are torturing me to death with medicine.”\u003c/p>\n\n\n\n\u003cp>In contrast, Bowers’ associates testified that the marriage had been a happy one, and Bowers himself denied all accusations in a day-long testimony. It didn’t work. After a 35-minute deliberation, the jury found Bowers guilty of murder in the first degree. He was sentenced to death by hanging.\u003c/p>\n\n\n\n\u003cp>All’s well that ends well, right? Well, no. This is actually where things get even stranger…\u003c/p>\n\n\n\n\u003cp>Eighteen months after the end of Bowers’ trial, Henry Benhayon (yes, Cecelia’s brother again) was found dead in a Geary Street rooming house that was next door to Bowers’ former medical office. Near Henry’s lifeless body (which was found in an odd, face-down position) were three bottles: whiskey, chloroform and a tightly capped bottle of cyanide. Close to those were three letters signed with Henry’s name, one of which stated that he’d planned to murder both his sister and Bowers so he could become guardian to his niece and inherit the insurance money. The letter also stated that Henry had bought the phosphorus used to kill his sister from a unnamed man who had later committed suicide. (How convenient!)\u003c/p>\n\n\n\n\u003cp>When reporters told Bowers about the confession letter, the doctor said, rather smugly, “Strange that with all my watchfulness, and despite the fact that I was continually at her bedside, that [Henry] should be able to get in and poison her in such a mysterious manner.”\u003c/p>\n\n\n\n\n\n\u003cp>Now, if you’re thinking, “Sounds like Dr. Bowers had his brother-in-law murdered,” you’re not the first. Investigators quickly jumped on the case, and after following some boulder-sized breadcrumbs, arrested a friend of Bowers’ named John Dimmig. Not only was Dimmig a frequent visitor to Bowers in prison, he’d also recently rented the room that Henry’s body was found in. (Dimmig claimed that Henry must have stolen his key.)\u003c/p>\n\n\n\n\u003cp>Despite Dimmig making several preposterous assertions (like admitting he’d recently bought cyanide, yes, but that it was just for a doctor friend), Dimmig’s murder trial was complicated by confusing witness testimony and conflicting handwriting analysis. (One expert said the confession letter was definitely fake, the other said it absolutely matched Henry’s penmanship.) The trial ended in a hung jury. A second trial six months later also resulted in a deadlock, but this time the judge refused to let the jury give up and go home. The end result? Dimmig was found not guilty.\u003c/p>\n\n\n\n\u003cp>As a result of Dimmig being acquitted — and brace yourself for this nonsense — the California Supreme Court decided that the confession letter with Henry’s name on it was enough grounds for Bowers to be released. The doctor got out after just four years in the clink. He quickly opened a medical practice in San Francisco that no one wanted to go to. Then he tried again in Oakland, another location where he was a pariah. Finally, he limped on down to San José, where he was less well-known, and opened an office there.\u003c/p>\n\n\n\n\u003cp>Dr. Bowers died of a stroke in 1904, after battling health problems for two years. The \u003cem>San Francisco\u003c/em> \u003cem>Call\u003c/em>’s report of his death kindly noted that his fourth wife — a schoolteacher named Mary Bird who married him in 1895 — “fortunately survives him.” The article also quoted one detective, Robert Hogan, who had never forgotten the details of Cecelia Benhayon’s agonizing death. \u003c/p>\n\n\n\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "the-dome-show-di-rosa-sf-live-work-oakland-artist-housing",
"title": "The Dome Exemplifies the Kind of Artistic Community the Bay Area Needs Now",
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"content": "\u003cp>Bay Area artists’ studios and homes feel like they’re getting smaller all the time. The region seems ever-contracting, squeezing out and closing off its artistic community — even as it expands upward through \u003ca href=\"https://www.kqed.org/arts/13987491/thee-parkside-closing-san-francisco-potrero-hill\">new-build condos\u003c/a> and outward through virtual vistas. Tracing the evolution of art made inside Bay Area homes is to trace the material minimization of artists and their practices.\u003c/p>\n\n\n\n\u003cp>\u003ca href=\"https://www.dirosaart.org/2026/03/the-dome-show\">\u003cem>The Dome Show\u003c/em>\u003c/a> at di Rosa SF celebrates the 50th anniversary of the titular Oakland artist \u003ca href=\"https://www.thedomecenter.org/\">live/work community\u003c/a> at a time when the solutions it models may be more relevant than ever. Founded in 1976 by ceramics artist \u003ca href=\"https://americanart.si.edu/artist/peter-voulkos-5183\">Peter Voulkos\u003c/a> (1924–2002) in response to the rising cost of living in San Francisco, The Dome has remained a hub for creative energy and community.\u003c/p>\n\n\n\n\u003cp>The exhibition features 14 artists, including Voulkos and other founding members, as well as current residents and artists like Clay Jensen, who has maintained a studio there since 1976.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/The-Dome-Show_2_2000.jpg\" alt=\"gallery view with sculptures on floor and paintings on walls\" class=\"wp-image-13990845\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/The-Dome-Show_2_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/The-Dome-Show_2_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/The-Dome-Show_2_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/The-Dome-Show_2_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Installation view of ‘The Dome Show’ at di Rosa SF. (di Rosa)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>“The purchase of the building was an insight into Peter’s intelligence,” Jensen tells KQED. “For those who are directly involved in the physical arts, it’s always been difficult to find a space big enough to work and live in.”\u003c/p>\n\n\n\n\u003cp>The Dome was, at its inception, the first live/work space in Oakland, though even then it was illegal to live in a commercial building. The workaround came as a direct result of Voulkos’ ceramics practice — the large-scale gas kilns at The Dome had to be monitored 24 hours a day, so early residents were considered “kiln technicians.”\u003c/p>\n\n\n\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Today, The Dome houses 14 studios, some shared, seven of which are live-in, with monthly rents ranging from $742 for a roughly 800-square foot studio to $2,100 for a 2,500-square foot live-work space. It’s a simple premise: when artists have less rent to worry about, their practice can take precedence. \u003c/p>\n\n\n\n\u003cp>“Limits of affordability force artists to be driven by a profit motive which limits periods of play and research,” di Rosa’s curator Twyla Ruby explains.\u003c/p>\n\n\n\n\u003cp>In the di Rosa exhibition, Voulkos’ bronze and stoneware sculptures exemplify the scale and imaginative benefits of working in an accommodating space. The strange, dome-like structures with gnarled chimneys look almost like kilns morphing from the gallery’s cement floor. Bella Feldman and Tom Holland’s large-scale aluminum, steel and wood sculptures also make the argument for taking up space.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1500\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/The-Dome-Show_12_2000.jpg\" alt=\"sculptures embedded with photographs sitting on pedestal\" class=\"wp-image-13990846\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/The-Dome-Show_12_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/The-Dome-Show_12_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/The-Dome-Show_12_2000-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/The-Dome-Show_12_2000-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Installation view of Takming Chuang’s work in ‘The Dome Show’ at di Rosa SF. (di Rosa)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>For multimedia artist \u003ca href=\"https://takmingchuang.com/\">Takming Chuang\u003c/a>, the increased studio space The Dome gave him was practice-altering. He moved into a studio at The Dome in March 2020, after completing a Headlands Center for the Arts graduate fellowship.\u003c/p>\n\n\n\n\u003cp>“I was quite depressed when I was searching for studio spaces in San Francisco,” Chuang says.\u003c/p>\n\n\n\n\u003cp>Most studios he looked at cost at least $500 dollars for just a small corner in a shared space. At home, he was painting in the living room he shared with his partner and roommates. Thanks to the ample studio he now splits with ceramics artist \u003ca href=\"https://luisdcasas.com/\">Luis Casas\u003c/a> at The Dome, Chuang has been able to fully embrace large-scale, multimedia installations, like the one on view at di Rosa.\u003c/p>\n\n\n\n\u003cp>Chuang’s modular installation \u003cem>Placeholder for Remains\u003c/em> (2026) combines ceramic forms with photographic snapshots. Each individual element is small, but displayed together as a contiguous installation, the work expands, meandering through the gallery and inviting the viewer to move with it.\u003c/p>\n\n\n\n\u003cp>In addition to expanding material possibilities, artist communities can also facilitate a culture of experimentation.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1346\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/The-Dome-Space_6_2000.jpg\" alt=\"wide view of person on tall ladder in front of large tapestry in warehouse\" class=\"wp-image-13990847\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/The-Dome-Space_6_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/The-Dome-Space_6_2000-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/The-Dome-Space_6_2000-768x517.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/The-Dome-Space_6_2000-1536x1034.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">An artist works on a large-scale textile piece in The Dome. (Photo by Marilyn Levine; courtesy of Clay Jensen)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>“The Dome has a very creative, inspirational environment,” multimedia artist \u003ca href=\"https://www.joanngillerman.com/\">JoAnn Gillerman\u003c/a> says, “which creates the space to keep creating and keep being an artist. That’s possibly as important as the physical space. For me, being surrounded by so many wonderful artists is like living with extended family.”\u003c/p>\n\n\n\n\u003cp>Gillerman is another first-generation “Domer,” as she and Jensen call themselves. She’s taught at the \u003ca href=\"https://www.kqed.org/arts/13985413/california-college-of-the-arts-sfai-mills-art-school-closures\">California College of the Arts\u003c/a> since 1976. The Dome is the only place in the Bay Area she’s ever lived.\u003c/p>\n\n\n\n\u003cp>She’s also the only Domer to work in what she calls “electronic arts,” experimenting with analog and digital technology. Her videos on view at di Rosa span the 1970s to now; they were created using a handmade video synthesizer which chops and screws video signals into something like abstract digital painting. \u003cem>Border Eclipse Immersive\u003c/em> (2025–2026) is a VR piece of a solar eclipse taking place at an unnamed border, using the natural analogy to push back against the idea of arbitrary geographic limitations. It’s also a fantasy of infinite space, sort of like The Dome.\u003c/p>\n\n\n\n\u003cp>“I moved in here with just my video synthesizer and a couple of monitors and some cameras,” Gillerman says. “I was in a giant open warehouse with just a little corner where I pirated electricity from the main circuit in the hall, because I moved in before there was electrical or plumbing. The one rule Peter had was that you had to remain a working artist or you’d be booted out.”\u003c/p>\n\n\n\n\n\n\u003cp>As much as it is a mandate, it’s also what The Dome has made possible for its residents over the years. \u003cem>The Dome Show \u003c/em>is a refreshing reminder of the kinds of solutions the Bay Area’s creative community is capable of creating for itself, when corporate greed and municipal regulations don’t get in the way. Ownership, Jensen says, is the key.\u003c/p>\n\n\n\n\u003cp>“Artists come into these tough areas and gentrify them because that’s the place they can afford to live and work,” Jensen says. “As soon as it gets to a point where someone with more money can come in, they’re pushed out unless they can buy the building. Peter was fortunate enough to do that but also smart enough to do that.”\u003c/p>\n\n\n\n\u003cp>Local nonprofits like the\u003ca href=\"https://cast-sf.org/\"> Community Arts Stabilization Trust\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13989682/artist-housing-advocates-eye-a-once-in-100-year-opportunity\">Artist Space Trust\u003c/a> work in different ways to help individual artists and arts organizations purchase long-term homes. But artists are still waiting on municipalities to support them directly, whether that’s by limiting the power of developers or improving zoning laws that allow live/work spaces to exist. \u003c/p>\n\n\n\n\u003cp>One solution may be for artists to work with local governments directly, instead of relying on developers or the generosity of a single benefactor (like Voulkos). These days, not many artists have that kind of cash.\u003c/p>\n\n\n\n\u003cp>Even so, Ruby is hopeful that The Dome’s by-artists, for-artists model might inspire more artist-led initiatives, especially with the addition of funding from grant programs or city governments.\u003c/p>\n\n\n\n\u003cp>“Maybe the Bay Area could become a policy model when it comes to public financing for artists,” she says.\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\">\n\n\n\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.dirosaart.org/2026/03/the-dome-show\">The Dome Show\u003c/a>’ is on view at di Rosa SF (1150 25th St., San Francisco) through Sept. 12, 2026.\u003c/em>\u003c/p>\n\n",
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"innerHTML": "\n\u003cp>Bay Area artists’ studios and homes feel like they’re getting smaller all the time. The region seems ever-contracting, squeezing out and closing off its artistic community — even as it expands upward through \u003ca href=\"https://www.kqed.org/arts/13987491/thee-parkside-closing-san-francisco-potrero-hill\">new-build condos\u003c/a> and outward through virtual vistas. Tracing the evolution of art made inside Bay Area homes is to trace the material minimization of artists and their practices.\u003c/p>\n",
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"\n\u003cp>Bay Area artists’ studios and homes feel like they’re getting smaller all the time. The region seems ever-contracting, squeezing out and closing off its artistic community — even as it expands upward through \u003ca href=\"https://www.kqed.org/arts/13987491/thee-parkside-closing-san-francisco-potrero-hill\">new-build condos\u003c/a> and outward through virtual vistas. Tracing the evolution of art made inside Bay Area homes is to trace the material minimization of artists and their practices.\u003c/p>\n"
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"innerHTML": "\n\u003cp>\u003ca href=\"https://www.dirosaart.org/2026/03/the-dome-show\">\u003cem>The Dome Show\u003c/em>\u003c/a> at di Rosa SF celebrates the 50th anniversary of the titular Oakland artist \u003ca href=\"https://www.thedomecenter.org/\">live/work community\u003c/a> at a time when the solutions it models may be more relevant than ever. Founded in 1976 by ceramics artist \u003ca href=\"https://americanart.si.edu/artist/peter-voulkos-5183\">Peter Voulkos\u003c/a> (1924–2002) in response to the rising cost of living in San Francisco, The Dome has remained a hub for creative energy and community.\u003c/p>\n",
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"\n\u003cp>\u003ca href=\"https://www.dirosaart.org/2026/03/the-dome-show\">\u003cem>The Dome Show\u003c/em>\u003c/a> at di Rosa SF celebrates the 50th anniversary of the titular Oakland artist \u003ca href=\"https://www.thedomecenter.org/\">live/work community\u003c/a> at a time when the solutions it models may be more relevant than ever. Founded in 1976 by ceramics artist \u003ca href=\"https://americanart.si.edu/artist/peter-voulkos-5183\">Peter Voulkos\u003c/a> (1924–2002) in response to the rising cost of living in San Francisco, The Dome has remained a hub for creative energy and community.\u003c/p>\n"
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"innerHTML": "\n\u003cp>The exhibition features 14 artists, including Voulkos and other founding members, as well as current residents and artists like Clay Jensen, who has maintained a studio there since 1976.\u003c/p>\n",
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"\n\u003cp>The exhibition features 14 artists, including Voulkos and other founding members, as well as current residents and artists like Clay Jensen, who has maintained a studio there since 1976.\u003c/p>\n"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/The-Dome-Show_2_2000.jpg\" alt=\"gallery view with sculptures on floor and paintings on walls\" class=\"wp-image-13990845\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/The-Dome-Show_2_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/The-Dome-Show_2_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/The-Dome-Show_2_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/The-Dome-Show_2_2000-1536x1024.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Installation view of ‘The Dome Show’ at di Rosa SF.\u003c/figcaption>\u003c/figure>\n",
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"innerHTML": "\n\u003cp>“The purchase of the building was an insight into Peter’s intelligence,” Jensen tells KQED. “For those who are directly involved in the physical arts, it’s always been difficult to find a space big enough to work and live in.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>The Dome was, at its inception, the first live/work space in Oakland, though even then it was illegal to live in a commercial building. The workaround came as a direct result of Voulkos’ ceramics practice — the large-scale gas kilns at The Dome had to be monitored 24 hours a day, so early residents were considered “kiln technicians.”\u003c/p>\n",
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"\n\u003cp>The Dome was, at its inception, the first live/work space in Oakland, though even then it was illegal to live in a commercial building. The workaround came as a direct result of Voulkos’ ceramics practice — the large-scale gas kilns at The Dome had to be monitored 24 hours a day, so early residents were considered “kiln technicians.”\u003c/p>\n"
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"innerHTML": "\n\u003cp>Today, The Dome houses 14 studios, some shared, seven of which are live-in, with monthly rents ranging from $742 for a roughly 800-square foot studio to $2,100 for a 2,500-square foot live-work space. It’s a simple premise: when artists have less rent to worry about, their practice can take precedence. \u003c/p>\n",
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"\n\u003cp>Today, The Dome houses 14 studios, some shared, seven of which are live-in, with monthly rents ranging from $742 for a roughly 800-square foot studio to $2,100 for a 2,500-square foot live-work space. It’s a simple premise: when artists have less rent to worry about, their practice can take precedence. \u003c/p>\n"
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"innerHTML": "\n\u003cp>“Limits of affordability force artists to be driven by a profit motive which limits periods of play and research,” di Rosa’s curator Twyla Ruby explains.\u003c/p>\n",
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"\n\u003cp>“Limits of affordability force artists to be driven by a profit motive which limits periods of play and research,” di Rosa’s curator Twyla Ruby explains.\u003c/p>\n"
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"innerHTML": "\n\u003cp>In the di Rosa exhibition, Voulkos’ bronze and stoneware sculptures exemplify the scale and imaginative benefits of working in an accommodating space. The strange, dome-like structures with gnarled chimneys look almost like kilns morphing from the gallery’s cement floor. Bella Feldman and Tom Holland’s large-scale aluminum, steel and wood sculptures also make the argument for taking up space.\u003c/p>\n",
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"\n\u003cp>In the di Rosa exhibition, Voulkos’ bronze and stoneware sculptures exemplify the scale and imaginative benefits of working in an accommodating space. The strange, dome-like structures with gnarled chimneys look almost like kilns morphing from the gallery’s cement floor. Bella Feldman and Tom Holland’s large-scale aluminum, steel and wood sculptures also make the argument for taking up space.\u003c/p>\n"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/The-Dome-Show_12_2000.jpg\" alt=\"sculptures embedded with photographs sitting on pedestal\" class=\"wp-image-13990846\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/The-Dome-Show_12_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/The-Dome-Show_12_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/The-Dome-Show_12_2000-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/The-Dome-Show_12_2000-1536x1152.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">Installation view of Takming Chuang’s work in ‘The Dome Show’ at di Rosa SF.\u003c/figcaption>\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/The-Dome-Show_12_2000.jpg\" alt=\"sculptures embedded with photographs sitting on pedestal\" class=\"wp-image-13990846\"/>\u003cfigcaption class=\"wp-element-caption\">Installation view of Takming Chuang’s work in ‘The Dome Show’ at di Rosa SF.\u003c/figcaption>\u003c/figure>\n"
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"innerHTML": "\n\u003cp>For multimedia artist \u003ca href=\"https://takmingchuang.com/\">Takming Chuang\u003c/a>, the increased studio space The Dome gave him was practice-altering. He moved into a studio at The Dome in March 2020, after completing a Headlands Center for the Arts graduate fellowship.\u003c/p>\n",
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"\n\u003cp>For multimedia artist \u003ca href=\"https://takmingchuang.com/\">Takming Chuang\u003c/a>, the increased studio space The Dome gave him was practice-altering. He moved into a studio at The Dome in March 2020, after completing a Headlands Center for the Arts graduate fellowship.\u003c/p>\n"
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"innerHTML": "\n\u003cp>“I was quite depressed when I was searching for studio spaces in San Francisco,” Chuang says.\u003c/p>\n",
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"innerHTML": "\n\u003cp>Most studios he looked at cost at least $500 dollars for just a small corner in a shared space. At home, he was painting in the living room he shared with his partner and roommates. Thanks to the ample studio he now splits with ceramics artist \u003ca href=\"https://luisdcasas.com/\">Luis Casas\u003c/a> at The Dome, Chuang has been able to fully embrace large-scale, multimedia installations, like the one on view at di Rosa.\u003c/p>\n",
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"\n\u003cp>Most studios he looked at cost at least $500 dollars for just a small corner in a shared space. At home, he was painting in the living room he shared with his partner and roommates. Thanks to the ample studio he now splits with ceramics artist \u003ca href=\"https://luisdcasas.com/\">Luis Casas\u003c/a> at The Dome, Chuang has been able to fully embrace large-scale, multimedia installations, like the one on view at di Rosa.\u003c/p>\n"
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"innerHTML": "\n\u003cp>Chuang’s modular installation \u003cem>Placeholder for Remains\u003c/em> (2026) combines ceramic forms with photographic snapshots. Each individual element is small, but displayed together as a contiguous installation, the work expands, meandering through the gallery and inviting the viewer to move with it.\u003c/p>\n",
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"\n\u003cp>Chuang’s modular installation \u003cem>Placeholder for Remains\u003c/em> (2026) combines ceramic forms with photographic snapshots. Each individual element is small, but displayed together as a contiguous installation, the work expands, meandering through the gallery and inviting the viewer to move with it.\u003c/p>\n"
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"innerHTML": "\n\u003cp>In addition to expanding material possibilities, artist communities can also facilitate a culture of experimentation.\u003c/p>\n",
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"\n\u003cp>In addition to expanding material possibilities, artist communities can also facilitate a culture of experimentation.\u003c/p>\n"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/The-Dome-Space_6_2000.jpg\" alt=\"wide view of person on tall ladder in front of large tapestry in warehouse\" class=\"wp-image-13990847\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/The-Dome-Space_6_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/The-Dome-Space_6_2000-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/The-Dome-Space_6_2000-768x517.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/The-Dome-Space_6_2000-1536x1034.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">An artist works on a large-scale textile piece in The Dome.\u003c/figcaption>\u003c/figure>\n",
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"innerHTML": "\n\u003cp>“The Dome has a very creative, inspirational environment,” multimedia artist \u003ca href=\"https://www.joanngillerman.com/\">JoAnn Gillerman\u003c/a> says, “which creates the space to keep creating and keep being an artist. That’s possibly as important as the physical space. For me, being surrounded by so many wonderful artists is like living with extended family.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>Gillerman is another first-generation “Domer,” as she and Jensen call themselves. She’s taught at the \u003ca href=\"https://www.kqed.org/arts/13985413/california-college-of-the-arts-sfai-mills-art-school-closures\">California College of the Arts\u003c/a> since 1976. The Dome is the only place in the Bay Area she’s ever lived.\u003c/p>\n",
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"innerHTML": "\n\u003cp>She’s also the only Domer to work in what she calls “electronic arts,” experimenting with analog and digital technology. Her videos on view at di Rosa span the 1970s to now; they were created using a handmade video synthesizer which chops and screws video signals into something like abstract digital painting. \u003cem>Border Eclipse Immersive\u003c/em> (2025–2026) is a VR piece of a solar eclipse taking place at an unnamed border, using the natural analogy to push back against the idea of arbitrary geographic limitations. It’s also a fantasy of infinite space, sort of like The Dome.\u003c/p>\n",
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"\n\u003cp>She’s also the only Domer to work in what she calls “electronic arts,” experimenting with analog and digital technology. Her videos on view at di Rosa span the 1970s to now; they were created using a handmade video synthesizer which chops and screws video signals into something like abstract digital painting. \u003cem>Border Eclipse Immersive\u003c/em> (2025–2026) is a VR piece of a solar eclipse taking place at an unnamed border, using the natural analogy to push back against the idea of arbitrary geographic limitations. It’s also a fantasy of infinite space, sort of like The Dome.\u003c/p>\n"
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"innerHTML": "\n\u003cp>“I moved in here with just my video synthesizer and a couple of monitors and some cameras,” Gillerman says. “I was in a giant open warehouse with just a little corner where I pirated electricity from the main circuit in the hall, because I moved in before there was electrical or plumbing. The one rule Peter had was that you had to remain a working artist or you’d be booted out.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>As much as it is a mandate, it’s also what The Dome has made possible for its residents over the years. \u003cem>The Dome Show \u003c/em>is a refreshing reminder of the kinds of solutions the Bay Area’s creative community is capable of creating for itself, when corporate greed and municipal regulations don’t get in the way. Ownership, Jensen says, is the key.\u003c/p>\n",
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"innerHTML": "\n\u003cp>“Artists come into these tough areas and gentrify them because that’s the place they can afford to live and work,” Jensen says. “As soon as it gets to a point where someone with more money can come in, they’re pushed out unless they can buy the building. Peter was fortunate enough to do that but also smart enough to do that.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>Local nonprofits like the\u003ca href=\"https://cast-sf.org/\"> Community Arts Stabilization Trust\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13989682/artist-housing-advocates-eye-a-once-in-100-year-opportunity\">Artist Space Trust\u003c/a> work in different ways to help individual artists and arts organizations purchase long-term homes. But artists are still waiting on municipalities to support them directly, whether that’s by limiting the power of developers or improving zoning laws that allow live/work spaces to exist. \u003c/p>\n",
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"innerHTML": "\n\u003cp>One solution may be for artists to work with local governments directly, instead of relying on developers or the generosity of a single benefactor (like Voulkos). These days, not many artists have that kind of cash.\u003c/p>\n",
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"innerHTML": "\n\u003cp>Even so, Ruby is hopeful that The Dome’s by-artists, for-artists model might inspire more artist-led initiatives, especially with the addition of funding from grant programs or city governments.\u003c/p>\n",
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"innerHTML": "\n\u003cp>“Maybe the Bay Area could become a policy model when it comes to public financing for artists,” she says.\u003c/p>\n",
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"innerHTML": "\n\u003cp>\u003cem>‘\u003ca href=\"https://www.dirosaart.org/2026/03/the-dome-show\">The Dome Show\u003c/a>’ is on view at di Rosa SF (1150 25th St., San Francisco) through Sept. 12, 2026.\u003c/em>\u003c/p>\n",
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"excerpt": "A show at di Rosa SF celebrates the past and present artists of Oakland’s first live/work community.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bay Area artists’ studios and homes feel like they’re getting smaller all the time. The region seems ever-contracting, squeezing out and closing off its artistic community — even as it expands upward through \u003ca href=\"https://www.kqed.org/arts/13987491/thee-parkside-closing-san-francisco-potrero-hill\">new-build condos\u003c/a> and outward through virtual vistas. Tracing the evolution of art made inside Bay Area homes is to trace the material minimization of artists and their practices.\u003c/p>\n\n\n\n\u003cp>\u003ca href=\"https://www.dirosaart.org/2026/03/the-dome-show\">\u003cem>The Dome Show\u003c/em>\u003c/a> at di Rosa SF celebrates the 50th anniversary of the titular Oakland artist \u003ca href=\"https://www.thedomecenter.org/\">live/work community\u003c/a> at a time when the solutions it models may be more relevant than ever. Founded in 1976 by ceramics artist \u003ca href=\"https://americanart.si.edu/artist/peter-voulkos-5183\">Peter Voulkos\u003c/a> (1924–2002) in response to the rising cost of living in San Francisco, The Dome has remained a hub for creative energy and community.\u003c/p>\n\n\n\n\u003cp>The exhibition features 14 artists, including Voulkos and other founding members, as well as current residents and artists like Clay Jensen, who has maintained a studio there since 1976.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/The-Dome-Show_2_2000.jpg\" alt=\"gallery view with sculptures on floor and paintings on walls\" class=\"wp-image-13990845\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/The-Dome-Show_2_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/The-Dome-Show_2_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/The-Dome-Show_2_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/The-Dome-Show_2_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Installation view of ‘The Dome Show’ at di Rosa SF. (di Rosa)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>“The purchase of the building was an insight into Peter’s intelligence,” Jensen tells KQED. “For those who are directly involved in the physical arts, it’s always been difficult to find a space big enough to work and live in.”\u003c/p>\n\n\n\n\u003cp>The Dome was, at its inception, the first live/work space in Oakland, though even then it was illegal to live in a commercial building. The workaround came as a direct result of Voulkos’ ceramics practice — the large-scale gas kilns at The Dome had to be monitored 24 hours a day, so early residents were considered “kiln technicians.”\u003c/p>\n\n\n\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Today, The Dome houses 14 studios, some shared, seven of which are live-in, with monthly rents ranging from $742 for a roughly 800-square foot studio to $2,100 for a 2,500-square foot live-work space. It’s a simple premise: when artists have less rent to worry about, their practice can take precedence. \u003c/p>\n\n\n\n\u003cp>“Limits of affordability force artists to be driven by a profit motive which limits periods of play and research,” di Rosa’s curator Twyla Ruby explains.\u003c/p>\n\n\n\n\u003cp>In the di Rosa exhibition, Voulkos’ bronze and stoneware sculptures exemplify the scale and imaginative benefits of working in an accommodating space. The strange, dome-like structures with gnarled chimneys look almost like kilns morphing from the gallery’s cement floor. Bella Feldman and Tom Holland’s large-scale aluminum, steel and wood sculptures also make the argument for taking up space.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1500\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/The-Dome-Show_12_2000.jpg\" alt=\"sculptures embedded with photographs sitting on pedestal\" class=\"wp-image-13990846\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/The-Dome-Show_12_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/The-Dome-Show_12_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/The-Dome-Show_12_2000-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/The-Dome-Show_12_2000-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">Installation view of Takming Chuang’s work in ‘The Dome Show’ at di Rosa SF. (di Rosa)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>For multimedia artist \u003ca href=\"https://takmingchuang.com/\">Takming Chuang\u003c/a>, the increased studio space The Dome gave him was practice-altering. He moved into a studio at The Dome in March 2020, after completing a Headlands Center for the Arts graduate fellowship.\u003c/p>\n\n\n\n\u003cp>“I was quite depressed when I was searching for studio spaces in San Francisco,” Chuang says.\u003c/p>\n\n\n\n\u003cp>Most studios he looked at cost at least $500 dollars for just a small corner in a shared space. At home, he was painting in the living room he shared with his partner and roommates. Thanks to the ample studio he now splits with ceramics artist \u003ca href=\"https://luisdcasas.com/\">Luis Casas\u003c/a> at The Dome, Chuang has been able to fully embrace large-scale, multimedia installations, like the one on view at di Rosa.\u003c/p>\n\n\n\n\u003cp>Chuang’s modular installation \u003cem>Placeholder for Remains\u003c/em> (2026) combines ceramic forms with photographic snapshots. Each individual element is small, but displayed together as a contiguous installation, the work expands, meandering through the gallery and inviting the viewer to move with it.\u003c/p>\n\n\n\n\u003cp>In addition to expanding material possibilities, artist communities can also facilitate a culture of experimentation.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1346\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/The-Dome-Space_6_2000.jpg\" alt=\"wide view of person on tall ladder in front of large tapestry in warehouse\" class=\"wp-image-13990847\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/The-Dome-Space_6_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/The-Dome-Space_6_2000-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/The-Dome-Space_6_2000-768x517.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/The-Dome-Space_6_2000-1536x1034.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">An artist works on a large-scale textile piece in The Dome. (Photo by Marilyn Levine; courtesy of Clay Jensen)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>“The Dome has a very creative, inspirational environment,” multimedia artist \u003ca href=\"https://www.joanngillerman.com/\">JoAnn Gillerman\u003c/a> says, “which creates the space to keep creating and keep being an artist. That’s possibly as important as the physical space. For me, being surrounded by so many wonderful artists is like living with extended family.”\u003c/p>\n\n\n\n\u003cp>Gillerman is another first-generation “Domer,” as she and Jensen call themselves. She’s taught at the \u003ca href=\"https://www.kqed.org/arts/13985413/california-college-of-the-arts-sfai-mills-art-school-closures\">California College of the Arts\u003c/a> since 1976. The Dome is the only place in the Bay Area she’s ever lived.\u003c/p>\n\n\n\n\u003cp>She’s also the only Domer to work in what she calls “electronic arts,” experimenting with analog and digital technology. Her videos on view at di Rosa span the 1970s to now; they were created using a handmade video synthesizer which chops and screws video signals into something like abstract digital painting. \u003cem>Border Eclipse Immersive\u003c/em> (2025–2026) is a VR piece of a solar eclipse taking place at an unnamed border, using the natural analogy to push back against the idea of arbitrary geographic limitations. It’s also a fantasy of infinite space, sort of like The Dome.\u003c/p>\n\n\n\n\u003cp>“I moved in here with just my video synthesizer and a couple of monitors and some cameras,” Gillerman says. “I was in a giant open warehouse with just a little corner where I pirated electricity from the main circuit in the hall, because I moved in before there was electrical or plumbing. The one rule Peter had was that you had to remain a working artist or you’d be booted out.”\u003c/p>\n\n\n\n\n\n\u003cp>As much as it is a mandate, it’s also what The Dome has made possible for its residents over the years. \u003cem>The Dome Show \u003c/em>is a refreshing reminder of the kinds of solutions the Bay Area’s creative community is capable of creating for itself, when corporate greed and municipal regulations don’t get in the way. Ownership, Jensen says, is the key.\u003c/p>\n\n\n\n\u003cp>“Artists come into these tough areas and gentrify them because that’s the place they can afford to live and work,” Jensen says. “As soon as it gets to a point where someone with more money can come in, they’re pushed out unless they can buy the building. Peter was fortunate enough to do that but also smart enough to do that.”\u003c/p>\n\n\n\n\u003cp>Local nonprofits like the\u003ca href=\"https://cast-sf.org/\"> Community Arts Stabilization Trust\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13989682/artist-housing-advocates-eye-a-once-in-100-year-opportunity\">Artist Space Trust\u003c/a> work in different ways to help individual artists and arts organizations purchase long-term homes. But artists are still waiting on municipalities to support them directly, whether that’s by limiting the power of developers or improving zoning laws that allow live/work spaces to exist. \u003c/p>\n\n\n\n\u003cp>One solution may be for artists to work with local governments directly, instead of relying on developers or the generosity of a single benefactor (like Voulkos). These days, not many artists have that kind of cash.\u003c/p>\n\n\n\n\u003cp>Even so, Ruby is hopeful that The Dome’s by-artists, for-artists model might inspire more artist-led initiatives, especially with the addition of funding from grant programs or city governments.\u003c/p>\n\n\n\n\u003cp>“Maybe the Bay Area could become a policy model when it comes to public financing for artists,” she says.\u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\">\n\n\n\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "1980s-san-francisco-aids-protest-federal-building-arc-vigil",
"title": "The San Francisco AIDS Protest That Lasted a Decade",
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"content": "\u003cp>On Oct. 27, 1985, two 26-year-old men arrived at San Francisco’s old Federal Building at 50 United Nations Plaza, chained themselves to a set of doors and started a protest that would last an entire decade.\u003c/p>\n\n\n\n\u003cp>Their names were Frank Bert and Steven Russell and both were living with ARC, or \u003ca href=\"https://www.kqed.org/stateofhealth/tag/hivaids\">AIDS\u003c/a>-Related Complex. In the 1980s, ARC was a catch-all term used to describe the symptoms most commonly associated with HIV as it developed into AIDS. Bert and Russell chose the U.N. Plaza because it was then home to the regional office of the U.S. Department of Health and Human Services.\u003c/p>\n\n\n\n\u003cp>The pair wanted to draw attention to the roughly 15,000 San Francisco residents living with ARC at the time. They were also demanding more funding for AIDS research, FDA approval of experimental AIDS treatments, and more benefits for people living with ARC. (ARC patients were granted less social security and disability benefits than AIDS patients.)\u003c/p>\n\n\n\n\u003cp>Shortly after Bert and Russell’s protest began, Pat Norman — the first openly gay employee of San Francisco’s Health Department — \u003ca href=\"https://www.youtube.com/watch?v=caJ_l-rHeN8\">told documentary filmmakers\u003c/a> she believed ARC patients were being sidelined on purpose. “[Government officials] don’t want to spend money treating and providing services for people with ARC because it is larger and larger and larger than anybody wants to concede,” she said. “They are trying very hard not to expand the definition and diagnoses of ARC.”\u003c/p>\n\n\n\n\u003cp>It did not take long for people to start sympathizing with Bert and Russell’s cause. Four days into the protest, the \u003cem>San Francisco Examiner\u003c/em> published a photo of the men titled “Other casualties of AIDS.” They sat peacefully under a blanket, wearing multiple layers of clothes, still chained to the doors. The 24/7 protest was kept alive by allies who showed up to give Bert and Russell breaks. The first two helpers were Paul Ramirez, 27 and Wes North, 31.\u003c/p>\n\n\n\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“When I’m out here, there’s so much love,” North told the \u003cem>San Francisco Chronicle\u003c/em> a few weeks later. “When I’m at home alone, I get scared. I think of dying. Here, I feel I’m doing something.”\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1324\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/ARC-Vigil-Night-Final-2000x1324.png\" alt=\"A government building with two mattresses visible in its doorway. Opposite, on a grassy area, several tents are set up.\" class=\"wp-image-13990619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/ARC-Vigil-Night-Final-2000x1324.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/ARC-Vigil-Night-Final-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/ARC-Vigil-Night-Final-768x509.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/ARC-Vigil-Night-Final-1536x1017.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/ARC-Vigil-Night-Final-2048x1356.png 2048w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">The ARC-AIDS Vigil at San Francisco’s old Federal Building, as it looked at night. (Courtesy of the GLBT Historical Society)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>North wasn’t alone. The longer Bert, Russell and their cohort stayed at U.N. Plaza, the more the protest transformed into a community hub. By the end of 1985, 100 people were in attendance, some of whom slept in tents. Federal Building employees started bringing coffee and donuts. A nurse donated a grill. Others dropped off Thanksgiving turkeys and a Christmas tree to get the makeshift village through the holidays.\u003c/p>\n\n\n\n\u003cp>A woman named Serena Wylie who regularly donated casseroles to the vigil told the \u003cem>Chronicle\u003c/em> in December: “[The protesters] have come to be part of my family. There is joy here and a lot of laughter and smiles. There is strength and hope.”\u003c/p>\n\n\n\n\u003cp>The prolonged action was not without its risks, however. In the early hours of Nov. 3, two straight allies were attacked by strangers at the federal building. (“It is not going to scare us away,” Russell told the \u003cem>Examiner\u003c/em> at the time. “If we need to, we will stay here indefinitely.”) In the first week of December, a 39-year-old protester named Jän Beck was rushed to SF General after enduring three seizures and a stroke at the federal building. As soon as he was back on his feet, he went straight back to U.N. Plaza, telling reporters, “I have felt a home here that I have not felt in a long, long time.”\u003c/p>\n\n\n\n\u003cp>Beck added, “It started out as a desperate, last-ditch effort by people who had seemingly tried everything to get the government to listen. It gained a new spirit and power because people have become empowered.”\u003c/p>\n\n\n\n\n\n\u003cp>That spirit proved to be contagious. Folks gathered at the vigil were not placated by the House and Senate approving $221.5 million for AIDS research at the end of 1985. Everyone stayed put. Some began writing letters to their local and federal representatives, including Mayor Dianne Feinstein and President Ronald Reagan. The Board of Supervisors endorsed the vigil, and Congresswoman Barbara Boxer shared her support too.\u003c/p>\n\n\n\n\u003cp>The core members of the vigil began fundraising, sending out press releases, and set up an information table on site. An official organization was established to run things, led by project director William Davis and secretary Lance Hunt. Smaller ARC-AIDS vigil committees were formed to create sit-in schedules, plan other political actions and coordinate community outreach.\u003c/p>\n\n\n\n\u003cp>By February 1986, Hal Freeman, the manager of the Department of Health and Human Services, had resigned after 18 years of service — in protest of his own department’s inaction on AIDS and ARC. At the time, Freeman shared that, “a director in one meeting in Washington was heard to say ‘We don’t want to lend an aura of dignity to these AIDS cases,’ and that, to me, is simple homophobia.” (Freeman died of AIDS just two and a half years after his resignation.)\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1185\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/ARC-Vigil-88.jpg\" alt=\"Four men of varying ages stand outside doors to an office building. One is holding a large American flag.\" class=\"wp-image-13990331\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/ARC-Vigil-88.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/ARC-Vigil-88-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/ARC-Vigil-88-768x455.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/ARC-Vigil-88-1536x910.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">The third anniversary of the ARC-AIDS demonstration at U.N. Plaza Federal Building is marked by four protesters. (10/22/1988 Gay Rights Project)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>In its first five years, the ARC-AIDS vigil became a powerful symbol of the suffering caused by inaction on a national level. It spotlit the ongoing crisis. Perhaps even more importantly, it became a safe space for information sharing and harm-reduction resources for thousands of Bay Area residents.\u003c/p>\n\n\n\n\u003cp>The last five years of the vigil were less consistent; by 1995, just three protesters remained at U.N. Plaza. Their encampment was ultimately destroyed by a December storm. With that, the vigil finally came to an end.\u003c/p>\n\n\n\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Three decades on, the ARC-AIDS vigil is an inspiring example of grassroots activism in action. It remains an essential reminder of the greatest struggles shouldered by San Francisco’s gay community in the first decade of the AIDS epidemic. That the vigil endured for so long speaks to the slowness of the federal response to the crisis. But the longest-continuous protest in San Francisco history also reflects the resilience, determination and bravery of LGBTQ+ activists in the city. May they be remembered this, and every, Pride month.\u003c/p>\n\n",
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"innerHTML": "\n\u003cp>Their names were Frank Bert and Steven Russell and both were living with ARC, or \u003ca href=\"https://www.kqed.org/stateofhealth/tag/hivaids\">AIDS\u003c/a>-Related Complex. In the 1980s, ARC was a catch-all term used to describe the symptoms most commonly associated with HIV as it developed into AIDS. Bert and Russell chose the U.N. Plaza because it was then home to the regional office of the U.S. Department of Health and Human Services.\u003c/p>\n",
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"innerHTML": "\n\u003cp>The pair wanted to draw attention to the roughly 15,000 San Francisco residents living with ARC at the time. They were also demanding more funding for AIDS research, FDA approval of experimental AIDS treatments, and more benefits for people living with ARC. (ARC patients were granted less social security and disability benefits than AIDS patients.)\u003c/p>\n",
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"innerHTML": "\n\u003cp>Shortly after Bert and Russell’s protest began, Pat Norman — the first openly gay employee of San Francisco’s Health Department — \u003ca href=\"https://www.youtube.com/watch?v=caJ_l-rHeN8\">told documentary filmmakers\u003c/a> she believed ARC patients were being sidelined on purpose. “[Government officials] don’t want to spend money treating and providing services for people with ARC because it is larger and larger and larger than anybody wants to concede,” she said. “They are trying very hard not to expand the definition and diagnoses of ARC.”\u003c/p>\n",
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"\n\u003cp>Shortly after Bert and Russell’s protest began, Pat Norman — the first openly gay employee of San Francisco’s Health Department — \u003ca href=\"https://www.youtube.com/watch?v=caJ_l-rHeN8\">told documentary filmmakers\u003c/a> she believed ARC patients were being sidelined on purpose. “[Government officials] don’t want to spend money treating and providing services for people with ARC because it is larger and larger and larger than anybody wants to concede,” she said. “They are trying very hard not to expand the definition and diagnoses of ARC.”\u003c/p>\n"
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"innerHTML": "\n\u003cp>It did not take long for people to start sympathizing with Bert and Russell’s cause. Four days into the protest, the \u003cem>San Francisco Examiner\u003c/em> published a photo of the men titled “Other casualties of AIDS.” They sat peacefully under a blanket, wearing multiple layers of clothes, still chained to the doors. The 24/7 protest was kept alive by allies who showed up to give Bert and Russell breaks. The first two helpers were Paul Ramirez, 27 and Wes North, 31.\u003c/p>\n",
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"\n\u003cp>It did not take long for people to start sympathizing with Bert and Russell’s cause. Four days into the protest, the \u003cem>San Francisco Examiner\u003c/em> published a photo of the men titled “Other casualties of AIDS.” They sat peacefully under a blanket, wearing multiple layers of clothes, still chained to the doors. The 24/7 protest was kept alive by allies who showed up to give Bert and Russell breaks. The first two helpers were Paul Ramirez, 27 and Wes North, 31.\u003c/p>\n"
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"innerHTML": "\n\u003cp>“When I’m out here, there’s so much love,” North told the \u003cem>San Francisco Chronicle\u003c/em> a few weeks later. “When I’m at home alone, I get scared. I think of dying. Here, I feel I’m doing something.”\u003c/p>\n",
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"\n\u003cp>“When I’m out here, there’s so much love,” North told the \u003cem>San Francisco Chronicle\u003c/em> a few weeks later. “When I’m at home alone, I get scared. I think of dying. Here, I feel I’m doing something.”\u003c/p>\n"
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"innerHTML": "\n\u003cp>North wasn’t alone. The longer Bert, Russell and their cohort stayed at U.N. Plaza, the more the protest transformed into a community hub. By the end of 1985, 100 people were in attendance, some of whom slept in tents. Federal Building employees started bringing coffee and donuts. A nurse donated a grill. Others dropped off Thanksgiving turkeys and a Christmas tree to get the makeshift village through the holidays.\u003c/p>\n",
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"\n\u003cp>North wasn’t alone. The longer Bert, Russell and their cohort stayed at U.N. Plaza, the more the protest transformed into a community hub. By the end of 1985, 100 people were in attendance, some of whom slept in tents. Federal Building employees started bringing coffee and donuts. A nurse donated a grill. Others dropped off Thanksgiving turkeys and a Christmas tree to get the makeshift village through the holidays.\u003c/p>\n"
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"innerHTML": "\n\u003cp>A woman named Serena Wylie who regularly donated casseroles to the vigil told the \u003cem>Chronicle\u003c/em> in December: “[The protesters] have come to be part of my family. There is joy here and a lot of laughter and smiles. There is strength and hope.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>The prolonged action was not without its risks, however. In the early hours of Nov. 3, two straight allies were attacked by strangers at the federal building. (“It is not going to scare us away,” Russell told the \u003cem>Examiner\u003c/em> at the time. “If we need to, we will stay here indefinitely.”) In the first week of December, a 39-year-old protester named Jän Beck was rushed to SF General after enduring three seizures and a stroke at the federal building. As soon as he was back on his feet, he went straight back to U.N. Plaza, telling reporters, “I have felt a home here that I have not felt in a long, long time.”\u003c/p>\n",
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"\n\u003cp>The prolonged action was not without its risks, however. In the early hours of Nov. 3, two straight allies were attacked by strangers at the federal building. (“It is not going to scare us away,” Russell told the \u003cem>Examiner\u003c/em> at the time. “If we need to, we will stay here indefinitely.”) In the first week of December, a 39-year-old protester named Jän Beck was rushed to SF General after enduring three seizures and a stroke at the federal building. As soon as he was back on his feet, he went straight back to U.N. Plaza, telling reporters, “I have felt a home here that I have not felt in a long, long time.”\u003c/p>\n"
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"innerHTML": "\n\u003cp>Beck added, “It started out as a desperate, last-ditch effort by people who had seemingly tried everything to get the government to listen. It gained a new spirit and power because people have become empowered.”\u003c/p>\n",
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"\n\u003cp>Beck added, “It started out as a desperate, last-ditch effort by people who had seemingly tried everything to get the government to listen. It gained a new spirit and power because people have become empowered.”\u003c/p>\n"
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"innerHTML": "\n\u003cp>That spirit proved to be contagious. Folks gathered at the vigil were not placated by the House and Senate approving $221.5 million for AIDS research at the end of 1985. Everyone stayed put. Some began writing letters to their local and federal representatives, including Mayor Dianne Feinstein and President Ronald Reagan. The Board of Supervisors endorsed the vigil, and Congresswoman Barbara Boxer shared her support too.\u003c/p>\n",
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"\n\u003cp>That spirit proved to be contagious. Folks gathered at the vigil were not placated by the House and Senate approving $221.5 million for AIDS research at the end of 1985. Everyone stayed put. Some began writing letters to their local and federal representatives, including Mayor Dianne Feinstein and President Ronald Reagan. The Board of Supervisors endorsed the vigil, and Congresswoman Barbara Boxer shared her support too.\u003c/p>\n"
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"innerHTML": "\n\u003cp>The core members of the vigil began fundraising, sending out press releases, and set up an information table on site. An official organization was established to run things, led by project director William Davis and secretary Lance Hunt. Smaller ARC-AIDS vigil committees were formed to create sit-in schedules, plan other political actions and coordinate community outreach.\u003c/p>\n",
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"\n\u003cp>The core members of the vigil began fundraising, sending out press releases, and set up an information table on site. An official organization was established to run things, led by project director William Davis and secretary Lance Hunt. Smaller ARC-AIDS vigil committees were formed to create sit-in schedules, plan other political actions and coordinate community outreach.\u003c/p>\n"
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"innerHTML": "\n\u003cp>By February 1986, Hal Freeman, the manager of the Department of Health and Human Services, had resigned after 18 years of service — in protest of his own department’s inaction on AIDS and ARC. At the time, Freeman shared that, “a director in one meeting in Washington was heard to say ‘We don’t want to lend an aura of dignity to these AIDS cases,’ and that, to me, is simple homophobia.” (Freeman died of AIDS just two and a half years after his resignation.)\u003c/p>\n",
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"\n\u003cp>By February 1986, Hal Freeman, the manager of the Department of Health and Human Services, had resigned after 18 years of service — in protest of his own department’s inaction on AIDS and ARC. At the time, Freeman shared that, “a director in one meeting in Washington was heard to say ‘We don’t want to lend an aura of dignity to these AIDS cases,’ and that, to me, is simple homophobia.” (Freeman died of AIDS just two and a half years after his resignation.)\u003c/p>\n"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/ARC-Vigil-88.jpg\" alt=\"Four men of varying ages stand outside doors to an office building. One is holding a large American flag.\" class=\"wp-image-13990331\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/ARC-Vigil-88.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/ARC-Vigil-88-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/ARC-Vigil-88-768x455.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/ARC-Vigil-88-1536x910.jpg 1536w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\"/>\u003cfigcaption class=\"wp-element-caption\">The third anniversary of the ARC-AIDS demonstration at U.N. Plaza Federal Building is marked by four protesters.\u003c/figcaption>\u003c/figure>\n",
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"innerHTML": "\n\u003cp>In its first five years, the ARC-AIDS vigil became a powerful symbol of the suffering caused by inaction on a national level. It spotlit the ongoing crisis. Perhaps even more importantly, it became a safe space for information sharing and harm-reduction resources for thousands of Bay Area residents.\u003c/p>\n",
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"innerHTML": "\n\u003cp>The last five years of the vigil were less consistent; by 1995, just three protesters remained at U.N. Plaza. Their encampment was ultimately destroyed by a December storm. With that, the vigil finally came to an end.\u003c/p>\n",
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"innerHTML": "\n\u003cp>Three decades on, the ARC-AIDS vigil is an inspiring example of grassroots activism in action. It remains an essential reminder of the greatest struggles shouldered by San Francisco’s gay community in the first decade of the AIDS epidemic. That the vigil endured for so long speaks to the slowness of the federal response to the crisis. But the longest-continuous protest in San Francisco history also reflects the resilience, determination and bravery of LGBTQ+ activists in the city. May they be remembered this, and every, Pride month.\u003c/p>\n",
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"excerpt": "On Oct. 27, 1985, two men chained themselves to the Federal Building. Then like-minded protesters arrived.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Oct. 27, 1985, two 26-year-old men arrived at San Francisco’s old Federal Building at 50 United Nations Plaza, chained themselves to a set of doors and started a protest that would last an entire decade.\u003c/p>\n\n\n\n\u003cp>Their names were Frank Bert and Steven Russell and both were living with ARC, or \u003ca href=\"https://www.kqed.org/stateofhealth/tag/hivaids\">AIDS\u003c/a>-Related Complex. In the 1980s, ARC was a catch-all term used to describe the symptoms most commonly associated with HIV as it developed into AIDS. Bert and Russell chose the U.N. Plaza because it was then home to the regional office of the U.S. Department of Health and Human Services.\u003c/p>\n\n\n\n\u003cp>The pair wanted to draw attention to the roughly 15,000 San Francisco residents living with ARC at the time. They were also demanding more funding for AIDS research, FDA approval of experimental AIDS treatments, and more benefits for people living with ARC. (ARC patients were granted less social security and disability benefits than AIDS patients.)\u003c/p>\n\n\n\n\u003cp>Shortly after Bert and Russell’s protest began, Pat Norman — the first openly gay employee of San Francisco’s Health Department — \u003ca href=\"https://www.youtube.com/watch?v=caJ_l-rHeN8\">told documentary filmmakers\u003c/a> she believed ARC patients were being sidelined on purpose. “[Government officials] don’t want to spend money treating and providing services for people with ARC because it is larger and larger and larger than anybody wants to concede,” she said. “They are trying very hard not to expand the definition and diagnoses of ARC.”\u003c/p>\n\n\n\n\u003cp>It did not take long for people to start sympathizing with Bert and Russell’s cause. Four days into the protest, the \u003cem>San Francisco Examiner\u003c/em> published a photo of the men titled “Other casualties of AIDS.” They sat peacefully under a blanket, wearing multiple layers of clothes, still chained to the doors. The 24/7 protest was kept alive by allies who showed up to give Bert and Russell breaks. The first two helpers were Paul Ramirez, 27 and Wes North, 31.\u003c/p>\n\n\n\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“When I’m out here, there’s so much love,” North told the \u003cem>San Francisco Chronicle\u003c/em> a few weeks later. “When I’m at home alone, I get scared. I think of dying. Here, I feel I’m doing something.”\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1324\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/ARC-Vigil-Night-Final-2000x1324.png\" alt=\"A government building with two mattresses visible in its doorway. Opposite, on a grassy area, several tents are set up.\" class=\"wp-image-13990619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/ARC-Vigil-Night-Final-2000x1324.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/ARC-Vigil-Night-Final-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/ARC-Vigil-Night-Final-768x509.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/ARC-Vigil-Night-Final-1536x1017.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/ARC-Vigil-Night-Final-2048x1356.png 2048w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">The ARC-AIDS Vigil at San Francisco’s old Federal Building, as it looked at night. (Courtesy of the GLBT Historical Society)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>North wasn’t alone. The longer Bert, Russell and their cohort stayed at U.N. Plaza, the more the protest transformed into a community hub. By the end of 1985, 100 people were in attendance, some of whom slept in tents. Federal Building employees started bringing coffee and donuts. A nurse donated a grill. Others dropped off Thanksgiving turkeys and a Christmas tree to get the makeshift village through the holidays.\u003c/p>\n\n\n\n\u003cp>A woman named Serena Wylie who regularly donated casseroles to the vigil told the \u003cem>Chronicle\u003c/em> in December: “[The protesters] have come to be part of my family. There is joy here and a lot of laughter and smiles. There is strength and hope.”\u003c/p>\n\n\n\n\u003cp>The prolonged action was not without its risks, however. In the early hours of Nov. 3, two straight allies were attacked by strangers at the federal building. (“It is not going to scare us away,” Russell told the \u003cem>Examiner\u003c/em> at the time. “If we need to, we will stay here indefinitely.”) In the first week of December, a 39-year-old protester named Jän Beck was rushed to SF General after enduring three seizures and a stroke at the federal building. As soon as he was back on his feet, he went straight back to U.N. Plaza, telling reporters, “I have felt a home here that I have not felt in a long, long time.”\u003c/p>\n\n\n\n\u003cp>Beck added, “It started out as a desperate, last-ditch effort by people who had seemingly tried everything to get the government to listen. It gained a new spirit and power because people have become empowered.”\u003c/p>\n\n\n\n\n\n\u003cp>That spirit proved to be contagious. Folks gathered at the vigil were not placated by the House and Senate approving $221.5 million for AIDS research at the end of 1985. Everyone stayed put. Some began writing letters to their local and federal representatives, including Mayor Dianne Feinstein and President Ronald Reagan. The Board of Supervisors endorsed the vigil, and Congresswoman Barbara Boxer shared her support too.\u003c/p>\n\n\n\n\u003cp>The core members of the vigil began fundraising, sending out press releases, and set up an information table on site. An official organization was established to run things, led by project director William Davis and secretary Lance Hunt. Smaller ARC-AIDS vigil committees were formed to create sit-in schedules, plan other political actions and coordinate community outreach.\u003c/p>\n\n\n\n\u003cp>By February 1986, Hal Freeman, the manager of the Department of Health and Human Services, had resigned after 18 years of service — in protest of his own department’s inaction on AIDS and ARC. At the time, Freeman shared that, “a director in one meeting in Washington was heard to say ‘We don’t want to lend an aura of dignity to these AIDS cases,’ and that, to me, is simple homophobia.” (Freeman died of AIDS just two and a half years after his resignation.)\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-full\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1185\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/ARC-Vigil-88.jpg\" alt=\"Four men of varying ages stand outside doors to an office building. One is holding a large American flag.\" class=\"wp-image-13990331\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/ARC-Vigil-88.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/ARC-Vigil-88-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/ARC-Vigil-88-768x455.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/06/ARC-Vigil-88-1536x910.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-element-caption\">The third anniversary of the ARC-AIDS demonstration at U.N. Plaza Federal Building is marked by four protesters. (10/22/1988 Gay Rights Project)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>In its first five years, the ARC-AIDS vigil became a powerful symbol of the suffering caused by inaction on a national level. It spotlit the ongoing crisis. Perhaps even more importantly, it became a safe space for information sharing and harm-reduction resources for thousands of Bay Area residents.\u003c/p>\n\n\n\n\u003cp>The last five years of the vigil were less consistent; by 1995, just three protesters remained at U.N. Plaza. Their encampment was ultimately destroyed by a December storm. With that, the vigil finally came to an end.\u003c/p>\n\n\n\n\u003cp>\u003c/p>\u003c/div>",
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"title": "A Vallejo Naval Museum Exhibit Celebrates Gender Rebels Across History",
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"content": "\u003cfigure id=\"attachment_13983958\" class=\"wp-caption aligncenter\" style=\"max-width: 1601px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983958\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Li-Kar.png\" alt=\"A coiffed and made-up gender nonconforming person sitting elegantly in a doorway, dressed in silky blouse, pants and high heels.\" width=\"1601\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Li-Kar.png 1601w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Li-Kar-160x200.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Li-Kar-768x959.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Li-Kar-1230x1536.png 1230w\" sizes=\"auto, (max-width: 1601px) 100vw, 1601px\">\u003cfigcaption class=\"wp-caption-text\">Photograph of LiKar in doorway. Photographer unknown. Li-Kar was a renowned performer and artist at Finocchio’s. \u003ccite>(Courtesy of the Louise Lawrence Transgender Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oddly, one of the most revealing things in the \u003ca href=\"https://vallejomuseum.net/\">Vallejo Naval and Historical Museum\u003c/a>’s new exhibit is an overwrought denunciation of Black drag queens dating from all the way back in 1893. One Dr. Charles H. Hughes of St. Louis (clearly incensed) had his note published by a medical journal of the era.\u003c/p>\n\u003cp>It states, in part:\u003c/p>\n\u003cblockquote>\u003cp>I am credibly informed that there is, in the city of Washington, D.C., an annual convocation of negro men called the drag dance, which is an orgy of lascivious debauchery beyond pen power of description.\u003c/p>\u003c/blockquote>\n\u003cp>(Imagine hearing the phrase “orgy of lascivious debauchery” and thinking that was a bad thing!)\u003c/p>\n\u003cp>Dr. Hughes’ quote is part of the introduction to \u003cem>I Live the Life I Love Because I Love the Life I Live: A Celebration of Trans People of Color, \u003c/em>a collection of photos and ephemera honoring gender nonconforming people of color from recent history. Curated by \u003ca href=\"https://www.kqed.org/arts/13906221/louise-lawrence-transgender-archive-vallejo-history\">Ms. Bob Davis\u003c/a> of the \u003ca href=\"https://www.kqed.org/arts/13870056/the-transgender-community-builder-who-educated-doctors-including-kinsey\">Louise Lawrence\u003c/a> Transgender Archive, the exhibit includes Bay Area queer and trans folks (including legendary nightclub dancers, \u003ca href=\"https://www.kqed.org/arts/13959726/vicki-starr-transgender-topless-dancer-san-francisco-lgbtq-prison-reform\">Vicki Starr\u003c/a> and Li-Kar), alongside their spiritual siblings from around the world. \u003cem>I Love the Life I Live\u003c/em> was previously exhibited at the \u003ca href=\"https://www.glbthistory.org/\">GLBT Historical Society Museum\u003c/a> in San Francisco.\u003c/p>\n\u003cp>While fairly hodgepodge by nature — there is no linear throughline or singular geographical focus — \u003cem>I Live the Life I Love\u003c/em> does successfully provide a number of fascinating starting points for future research.\u003c/p>\n\u003cfigure id=\"attachment_13983960\" class=\"wp-caption aligncenter\" style=\"max-width: 1286px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983960\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/king.png\" alt=\"A woman dressed in a man's suit, hair slicked back in a masculine style.\" width=\"1286\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/king.png 1286w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/king-160x249.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/king-768x1194.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/king-988x1536.png 988w\" sizes=\"auto, (max-width: 1286px) 100vw, 1286px\">\u003cfigcaption class=\"wp-caption-text\">Photograph of a gender nonconforming person, as seen in ‘I Live the Life I Love Because I Love the Life I Live: A Celebration of Trans People of Color.’ \u003ccite>(Courtesy of the Louise Lawrence Transgender Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibition introduces the likes of the Takarazuka Girls, an all-female revue from Japan who performed as all genders at the \u003ca href=\"https://www.kqed.org/news/11790693/magic-city-and-the-making-of-treasure-island\">1939 Golden Gate International Exposition\u003c/a>. There’s also Felicia Elizondo, a trans woman who attempted to suppress her gender identity by enlisting in the Vietnam War, only to transition in 1972 and become a vocal LGBTQ+ campaigner. The show also gives a brief overview of the charitable efforts of Brenda Lee, who turned her São Paulo house into a group home for trans women and people living with HIV and AIDS in the ’80s.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Taking us back further in time are Victorian dancers from a show called \u003cem>Les Joyeux Nègres\u003c/em> (\u003cem>The Merry Negroes\u003c/em>). Duos included Charles Gregory and Jack Brown, who danced the “cakewalk” wearing Civil War-era attire — Brown in a multi-tiered dress, Gregory in a colorful suit. In the same troupe, two women utilized drag as “Mr. and Mrs. Elks.”\u003c/p>\n\u003cp>A comprehensive overview of the history of trans and gender nonconforming people of color, this is not. Neither is it particularly focused on any one subculture related to the community. But if you treat \u003cem>I Live the Life I Love\u003c/em> as a mini buffet of fascinating moments from LGBTQ+ history, you’ll find a smattering of very tasty morsels.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://vallejomuseum.net/event/pride-month-exhibit-i-live-the-life-i-love-because-i-love-the-life-i-live/\">I Live the Life I Love Because I Love the Life I Live: A Celebration of Trans People of Color\u003c/a>’ is on display at the Vallejo Naval and Historical Museum (734 Marin St.), June 5—26, 2026. An official opening reception and Pride flag raising takes place on June 12, from 6 p.m.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13983958\" class=\"wp-caption aligncenter\" style=\"max-width: 1601px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983958\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Li-Kar.png\" alt=\"A coiffed and made-up gender nonconforming person sitting elegantly in a doorway, dressed in silky blouse, pants and high heels.\" width=\"1601\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Li-Kar.png 1601w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Li-Kar-160x200.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Li-Kar-768x959.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/Li-Kar-1230x1536.png 1230w\" sizes=\"auto, (max-width: 1601px) 100vw, 1601px\">\u003cfigcaption class=\"wp-caption-text\">Photograph of LiKar in doorway. Photographer unknown. Li-Kar was a renowned performer and artist at Finocchio’s. \u003ccite>(Courtesy of the Louise Lawrence Transgender Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oddly, one of the most revealing things in the \u003ca href=\"https://vallejomuseum.net/\">Vallejo Naval and Historical Museum\u003c/a>’s new exhibit is an overwrought denunciation of Black drag queens dating from all the way back in 1893. One Dr. Charles H. Hughes of St. Louis (clearly incensed) had his note published by a medical journal of the era.\u003c/p>\n\u003cp>It states, in part:\u003c/p>\n\u003cblockquote>\u003cp>I am credibly informed that there is, in the city of Washington, D.C., an annual convocation of negro men called the drag dance, which is an orgy of lascivious debauchery beyond pen power of description.\u003c/p>\u003c/blockquote>\n\u003cp>(Imagine hearing the phrase “orgy of lascivious debauchery” and thinking that was a bad thing!)\u003c/p>\n\u003cp>Dr. Hughes’ quote is part of the introduction to \u003cem>I Live the Life I Love Because I Love the Life I Live: A Celebration of Trans People of Color, \u003c/em>a collection of photos and ephemera honoring gender nonconforming people of color from recent history. Curated by \u003ca href=\"https://www.kqed.org/arts/13906221/louise-lawrence-transgender-archive-vallejo-history\">Ms. Bob Davis\u003c/a> of the \u003ca href=\"https://www.kqed.org/arts/13870056/the-transgender-community-builder-who-educated-doctors-including-kinsey\">Louise Lawrence\u003c/a> Transgender Archive, the exhibit includes Bay Area queer and trans folks (including legendary nightclub dancers, \u003ca href=\"https://www.kqed.org/arts/13959726/vicki-starr-transgender-topless-dancer-san-francisco-lgbtq-prison-reform\">Vicki Starr\u003c/a> and Li-Kar), alongside their spiritual siblings from around the world. \u003cem>I Love the Life I Live\u003c/em> was previously exhibited at the \u003ca href=\"https://www.glbthistory.org/\">GLBT Historical Society Museum\u003c/a> in San Francisco.\u003c/p>\n\u003cp>While fairly hodgepodge by nature — there is no linear throughline or singular geographical focus — \u003cem>I Live the Life I Love\u003c/em> does successfully provide a number of fascinating starting points for future research.\u003c/p>\n\u003cfigure id=\"attachment_13983960\" class=\"wp-caption aligncenter\" style=\"max-width: 1286px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983960\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/king.png\" alt=\"A woman dressed in a man's suit, hair slicked back in a masculine style.\" width=\"1286\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/king.png 1286w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/king-160x249.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/king-768x1194.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/king-988x1536.png 988w\" sizes=\"auto, (max-width: 1286px) 100vw, 1286px\">\u003cfigcaption class=\"wp-caption-text\">Photograph of a gender nonconforming person, as seen in ‘I Live the Life I Love Because I Love the Life I Live: A Celebration of Trans People of Color.’ \u003ccite>(Courtesy of the Louise Lawrence Transgender Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibition introduces the likes of the Takarazuka Girls, an all-female revue from Japan who performed as all genders at the \u003ca href=\"https://www.kqed.org/news/11790693/magic-city-and-the-making-of-treasure-island\">1939 Golden Gate International Exposition\u003c/a>. There’s also Felicia Elizondo, a trans woman who attempted to suppress her gender identity by enlisting in the Vietnam War, only to transition in 1972 and become a vocal LGBTQ+ campaigner. The show also gives a brief overview of the charitable efforts of Brenda Lee, who turned her São Paulo house into a group home for trans women and people living with HIV and AIDS in the ’80s.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Taking us back further in time are Victorian dancers from a show called \u003cem>Les Joyeux Nègres\u003c/em> (\u003cem>The Merry Negroes\u003c/em>). Duos included Charles Gregory and Jack Brown, who danced the “cakewalk” wearing Civil War-era attire — Brown in a multi-tiered dress, Gregory in a colorful suit. In the same troupe, two women utilized drag as “Mr. and Mrs. Elks.”\u003c/p>\n\u003cp>A comprehensive overview of the history of trans and gender nonconforming people of color, this is not. Neither is it particularly focused on any one subculture related to the community. But if you treat \u003cem>I Live the Life I Love\u003c/em> as a mini buffet of fascinating moments from LGBTQ+ history, you’ll find a smattering of very tasty morsels.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://vallejomuseum.net/event/pride-month-exhibit-i-live-the-life-i-love-because-i-love-the-life-i-live/\">I Live the Life I Love Because I Love the Life I Live: A Celebration of Trans People of Color\u003c/a>’ is on display at the Vallejo Naval and Historical Museum (734 Marin St.), June 5—26, 2026. An official opening reception and Pride flag raising takes place on June 12, from 6 p.m.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Thrilling ‘Pressure’ Tells the Heroic, High Stakes Tale of a WWII ... Meteorologist?",
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"content": "\u003cp>Sure, folks discuss the weather a lot, especially in Britain.\u003c/p>\n\u003cp>Still, it’s hard to imagine that a quiet chat about the weather — and why it isn’t boring — could be an emotional high point of a feature film. Especially when that film is about \u003ca href=\"https://www.kqed.org/arts/tag/world-war-ii\">World War II\u003c/a>, one of the most cinematic subjects in history.\u003c/p>\n\u003cp>[aside postid='arts_13989694']But that’s before you watch \u003ca href=\"https://www.kqed.org/arts/13955549/ripley-netflix-review-style-andrew-scott\">Andrew Scott\u003c/a>, who could make the phone book sound exciting — or at least, poignant and nuanced.\u003c/p>\n\u003cp>People often talk about whether it’s raining, his character, Capt. James Stagg, argues at one point in \u003cem>Pressure\u003c/em>, the story of how meteorology saved \u003ca href=\"https://www.kqed.org/news/11753680/d-day-veteran-from-the-bay-area-returns-to-french-village-he-helped-liberate\">D-Day\u003c/a>. But do they consider WHY it’s raining? Or, what actually makes it windy? And how, he asks, can that be boring?\u003c/p>\n\u003cp>There are times when \u003cem>Pressure\u003c/em>, directed and co-written by Anthony Maras, feels like a series of similarly elegant speeches. That makes some sense, since it’s based on a play — the 2014 drama by David Haig. Telling the relatively little-known story of how forecasters made the crucial call of when to land on Normandy’s beaches, the film pits two men against each other: Scott’s introspective, stubborn, even sour meteorologist, and none other than Dwight D. Eisenhower, celebrated general and future president, played by \u003ca href=\"https://www.kqed.org/arts/13918748/brendan-fraser-comeback-the-whale-fatphobia-hollywood-abuse\">Brendan Fraser\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Fraser’s Eisenhower is physically imposing — much more than the real man — and stubborn too, though in a louder way. But he’s frankly less interesting than Scott’s multifaceted Stagg, a character and performance that elevates an otherwise efficient, well-made war movie into something more intriguing.\u003c/p>\n\u003cp>The film begins with soldiers lying dead on a seashore, near bloody waters — a reminder of the catastrophic rehearsal for D-Day called Exercise Tiger, which resulted in hundreds of deaths of American servicemen. It’s a way for Maras to remind us not only of the human toll, but also the potential for more catastrophe.\u003c/p>\n\u003cp>[aside postid='arts_13989211']A few months later, in June, Stagg reports for duty at Allied headquarters. The Scottish meteorologist, unhappy to leave his pregnant wife at home, has been brought in to work on Eisenhower’s planned invasion, which will rely on the element of surprise. And also, crucially, on the weather.\u003c/p>\n\u003cp>Stagg is summoned to see Eisenhower, via his trusted aide Kay Summersby (an excellent \u003ca href=\"https://www.kqed.org/arts/13920702/a-farmer-gets-dumped-by-his-best-friend-in-the-terrific-the-banshees-of-inisherin\">Kerry Condon\u003c/a>, bringing verve to a role that does not further speculate on her relationship with the general). Eisenhower tells him that the very fate of the war hinges on the operation. “We invade France Monday,” he says.\u003c/p>\n\u003cp>But the commander needs a good forecast. The operation will require a full moon and clear skies for air support, as well as calm waters. And Eisenhower wants a go-ahead — which his own trusted forecaster, Irving P. Krick (Chris Messina), is happy to give. Based on historical patterns, Krick insists that June 5, 1944, will be calm and sunny.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zdM4tdLQBg0\u003c/p>\n\u003cp>Krick is everything Stagg is not — outgoing, brash, confident. He even sings and dances. Stagg, though, begs to differ from the American’s assessment. “Get me the data,” he growls. Historical patterns mean nothing in this unpredictable region, he insists.\u003c/p>\n\u003cp>Demanding data from any weather station or balloon within 2,000 miles of Normandy, Stagg argues two storms are coming. A June 5 launch will kill countless men, he says. In fact, the right weather conditions may not emerge until June 18. Nobody wants to hear this — not Eisenhower, not Krick and definitely not Field Marshal Bernard Montgomery (\u003ca href=\"https://www.kqed.org/about/1019/meet-the-cast-of-wolf-hall\">Damian Lewis\u003c/a>, leaning into the flamboyance). “My men are ready and primed,” Montgomery insists. “Get them onto the beaches, and leave the rest to me.”\u003c/p>\n\u003cp>As we know from our history books, D-Day was not June 5. Eisenhower ultimately chooses to postpone based on Stagg’s forecast, vindicated when Sunday’s sunny skies suddenly shift to stormy ones during morning church. But just when it appears the opportunity has been lost, Stagg detects a brief break in the weather. He recommends — spoiler alert — that the invasion proceed a day later, on June 6.\u003c/p>\n\u003cp>[aside postid='arts_13990161']For action on the beaches, Maras turned to archival footage — he’s said he was inspired by Peter Jackson’s stunning \u003ca href=\"https://www.kqed.org/news/11705654/wwi-and-the-peninsulas-forgotten-contribution-to-the-war-effort\">World War I\u003c/a> documentary \u003cem>\u003ca href=\"https://www.npr.org/2019/01/11/684346472/movie-review-they-shall-not-grow-old\">They Shall Not Grow Old\u003c/a> \u003c/em>— colorizing it and blending it with his own scenes of terrified troops. There is, somehow, palpable suspense when Eisenhower and others gather in the command center.\u003c/p>\n\u003cp>Nearby, quietly, stands Stagg. Like his character, Scott does more with less. The actor may be known for acclaimed turns in \u003ca href=\"https://www.kqed.org/pop/111811/fleabag-and-killing-eve-creator-phoebe-waller-bridge-is-full-of-surprises\">\u003cem>Fleabag\u003c/em>\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13955549/ripley-netflix-review-style-andrew-scott\">\u003cem>Ripley\u003c/em>\u003c/a> and \u003ca href=\"https://www.pbs.org/wgbh/masterpiece/shows/sherlock/\">\u003cem>Sherlock\u003c/em>\u003c/a>, but he’s also a skilled stage performer, and his work here recalls the layered performances he gave in \u003cem>Vanya\u003c/em>, the Chekhov update in which he played all eight parts. Among Scott’s most moving scenes: when he learns devastating news by phone at a key moment in war planning. His agony is obvious, but somehow he conveys little outward expression.\u003c/p>\n\u003cp>“The weather feeds us,” Stagg says a bit earlier, arguing his case that weather is nowhere near boring. In fact, it is meteorology itself that plays the starring role in \u003cem>Pressure\u003c/em>. The film recounts an anecdote in which John F. Kennedy, on the way to his inauguration, asked his predecessor what had given the Allies their edge.\u003c/p>\n\u003cp>“We had better meteorologists than the Germans,” Eisenhower replied.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Pressure’ is released nationwide on May 29, 2026.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sure, folks discuss the weather a lot, especially in Britain.\u003c/p>\n\u003cp>Still, it’s hard to imagine that a quiet chat about the weather — and why it isn’t boring — could be an emotional high point of a feature film. Especially when that film is about \u003ca href=\"https://www.kqed.org/arts/tag/world-war-ii\">World War II\u003c/a>, one of the most cinematic subjects in history.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But that’s before you watch \u003ca href=\"https://www.kqed.org/arts/13955549/ripley-netflix-review-style-andrew-scott\">Andrew Scott\u003c/a>, who could make the phone book sound exciting — or at least, poignant and nuanced.\u003c/p>\n\u003cp>People often talk about whether it’s raining, his character, Capt. James Stagg, argues at one point in \u003cem>Pressure\u003c/em>, the story of how meteorology saved \u003ca href=\"https://www.kqed.org/news/11753680/d-day-veteran-from-the-bay-area-returns-to-french-village-he-helped-liberate\">D-Day\u003c/a>. But do they consider WHY it’s raining? Or, what actually makes it windy? And how, he asks, can that be boring?\u003c/p>\n\u003cp>There are times when \u003cem>Pressure\u003c/em>, directed and co-written by Anthony Maras, feels like a series of similarly elegant speeches. That makes some sense, since it’s based on a play — the 2014 drama by David Haig. Telling the relatively little-known story of how forecasters made the crucial call of when to land on Normandy’s beaches, the film pits two men against each other: Scott’s introspective, stubborn, even sour meteorologist, and none other than Dwight D. Eisenhower, celebrated general and future president, played by \u003ca href=\"https://www.kqed.org/arts/13918748/brendan-fraser-comeback-the-whale-fatphobia-hollywood-abuse\">Brendan Fraser\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Fraser’s Eisenhower is physically imposing — much more than the real man — and stubborn too, though in a louder way. But he’s frankly less interesting than Scott’s multifaceted Stagg, a character and performance that elevates an otherwise efficient, well-made war movie into something more intriguing.\u003c/p>\n\u003cp>The film begins with soldiers lying dead on a seashore, near bloody waters — a reminder of the catastrophic rehearsal for D-Day called Exercise Tiger, which resulted in hundreds of deaths of American servicemen. It’s a way for Maras to remind us not only of the human toll, but also the potential for more catastrophe.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>A few months later, in June, Stagg reports for duty at Allied headquarters. The Scottish meteorologist, unhappy to leave his pregnant wife at home, has been brought in to work on Eisenhower’s planned invasion, which will rely on the element of surprise. And also, crucially, on the weather.\u003c/p>\n\u003cp>Stagg is summoned to see Eisenhower, via his trusted aide Kay Summersby (an excellent \u003ca href=\"https://www.kqed.org/arts/13920702/a-farmer-gets-dumped-by-his-best-friend-in-the-terrific-the-banshees-of-inisherin\">Kerry Condon\u003c/a>, bringing verve to a role that does not further speculate on her relationship with the general). Eisenhower tells him that the very fate of the war hinges on the operation. “We invade France Monday,” he says.\u003c/p>\n\u003cp>But the commander needs a good forecast. The operation will require a full moon and clear skies for air support, as well as calm waters. And Eisenhower wants a go-ahead — which his own trusted forecaster, Irving P. Krick (Chris Messina), is happy to give. Based on historical patterns, Krick insists that June 5, 1944, will be calm and sunny.\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/zdM4tdLQBg0'\n title='//www.youtube.com/embed/zdM4tdLQBg0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Krick is everything Stagg is not — outgoing, brash, confident. He even sings and dances. Stagg, though, begs to differ from the American’s assessment. “Get me the data,” he growls. Historical patterns mean nothing in this unpredictable region, he insists.\u003c/p>\n\u003cp>Demanding data from any weather station or balloon within 2,000 miles of Normandy, Stagg argues two storms are coming. A June 5 launch will kill countless men, he says. In fact, the right weather conditions may not emerge until June 18. Nobody wants to hear this — not Eisenhower, not Krick and definitely not Field Marshal Bernard Montgomery (\u003ca href=\"https://www.kqed.org/about/1019/meet-the-cast-of-wolf-hall\">Damian Lewis\u003c/a>, leaning into the flamboyance). “My men are ready and primed,” Montgomery insists. “Get them onto the beaches, and leave the rest to me.”\u003c/p>\n\u003cp>As we know from our history books, D-Day was not June 5. Eisenhower ultimately chooses to postpone based on Stagg’s forecast, vindicated when Sunday’s sunny skies suddenly shift to stormy ones during morning church. But just when it appears the opportunity has been lost, Stagg detects a brief break in the weather. He recommends — spoiler alert — that the invasion proceed a day later, on June 6.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>For action on the beaches, Maras turned to archival footage — he’s said he was inspired by Peter Jackson’s stunning \u003ca href=\"https://www.kqed.org/news/11705654/wwi-and-the-peninsulas-forgotten-contribution-to-the-war-effort\">World War I\u003c/a> documentary \u003cem>\u003ca href=\"https://www.npr.org/2019/01/11/684346472/movie-review-they-shall-not-grow-old\">They Shall Not Grow Old\u003c/a> \u003c/em>— colorizing it and blending it with his own scenes of terrified troops. There is, somehow, palpable suspense when Eisenhower and others gather in the command center.\u003c/p>\n\u003cp>Nearby, quietly, stands Stagg. Like his character, Scott does more with less. The actor may be known for acclaimed turns in \u003ca href=\"https://www.kqed.org/pop/111811/fleabag-and-killing-eve-creator-phoebe-waller-bridge-is-full-of-surprises\">\u003cem>Fleabag\u003c/em>\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13955549/ripley-netflix-review-style-andrew-scott\">\u003cem>Ripley\u003c/em>\u003c/a> and \u003ca href=\"https://www.pbs.org/wgbh/masterpiece/shows/sherlock/\">\u003cem>Sherlock\u003c/em>\u003c/a>, but he’s also a skilled stage performer, and his work here recalls the layered performances he gave in \u003cem>Vanya\u003c/em>, the Chekhov update in which he played all eight parts. Among Scott’s most moving scenes: when he learns devastating news by phone at a key moment in war planning. His agony is obvious, but somehow he conveys little outward expression.\u003c/p>\n\u003cp>“The weather feeds us,” Stagg says a bit earlier, arguing his case that weather is nowhere near boring. In fact, it is meteorology itself that plays the starring role in \u003cem>Pressure\u003c/em>. The film recounts an anecdote in which John F. Kennedy, on the way to his inauguration, asked his predecessor what had given the Allies their edge.\u003c/p>\n\u003cp>“We had better meteorologists than the Germans,” Eisenhower replied.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Pressure’ is released nationwide on May 29, 2026.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13989304\" class=\"wp-caption aligncenter\" style=\"max-width: 1549px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989304\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/alice-piper.png\" alt=\"An illustration of an Indigenous child looking gleefully upwards towards a new school. Her parents watch her proudly.\" width=\"1549\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/alice-piper.png 1549w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/alice-piper-160x207.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/alice-piper-768x992.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/alice-piper-1190x1536.png 1190w\" sizes=\"auto, (max-width: 1549px) 100vw, 1549px\">\u003cfigcaption class=\"wp-caption-text\">An illustration by Morgan Thompson from ‘Alice Piper Speaks Up’ by Sage Andrew Romero and Loralee Sepsey. \u003ccite>(Heyday Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All Alice Piper wanted was a well-rounded education. But for an \u003ca href=\"https://www.kqed.org/arts/tag/native-american\">Indigenous\u003c/a> girl growing up in the 1910s and ’20s, accessing one was no easy feat. Piper’s family lived in Soha-witü in Inyo County, and her earliest education was at a Native school in Big Pine, 40 miles from her home. At the government institution, Piper was trained in little more than laundry duties and canning vegetables. Understandably, she yearned for more.\u003c/p>\n\u003cp>When Big Pine public school opened in 1921, Piper jumped at the chance to attend. After she was refused entry based on her race, she fought back. With the assistance of San Francisco lawyer J. W. Henderson, and alongside the families of six other Indigenous children, 16-year-old Piper and her parents filed a petition directly with the California Supreme Court, arguing that her exclusion from Big Pine violated the 14th Amendment.\u003c/p>\n\u003cp>[aside postid='arts_13921886']In June 1924, the court unanimously decided in Piper’s favor, forever changing the education opportunities available to Indigenous Californians. (Piper’s case was also cited as a precedent during \u003ca href=\"https://www.kqed.org/mindshift/63745/tracing-black-white-achievement-gaps-since-the-brown-v-board-decision\">Brown v. Board of Education\u003c/a> in 1954.)\u003c/p>\n\u003cp>Now, a new book charts Piper’s victory in ways specifically designed to teach kids not just her heroic story, but also the long history of prejudice against Indigenous communities across the West. \u003cem>Alice Piper Speaks Up\u003c/em> combines beautiful illustrations by Morgan Thompson with emotive prose written from Piper’s perspective.\u003c/p>\n\u003cp>The book — the third in \u003ca href=\"https://www.heydaybooks.com/\">Heyday\u003c/a>’s \u003ca href=\"https://www.goodreads.com/series/210398-fighting-for-justice\">\u003cem>Fighting for Justice\u003c/em>\u003c/a> series for children — is particularly successful in portraying Piper’s story in ways that are relatable for all ages. Her love for her family and for the traditions she shares with her people, the Numu, are portrayed vividly. So too are her longings for a better life and the fear and confusion she experiences during her court battle.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One section reads:\u003c/p>\n\u003cblockquote>\u003cp>Alice studies the judges, silent and focused.\u003c/p>\n\u003cp>She wonders:\u003cbr>\nDo they see me and think I’m dirty?\u003cbr>\nDon’t they know that I’m the same as they are?\u003cbr>\nDon’t they know how badly I want to learn?\u003c/p>\n\u003cp>Her father’s hand,\u003cbr>\nrough and scarred,\u003cbr>\ngrips hers tight.\u003c/p>\u003c/blockquote>\n\u003cp>At the end of each short chapter are additional pages of facts and photos that place Piper’s story within a wider historical context. These more overtly educational pages are tailor-made for the classroom and clearly explain the clashes between settlers and Indigenous communities. They also feature simple timelines of events, as well as sidebars with useful word definitions.\u003c/p>\n\u003cfigure id=\"attachment_13989306\" class=\"wp-caption aligncenter\" style=\"max-width: 1885px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989306\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Alice-Piper-timeline-page.png\" alt=\"A book page featuring text blocks, photos of Owens Lake and a war memorial, a timeline of events and a side bar with definitions for certain terms used in the main text.\" width=\"1885\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Alice-Piper-timeline-page.png 1885w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Alice-Piper-timeline-page-160x170.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Alice-Piper-timeline-page-768x815.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Alice-Piper-timeline-page-1448x1536.png 1448w\" sizes=\"auto, (max-width: 1885px) 100vw, 1885px\">\u003cfigcaption class=\"wp-caption-text\">Moments from Indigenous history in California, as seen in ‘Alice Piper Speaks Up’ by Sage Andrew Romero and Loralee Sepsey \u003ccite>(Heyday Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The book’s handy juxtaposition of kid-friendly storytelling and educational content makes \u003cem>Alice Piper Speaks Up\u003c/em> an essential purchase for any parents looking for accessible ways to teach their kids about civil rights. The first two books in the \u003cem>Fighting for Justice\u003c/em> series — one about \u003ca href=\"https://www.kqed.org/forum/2010101870475/biddy-mason-speaks-up-introduces-kids-to-one-of-californias-forgotten-figures\">Biddy Mason\u003c/a>’s fight for freedom from slavery; another about \u003ca href=\"https://www.kqed.org/news/55300/fred-korematsus-journey-from-east-oakland-to-the-national-portrait-gallery\">Fred Korematsu\u003c/a>, who railed against Japanese internment — offer similarly valuable lessons.\u003c/p>\n\u003cp>A statue of Alice Piper was erected outside Big Pine High School in June 2014. It stands as a permanent reminder that ordinary people like her can make extraordinary differences. It’s refreshing now to see \u003cem>Alice Piper Speaks Up\u003c/em> impart that powerful message to a wider audience.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.heydaybooks.com/catalog/alice-piper-speaks-up/\">Alice Piper Speaks Up\u003c/a>’ by Sage Andrew Romero and Loralee Sepsey is out on June 2, 2026, via Heyday Books.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13989304\" class=\"wp-caption aligncenter\" style=\"max-width: 1549px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989304\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/alice-piper.png\" alt=\"An illustration of an Indigenous child looking gleefully upwards towards a new school. Her parents watch her proudly.\" width=\"1549\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/alice-piper.png 1549w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/alice-piper-160x207.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/alice-piper-768x992.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/alice-piper-1190x1536.png 1190w\" sizes=\"auto, (max-width: 1549px) 100vw, 1549px\">\u003cfigcaption class=\"wp-caption-text\">An illustration by Morgan Thompson from ‘Alice Piper Speaks Up’ by Sage Andrew Romero and Loralee Sepsey. \u003ccite>(Heyday Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All Alice Piper wanted was a well-rounded education. But for an \u003ca href=\"https://www.kqed.org/arts/tag/native-american\">Indigenous\u003c/a> girl growing up in the 1910s and ’20s, accessing one was no easy feat. Piper’s family lived in Soha-witü in Inyo County, and her earliest education was at a Native school in Big Pine, 40 miles from her home. At the government institution, Piper was trained in little more than laundry duties and canning vegetables. Understandably, she yearned for more.\u003c/p>\n\u003cp>When Big Pine public school opened in 1921, Piper jumped at the chance to attend. After she was refused entry based on her race, she fought back. With the assistance of San Francisco lawyer J. W. Henderson, and alongside the families of six other Indigenous children, 16-year-old Piper and her parents filed a petition directly with the California Supreme Court, arguing that her exclusion from Big Pine violated the 14th Amendment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In June 1924, the court unanimously decided in Piper’s favor, forever changing the education opportunities available to Indigenous Californians. (Piper’s case was also cited as a precedent during \u003ca href=\"https://www.kqed.org/mindshift/63745/tracing-black-white-achievement-gaps-since-the-brown-v-board-decision\">Brown v. Board of Education\u003c/a> in 1954.)\u003c/p>\n\u003cp>Now, a new book charts Piper’s victory in ways specifically designed to teach kids not just her heroic story, but also the long history of prejudice against Indigenous communities across the West. \u003cem>Alice Piper Speaks Up\u003c/em> combines beautiful illustrations by Morgan Thompson with emotive prose written from Piper’s perspective.\u003c/p>\n\u003cp>The book — the third in \u003ca href=\"https://www.heydaybooks.com/\">Heyday\u003c/a>’s \u003ca href=\"https://www.goodreads.com/series/210398-fighting-for-justice\">\u003cem>Fighting for Justice\u003c/em>\u003c/a> series for children — is particularly successful in portraying Piper’s story in ways that are relatable for all ages. Her love for her family and for the traditions she shares with her people, the Numu, are portrayed vividly. So too are her longings for a better life and the fear and confusion she experiences during her court battle.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One section reads:\u003c/p>\n\u003cblockquote>\u003cp>Alice studies the judges, silent and focused.\u003c/p>\n\u003cp>She wonders:\u003cbr>\nDo they see me and think I’m dirty?\u003cbr>\nDon’t they know that I’m the same as they are?\u003cbr>\nDon’t they know how badly I want to learn?\u003c/p>\n\u003cp>Her father’s hand,\u003cbr>\nrough and scarred,\u003cbr>\ngrips hers tight.\u003c/p>\u003c/blockquote>\n\u003cp>At the end of each short chapter are additional pages of facts and photos that place Piper’s story within a wider historical context. These more overtly educational pages are tailor-made for the classroom and clearly explain the clashes between settlers and Indigenous communities. They also feature simple timelines of events, as well as sidebars with useful word definitions.\u003c/p>\n\u003cfigure id=\"attachment_13989306\" class=\"wp-caption aligncenter\" style=\"max-width: 1885px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989306\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Alice-Piper-timeline-page.png\" alt=\"A book page featuring text blocks, photos of Owens Lake and a war memorial, a timeline of events and a side bar with definitions for certain terms used in the main text.\" width=\"1885\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Alice-Piper-timeline-page.png 1885w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Alice-Piper-timeline-page-160x170.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Alice-Piper-timeline-page-768x815.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Alice-Piper-timeline-page-1448x1536.png 1448w\" sizes=\"auto, (max-width: 1885px) 100vw, 1885px\">\u003cfigcaption class=\"wp-caption-text\">Moments from Indigenous history in California, as seen in ‘Alice Piper Speaks Up’ by Sage Andrew Romero and Loralee Sepsey \u003ccite>(Heyday Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The book’s handy juxtaposition of kid-friendly storytelling and educational content makes \u003cem>Alice Piper Speaks Up\u003c/em> an essential purchase for any parents looking for accessible ways to teach their kids about civil rights. The first two books in the \u003cem>Fighting for Justice\u003c/em> series — one about \u003ca href=\"https://www.kqed.org/forum/2010101870475/biddy-mason-speaks-up-introduces-kids-to-one-of-californias-forgotten-figures\">Biddy Mason\u003c/a>’s fight for freedom from slavery; another about \u003ca href=\"https://www.kqed.org/news/55300/fred-korematsus-journey-from-east-oakland-to-the-national-portrait-gallery\">Fred Korematsu\u003c/a>, who railed against Japanese internment — offer similarly valuable lessons.\u003c/p>\n\u003cp>A statue of Alice Piper was erected outside Big Pine High School in June 2014. It stands as a permanent reminder that ordinary people like her can make extraordinary differences. It’s refreshing now to see \u003cem>Alice Piper Speaks Up\u003c/em> impart that powerful message to a wider audience.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.heydaybooks.com/catalog/alice-piper-speaks-up/\">Alice Piper Speaks Up\u003c/a>’ by Sage Andrew Romero and Loralee Sepsey is out on June 2, 2026, via Heyday Books.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>On May 24, 1996, Sublime played their last show at the \u003ca href=\"https://www.kqed.org/news/11954041/teens-helped-save-this-historic-bay-area-theater-by-making-it-their-own\">Phoenix Theater\u003c/a> in Petaluma.\u003c/p>\n\u003cp>No one knew it’d be their final concert. But no one knew, either, that singer Bradley Nowell would be found dead of a heroin overdose the next morning at a motel in San Francisco. \u003c/p>\n\u003cp>Sublime would go on to sell over 17 million records, and their last show in Petaluma has attained mythic status. An \u003ca href=\"http://sublimewiki.com/index.php?title=05.24.1996\" target=\"_blank\" rel=\"noopener\">audio bootleg\u003c/a> exists; legal issues over \u003ca href=\"https://groups.google.com/forum/#!topic/japan.music.punk/pb0K-Bp-MKM\" target=\"_blank\" rel=\"noopener\">still-unreleased video footage\u003c/a> have continued for years; and people still talk about it around Petaluma. But fewer than 900 people witnessed Nowell’s final performance. The rest of Sublime’s millions of fans always want to know: \u003cem>what was it like?\u003c/em>\u003c/p>\n\u003cp>I was there that night, and left after four songs. My band had played the Warped Tour with Sublime the year before, and I’d had my fill of them, to say nothing of Nowell’s impulsive behavior. (He once \u003ca href=\"http://www.bohemian.com/northbay/what-i-got/Content?oid=2170536\" target=\"_blank\" rel=\"noopener\">sicced his dog on a skateboarder and then expected me to back him up in a fight\u003c/a>.) But I’ve always wondered how the rest of the night went down.\u003c/p>\n\u003cp>So to mark the 30th anniversary of Sublime’s last show in Petaluma, I’ve decided to pull together those memories, stories, and loose threads—from regular showgoers, people behind the scenes, performers on stage and band members themselves.\u003c/p>\n\u003cfigure id=\"attachment_11611375\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Sublime.Pool_.BIG_-800x450.jpg\" alt=\"Sublime with Lou Dog.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11611375\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sublime.Pool_.BIG_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sublime.Pool_.BIG_-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sublime.Pool_.BIG_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sublime.Pool_.BIG_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sublime.Pool_.BIG_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sublime.Pool_.BIG_-960x540.jpg 960w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sublime with Lou Dog.\u003c/figcaption>\u003c/figure>\n\u003ch2>Stand by Your Van\u003c/h2>\n\u003cp>\u003cb>Eric Wilson (Bassist, Sublime)\u003c/b>: We had just finished the album. For two or three years before that, we had gotten a really strong cult following, just from playing up and down the coast. We started packing in 2,000 people just from word of mouth, before we even had any deal with a record company.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Rick Bonde (Booking agent, the Tahoe Agency)\u003c/b>: In the time I worked with them, they made it to every gig, we really tightened up the scene, Brad had gotten clean. From my memory, he’d been clean for almost a year. They were going to go to Europe, Brad had a brand-new wife, a new baby.\u003c/p>\n\u003cp>\u003cb>Lil’ Mike\u003c/b>: I was gonna meet ’em at the Glass House in Pomona. They were supposed to play there the week before, and I was gonna jump in the van with ’em and head up the coast. But they canceled the Pomona show. I went down to the club that night, and they were like, “Nah, they’re not coming.” I was worried there had been an O.D.\u003c/p>\n\u003cp>\u003cb>Jason Boggs (Filibuster)\u003c/b>: They’d come to Sacramento and open up for us and play for 30-40 people at little dive bars around town, and they’d crash on our floors. But they’d really started to blow up right around then, with “Date Rape” on KROQ.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=CeMeDihwyrg\u003c/p>\n\u003cp>\u003cb>Tom Gaffey (Manager, Phoenix Theater)\u003c/b>: We were just starting to see more ska and less punk. My punk crowd was just starting to finally turn 21. Ska was the next thing. The youngsters loved it. Most of our crowd for the Sublime show was under 18, and definitely under 21.\u003c/p>\n\u003cp>\u003cb>Rick Bonde\u003c/b>: I was with them the night before up in Chico. That was one of the most insane, crazy rock ‘n’ roll shows I’ve ever seen in my life. There were probably 2,000 people there. The fence got torn down, security was overwhelmed.\u003c/p>\n\u003cp>\u003cb>Eric Wilson\u003c/b>: It was in a park, with a traveling circus. All these people with tattoos and piercings, the freakshow thing. \u003c/p>\n\u003cp>\u003cb>Rick Bonde\u003c/b>: At one point I saw an opening in the crowd and I thought someone had gotten hurt and gone down. So I jumped off the stage, right in the middle of this crowd, and there was nothing there, but everyone was looking on the ground. I’m like, “What are we looking for?” And some guy yells out, “A finger! A fuckin’ finger!” And I’m like, “What do you mean, a finger?!” So we’re all there looking around for this guy’s finger.\u003c/p>\n\u003cp>\u003cb>Eric Wilson\u003c/b>: In Chico, there were a lot of drugs. We stayed over at some college girls’ house and smoked crack for breakfast. So it wasn’t really surprising that that’s where Brad found his last bag.\u003c/p>\n\u003cp>\u003cb>Rick Bonde\u003c/b>: At the afterparty, Brad came up to Mitch, who was the bodyguard we’d hired to protect Brad from himself. Brad walked up and said, “Gimme some money.” And Mitch was like, “No, I’m not giving you any money.” And Brad got really upset and was like, “It’s my money! Gimme my fuckin’ money!” And Mitch was like, “I’m not giving you any money.” Because we all knew what that was about. But the unfortunate thing is that Brad didn’t need money to score, you know what I mean? So I’m convinced he got it that night.\u003c/p>\n\u003cfigure id=\"attachment_11611248\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Sublime.Ticket-800x462.jpg\" alt=\"A ticket for Sublime's last show, May 24, 1996.\" width=\"800\" height=\"462\" class=\"size-medium wp-image-11611248\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sublime.Ticket-800x462.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sublime.Ticket-400x231.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sublime.Ticket-768x443.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sublime.Ticket-960x554.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sublime.Ticket.jpg 1100w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A ticket for Sublime’s last show, May 24, 1996. \u003ccite>(Photo: Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Eric Wilson\u003c/b>: I slept hungover on the way to Petaluma. And so did anybody else that was in the van. We had a big old junker motor home and we had our own bunks. That was like a tour bus to us.\u003c/p>\n\u003cp>\u003cb>Boots Hughston (Manager, Maritime Hall)\u003c/b>: We had ’em at Maritime once before, and we had ’em at the Phoenix a couple times. They were kind of wild and crazy. Bradley was a little bit out of control, but he wasn’t a bad person or anything. I liked him. I thought he was cool. They were booked at the Phoenix one night, and the Maritime the next night.\u003c/p>\n\u003cp>\u003cb>Rhi Smith-Guerrero\u003c/b>: I was 19. A bunch of dudes were going. My best friend had just met a guy, and his roommates were all like, “Let’s go see Sublime!” So I hopped in with the roommates and left her behind with her boyfriend, which she still regrets to this day.\u003c/p>\n\u003cp>\u003cb>Josh Drake\u003c/b>: Earth Crisis played at the Phoenix with the metal band I was in and there were maybe six people there. But whenever there was a big ska show at the Phoenix—Let’s Go Bowling, Skankin’ Pickle, Reel Big Fish—lots of people would go to the ska shows, so you would just go to whatever show it was.\u003c/p>\n\u003cp>\u003cb>Lil’ Mike\u003c/b>: Everybody’d be singing along and know all the words, even if the record wasn’t out! They just had that contagious enthusiasm. I’ve never seen anything like it. \u003c/p>\n\u003cp>\u003cb>Tom Gaffey\u003c/b>: That was their third show here. The first time they came in was as the support band and absolutely stole the show. So we brought them back on their own two more times. Their guarantee in those days was probably $1,500 plus backend. In those days, backend was still at 70 percent.\u003c/p>\n\u003cp>\u003cb>Boots Hughston\u003c/b>: They probably got three grand.\u003c/p>\n\u003cp>\u003cb>Rick Bonde\u003c/b>: I would guess that their guarantee was probably in the $2,500 range. And right now, they’d be playing for no less than $250,000 or $500,000 a night.\u003c/p>\n\u003cp>\u003cb>Tom Gaffey\u003c/b>: Here’s one of the differences that I noticed. The first couple times that they came through, they’d get here early, they’d do their soundcheck and then they’d hang out with all the skater kids. The skater kids would be going onto their RV and watching videos with them and hanging out. The last time through, the RV was not open to skaters. They weren’t hanging out as much. Bradley wasn’t skating with the kids like he had before. That was the first sign that something was a little bit wrong.\u003c/p>\n\u003cfigure id=\"attachment_11611373\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Phoenix.Inside-800x474.jpg\" alt=\"The inside of the Phoenix Theater today.\" width=\"800\" height=\"474\" class=\"size-medium wp-image-11611373\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Phoenix.Inside-800x474.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Phoenix.Inside-400x237.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Phoenix.Inside-768x455.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Phoenix.Inside-1180x699.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Phoenix.Inside.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Phoenix.Inside-960x569.jpg 960w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The inside of the Phoenix Theater today. \u003ccite>(Photo: Jim Agius)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Work That We Do\u003c/h2>\n\u003cp>\u003cb>Jason Boggs (Filibuster)\u003c/b>: It was the Ziggens, us, and Sublime. We had a 27-foot 1967 school bus that we took around on tour, so we rolled up in that, and all the guys from the band hung out in there. That was like our little backstage party zone.\u003c/p>\n\u003cp>\u003cb>Hollie Simons\u003c/b>: I remember lots of frat boys, which was weird for the Phoenix, and the crowd that usually went there. It was never the college boys, it was the punk rockers and skaters. I went with my girlfriends. \u003c/p>\n\u003cp>\u003cb>Tyson Engel\u003c/b>: Brad was hanging out with people out front. He was excited with the new record coming out. I gave him a cigarette, but I didn’t really talk to him that much.\u003c/p>\n\u003cp>\u003cb>Hollie Simons\u003c/b>: I thought it was incredibly cool that before they played, Brad was in the crowd, drinking and hanging out.\u003c/p>\n\u003cp>\u003cb>Eric Wilson\u003c/b>: I remember before the show—it was in the Bay Area, with a college crowd—and there were some guys discussing politics. I said what I thought about it, which wasn’t much, and then the guy put me down for a couple minutes in a real intelligent way.\u003c/p>\n\u003cp>\u003cb>Josh Drake\u003c/b>: The way the Phoenix used to get when there were tons of people in there, it was so hot that you had to try to crane your head up to get fresh air. With the crowd, and the heat, it was tough to breathe.\u003c/p>\n\u003cp>\u003cb>Hollie Simons\u003c/b>: It was an awesome concert, and a huge party. The energy level was just insane.\u003c/p>\n\u003cfigure id=\"attachment_11611247\" class=\"wp-caption alignright\" style=\"max-width: 450px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Sublime.LastShowFlyer-450x600.jpg\" alt=\"The flyer for Sublime's last show, May 24, 1996.\" width=\"450\" height=\"600\" class=\"size-medium wp-image-11611247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sublime.LastShowFlyer-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sublime.LastShowFlyer-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sublime.LastShowFlyer.jpg 720w\" sizes=\"auto, (max-width: 450px) 100vw, 450px\">\u003cfigcaption class=\"wp-caption-text\">The flyer for Sublime’s last show, May 24, 1996. \u003ccite>(Courtesy Glenn Rubenstein)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Jason Boggs\u003c/b>: Sublime killed it that night. They did a great, great job. Considering how much we’d all been partying before the show, I was very, very impressed at how tight they sounded.\u003c/p>\n\u003cp>\u003cb>Tom Gaffey\u003c/b>: I think I read somewhere that said he’d called home, and said he was having the best show he’d ever had. I don’t want to go against what common belief is, but I do recall that I was kind of bored with that show. I’m sorry to say that. It just didn’t have the energy the other shows had had. \u003c/p>\n\u003cp>\u003cb>Sara Sugrue\u003c/b>: I recall feeling sheer disappointment. I thought it sounded awful, especially Brad. I feel a little bad saying it, being that he’s passed.\u003c/p>\n\u003cp>\u003cb>Drew Hirschfield\u003c/b>: It was my second time seeing them and I just remember Brad looking just awful. He was smoking lots of cigarettes during the set. \u003c/p>\n\u003cp>\u003cb>Josh Drake\u003c/b>: When Sublime was on, I went up to the balcony where they had the fire escape doors open, and you could get some fresh air. And of course, there were some guys with big army jackets standing around clearly smoking weed, and me, sidling up to them, trying to stand in the circle hoping they’d pass it to me. It was a gross-tasting wooden pipe that everyone’s mouth had been on, it was disgusting. \u003c/p>\n\u003cp>\u003cb>Tom Gaffey\u003c/b>: In those days that was acceptable behavior. Nowadays, our rules are stricter and stricter. The party finally ate us up.\u003c/p>\n\u003cfigure id=\"attachment_11611374\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Sublime.Sunglasses.BIG_.jpg\" alt=\"Sublime.\" width=\"1100\" height=\"619\" class=\"size-full wp-image-11611374\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sublime.Sunglasses.BIG_.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sublime.Sunglasses.BIG_-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sublime.Sunglasses.BIG_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sublime.Sunglasses.BIG_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sublime.Sunglasses.BIG_-960x540.jpg 960w\" sizes=\"auto, (max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Sublime.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Jared Powell\u003c/b>: I left the show. I was like, “Whatever, I’ll see them play again.” \u003c/p>\n\u003cp>\u003cb>Drew Hirschfield\u003c/b>: It was a show I was stoked about because I had become a real fan, and then there was something worrisome and sadly disconnected about the band. \u003c/p>\n\u003cp>\u003cb>Eric Wilson\u003c/b>: It was a hit-and-miss thing for us. We used to drink a lot. A lot of my older acquaintances would say, “I would never know if you guys were going to sound like total shit or play great.” We didn’t have our professional skills going on back then. We just thought the world was ours, or whatever.\u003c/p>\n\u003cp>\u003cb>Jason Boggs\u003c/b>: They had the halfpipes at the front. It was almost like a rec center, the way it was set up.\u003c/p>\n\u003cp>\u003cb>Hollie Simons\u003c/b>: There were pro skateboarders skating on the ramps while they were playing, and people were just going nuts. I wanna say Mike Carroll was one of them? My friends I was with, they were more in awe of the skateboarders than the band itself. \u003c/p>\n\u003cp>\u003cb>Rhi Smith-Guerrero\u003c/b>: I stayed in the back. I remember that the pit was pretty rowdy. I was being a little more cautious than I would have been in the past couple years prior to that. I had pit injuries.\u003c/p>\n\u003cfigure id=\"attachment_11611377\" class=\"wp-caption alignright\" style=\"max-width: 858px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Sublime.Cassette.jpg\" alt=\"Skunk Records sampler.\" width=\"858\" height=\"1308\" class=\"size-full wp-image-11611377\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sublime.Cassette.jpg 858w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sublime.Cassette-400x610.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sublime.Cassette-394x600.jpg 394w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sublime.Cassette-768x1171.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sublime.Cassette-774x1180.jpg 774w\" sizes=\"auto, (max-width: 858px) 100vw, 858px\">\u003cfigcaption class=\"wp-caption-text\">Skunk Records sampler. \u003ccite>(Courtesy Josh Drake)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Sara Sugrue\u003c/b>: There was this one guy that I couldn’t take my eyes off of. I recall him being dressed in all black, and wearing a skirt, and he decided to dance ballet-style in the pit. He would pirouette through some macho douchebags that were pushing people around, and he looked so free, without a care in the world of what others thought. \u003c/p>\n\u003cp>\u003cb>Faith Corrien Valdez\u003c/b>: I just remember their Dalmatian running around.\u003c/p>\n\u003cp>\u003cb>Eric Wilson\u003c/b>: Lou Dog running around on stage, that was typical, yeah. He probably bit somebody too.\u003c/p>\n\u003cp>\u003cb>Josh Drake\u003c/b>: I still have a cassette tape, a Skunk Records sampler, that I think the Ziggens threw out to the crowd.\u003c/p>\n\u003cp>\u003cb>Rhi Smith-Guerrero\u003c/b>: My friend was up in the front, and I guess he buddied up to this big, burly, muscly black dude who was their merch guy, and so he left with a bunch of stickers, pins and t-shirts and stuff.\u003c/p>\n\u003cp>\u003cb>Lil’ Mike\u003c/b>: Sublime would give you 10 copies of their records, and be like, “Give these to your bros, let people know about us!” \u003c/p>\n\u003cp>\u003cb>Hollie Simons\u003c/b>: We snuck backstage, which was amazing for us, in our Osh-Kosh overalls, and really curly hair, with a Mickey’s 40 oz. poured into a Big Gulp cup. I was 19. There was lots of weed, and it was crowded. We just stood there in the corner, in awe, drinking out of our 7-11 Big Gulps full of beer.\u003c/p>\n\u003cp>\u003cb>Eric Wilson\u003c/b>: It was always a scene backstage. We had our guard down, so we didn’t see what [Brad] was up to.\u003c/p>\n\u003cfigure id=\"attachment_11611243\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/LastPhoto.jpg\" alt=\"The last known photo of Brad Nowell, with fan Barbie Shearer and friend.\" width=\"400\" height=\"321\" class=\"size-full wp-image-11611243\">\u003cfigcaption class=\"wp-caption-text\">The last known photo of Brad Nowell, with fan Barbie Shearer and friend. \u003ccite>(Courtesy Barbie Shearer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Waking up to an Alarm\u003c/h2>\n\u003cp>\u003cb>Tom Gaffey\u003c/b>: Rick Bonde called me the next day and said, “Tom, I want you to know this wasn’t your fault.” I said, “What are you talking about?” \u003c/p>\n\u003cp>\u003cb>Eric Wilson\u003c/b>: I was asleep in the motor home. We woke up to have bloody marys, and I sent my friend inside the hotel to get some ice for the bloody marys. And he came back frantically crying.\u003c/p>\n\u003cp>\u003cb>Rhi Smith-Guerrero\u003c/b>: I was at my parents’ house and I woke up and poured myself a bowl of cereal and was sitting in front of MTV. And the MTV News splash was “Bradley Nowell Dead at 28. Died in San Francisco.” I just about spewed my cereal.\u003c/p>\n\u003cp>\u003cb>Rick Bonde\u003c/b>: Bud [Gaugh, Sublime drummer] found him. What I heard is that Lou Dog was on the bed, licking Brad’s face. Bud looked at him, and there was zero question. Lou was licking the vomit off of him, his face was green-colored. There was no saving him. Obviously it was over.\u003c/p>\n\u003cfigure id=\"attachment_11611378\" class=\"wp-caption aligncenter\" style=\"max-width: 480px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/tmptrf4MG_full.jpeg\" alt=\"The Oceanview Motel, San Francisco.\" width=\"480\" height=\"360\" class=\"size-full wp-image-11611378\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/tmptrf4MG_full.jpeg 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/tmptrf4MG_full-400x300.jpeg 400w\" sizes=\"auto, (max-width: 480px) 100vw, 480px\">\u003cfigcaption class=\"wp-caption-text\">The Oceanview Motel, San Francisco.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Boots Hughston\u003c/b>: At first I thought it was bullshit. I thought somebody was pulling my leg. That’s the kind of band they were, always goofing off. “Tell the Maritime promoter that Bradley died and then he won’t give us any shit for missing soundcheck.” That’s what I was thinking. But then this girl I talked to, who was hanging with the band, she got real serious and real quiet, and she said, “No, no man. He’s not here anymore.” \u003c/p>\n\u003cp>\u003cb>Eric Wilson\u003c/b>: It killed part of me. I don’t really like talking about it.\u003c/p>\n\u003cp>\u003cb>Jason Boggs\u003c/b>: From what I heard, there were a bunch of people in San Francisco that got the same batch, and there were a bunch of O.D.’s that night. \u003c/p>\n\u003cfigure id=\"attachment_11611244\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Maritime.Postcard-781x1180.jpg\" alt=\"A poster announcing Sublime's show at the Maritime Hall on May 25, 1996, which never happened.\" width=\"640\" height=\"967\" class=\"size-large wp-image-11611244\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Maritime.Postcard-781x1180.jpg 781w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Maritime.Postcard-400x604.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Maritime.Postcard-397x600.jpg 397w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Maritime.Postcard-768x1160.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Maritime.Postcard-960x1450.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Maritime.Postcard.jpg 1059w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A poster announcing Sublime’s show at the Maritime Hall on May 25, 1996, which never happened.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Drew Hirschfield\u003c/b>: The next day during recess at Montgomery High my pal John told me he heard about the overdose. I was shocked and a bit scared. I think we felt sacredly important that we were at their last show ever, ’cause we were a bunch of 17 year old punks. \u003c/p>\n\u003cp>\u003cb>Josh Drake\u003c/b>: It was on the news. And I got that kind of excitement that I was \u003cem>part of news\u003c/em>! Like, “I was at that show!” I know that that’s insane, taking someone’s death and turning it into a win. But when you’re that age and nothing ever happens to you, it was at least some excitement in our small town.\u003c/p>\n\u003cp>\u003cb>Tom Gaffey\u003c/b>: Three or four creepy downtown denizens in town tried to claim responsibility, tried to say that they were the ones that sold him the drugs, as a source of pride. How ghoulish is that? What a bunch of idiots. And I wasn’t the only one who heard stuff like that. It’s like, is that your stupid way of at least being able to say you were a part of history? That’s how you want to be known, as the guy that sold Bradley Nowell the drugs?\u003c/p>\n\u003cp>\u003cb>Rhi Smith-Guerrero\u003c/b>: I heard a lot of rumors about where the drugs came from. I heard people say, “Yeah, my friend was the guy that sold him the dope,” and all that. It sounded like a lot of exaggeration and rumor. \u003c/p>\n\u003cp>\u003cb>Jared Powell\u003c/b>: Everybody says they know someone who did something. There are rumors that seem plausible, but it’s also coming from people who want to hang onto some celebrity moment, and that’s just scumbaggy anyway.\u003c/p>\n\u003cp>\u003cb>Rhi Smith-Guerrero\u003c/b>: The rumors were nasty, about who was trying to boast about it.\u003c/p>\n\u003cp>\u003cb>Rick Bonde\u003c/b>: I’m convinced he got it in Chico. And here’s my theory. I think that Brad knew that he was going to be home, seeing his wife and baby in a few days, and I think that he got high that night and probably decided he needed to just finish it off so he wasn’t tempted to do it the next day. So he could clean up for a couple days before he needed to see his family. That’s been my gut this whole time, and believe me, I’ve thought about it a million times in the last 20 years.\u003c/p>\n\u003cfigure id=\"attachment_11611379\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/SublimeST.jpg\" alt=\"Sublime's self-titled major label debut.\" width=\"800\" height=\"810\" class=\"size-full wp-image-11611379\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SublimeST.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SublimeST-400x405.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SublimeST-593x600.jpg 593w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SublimeST-768x778.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SublimeST-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SublimeST-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SublimeST-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SublimeST-96x96.jpg 96w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sublime’s self-titled major label debut.\u003c/figcaption>\u003c/figure>\n\u003ch2>Look at All the Love We’ve Found\u003c/h2>\n\u003cp>\u003cb>Boots Hughston\u003c/b>: Their fans were incredible. When the show at Maritime was canceled, instead of freaking out and demanding refunds, they just came and were, like, really sad. They didn’t care about the money they paid for the tickets. I probably only refunded 10 or 20 people out of 1,500 tickets sold. Usually when something like that happens, people start to demand their money back right at the door. It wasn’t like that. They were just sad that it happened. The whole space in front of the hall turned into a makeshift wake for Bradley. \u003c/p>\n\u003cp>\u003cb>Tom Gaffey\u003c/b>: In the next five to ten years we were getting a lot of people coming through taking pictures of the place. That’s dropped off, of course. \u003c/p>\n\u003cp>\u003cb>Rick Bonde\u003c/b>: The president of MCA Records met with me about a month later. I was in his office, and he told me that he was not going to release their record. He said, “I’m done, Rick, I can’t do this. I’ve spent half a million dollars on Brad’s rehab, and now we don’t have a band to tour behind it, I’m just gonna shelve it, it’s not going to work, it’s never going to be successful.” I was like, “I’m not leaving until you promise to put out this record.” I wouldn’t let up on him. And like, 20 minutes later, he was finally like, “Okay, I’ll try it. I’ll put it out and see what happens.” And now… how many millions of records later?\u003c/p>\n\u003cp>\u003cb>Josh Drake\u003c/b>: I was into punk bands and more underground music, so in that scene, we all rejected Sublime once their big album came out, and the horrible scarring of the musical landscape they caused by telling bands it was okay to play this crappy reggae music.\u003c/p>\n\u003cp>\u003cb>Jared Powell\u003c/b>: Now, everyone says they were at that show. If everybody who says they were at that show was actually at the show, it would have been thousands of people. \u003c/p>\n\u003cfigure id=\"attachment_11611245\" class=\"wp-caption alignright\" style=\"max-width: 537px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/phoenix-sublime-mural.jpg\" alt=\"The mural backstage at the Phoenix Theater, painted by Long Beach Dub All-Stars.\" width=\"537\" height=\"720\" class=\"size-full wp-image-11611245\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/phoenix-sublime-mural.jpg 537w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/phoenix-sublime-mural-400x536.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/phoenix-sublime-mural-448x600.jpg 448w\" sizes=\"auto, (max-width: 537px) 100vw, 537px\">\u003cfigcaption class=\"wp-caption-text\">The mural backstage at the Phoenix Theater, painted by Long Beach Dub All-Stars. \u003ccite>(Mikey DeLosa-Tham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Tom Gaffey\u003c/b>: The other guys came back here a few years later with Long Beach Dub All-Stars, and painted a mural backstage for Brad. \u003c/p>\n\u003cp>\u003cb>Eric Wilson\u003c/b>: That would have been done by Opie, the singer. He’s the guy who drew the sun [on \u003cem>40 Oz. to Freedom\u003c/em>]. He’s a tattoo artist.\u003c/p>\n\u003cp>\u003cb>Tom Gaffey\u003c/b>: It lasted forever, until last year when some idiot came and painted a mural over it.\u003c/p>\n\u003cp>\u003cb>Jared Powell\u003c/b>: Tom went apeshit. He started screaming and yelling, and this young little 18-year old grafitti writer that didn’t know what was going on was almost in tears. \u003c/p>\n\u003cp>\u003cb>Tom Gaffey\u003c/b>: That was a painful thing. It was a beautiful piece. I’d invite them to come back and redo it, because I’d love to have it back.\u003c/p>\n\u003cp>\u003cb>Jim Agius (Phoenix Theater in-house promoter)\u003c/b>: There’s actually audio from the show out there on the internet. The story I heard was that a girl recorded it from the balcony with a Walkman, and she and her boyfriend put it out on CD with money she made as a stripper.\u003c/p>\n\u003cp>\u003cb>Eric Wilson\u003c/b>: I haven’t heard that recording. Did we sound good? I hope we sounded good.\u003c/p>\n\u003cfigure id=\"attachment_11611246\" class=\"wp-caption aligncenter\" style=\"max-width: 300px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/PlayniceinthepitTape.jpg\" alt=\"'Play Nice in the Pit,' recorded at Sublime's last show, May 24, 1996.\" width=\"300\" height=\"226\" class=\"size-full wp-image-11611246\">\u003cfigcaption class=\"wp-caption-text\">‘Play Nice in the Pit,’ recorded at Sublime’s last show, May 24, 1996.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Lil Mike\u003c/b>: It wasn’t great audio quality. But yeah, she had this little Walkman, a hand-held thing. You can hear the whole thing on the internet, because I gave the tape to these internet guys after a while, they were just hounding me. It was called “\u003ca href=\"http://sublimewiki.com/index.php?title=05.24.1996\" target=\"_blank\" rel=\"noopener\">Play Nice in the Pit\u003c/a>,” because that’s what was painted on the wall of the Phoenix, so she went home that night and wrote that on the tape. We put some of the better-sounding songs out on a CD called \u003cem>\u003ca href=\"http://sublimewiki.com/index.php?title=It_All_Seems_so_Silly_in_the_Long_Run\" target=\"_blank\" rel=\"noopener\">It All Seems So Silly in the Long Run\u003c/a>\u003c/em> with some other recordings we’d done at Klub Komotion, and I sent ’em $1,000 each. Bud and Eric told me that was the most money they’d gotten from their music at that point. Their album was out and selling millions, but they hadn’t seen any money because they owed so much money to MCA for Brad’s rehab, which I’d heard cost half a million dollars. So the only royalty check they received at that point was from a bootleg!\u003c/p>\n\u003cp>\u003cb>Jim Agius\u003c/b>: The other thing is that there’s video footage of the whole show, but it’s never been released. After Brad died, there was some \u003ca href=\"http://articles.latimes.com/1998/feb/06/entertainment/ca-15990\" target=\"_blank\" rel=\"noopener\">ugly legal battle between the guy who filmed it and the band\u003c/a>, and he’s just sat on the footage all these years, not doing anything with it.\u003c/p>\n\u003cp>\u003cb>Eric Wilson\u003c/b>: I’m sure it’ll come out sometime, but I don’t know anything about the politics of it.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KuL8Iexv8g8\u003c/p>\n\u003cp>\u003cb>Sara Sugrue\u003c/b>: It’s also where I first met my ex, on the stairs of the Phoenix. Initially I was planning to say that it was a night I could have done without. However, without that night and the next few years of hell with my ex, I may have never been at Gale’s that one night where I met my amazing husband. Seventeen years together this year! So, with that thought, I am so happy that I have that disastrous night in my history. If I didn’t go to that show, I honestly would not be who I am now. \u003c/p>\n\u003cp>\u003cb>Hollie Simons\u003c/b>: I remember telling my husband, “Ah! I was at their last show!” when a Sublime song came on the radio when we were driving to Disneyland with our kids. He’s like, “No you weren’t!” I was like, “No, they played their last show at the Phoenix!”\u003c/p>\n\u003cp>\u003cb>Boots Hughston\u003c/b>: I didn’t really expect it to happen. Bradley, he was crazy and partying, but I just never got the vibe that he was going to check out like that.\u003c/p>\n\u003cp>\u003cb>Rick Bonde\u003c/b>: You know what was really going through my mind after he died? I swear this is true, that as sad I was for myself, and for my business, and obviously Brad’s wife and family, and the band—the thing I thought about the most was that the rest of the world didn’t know what they just lost.\u003c/p>\n\u003cp>\u003cb>Jason Boggs\u003c/b>: I think Brad would have gotten a lot more seasoned. I think he might have started to realize that he was a voice. He never got a chance to see how much influence he had on people, or how his music affected people in such a good way; he brought that positivity that I think he understood about reggae and rocksteady and even punk rock. He was a very positive person.\u003c/p>\n\u003cp>\u003cb>Eric Wilson\u003c/b>: He’d probably be playing music. Probably with me, but he might have gone solo. But who knows? We’ll never know.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"excerpt": "Remembering the band's final concert at the Phoenix Theater in Petaluma on May 24, 1996, as told by those in the crowd, behind the scenes, and on stage.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On May 24, 1996, Sublime played their last show at the \u003ca href=\"https://www.kqed.org/news/11954041/teens-helped-save-this-historic-bay-area-theater-by-making-it-their-own\">Phoenix Theater\u003c/a> in Petaluma.\u003c/p>\n\u003cp>No one knew it’d be their final concert. But no one knew, either, that singer Bradley Nowell would be found dead of a heroin overdose the next morning at a motel in San Francisco. \u003c/p>\n\u003cp>Sublime would go on to sell over 17 million records, and their last show in Petaluma has attained mythic status. An \u003ca href=\"http://sublimewiki.com/index.php?title=05.24.1996\" target=\"_blank\" rel=\"noopener\">audio bootleg\u003c/a> exists; legal issues over \u003ca href=\"https://groups.google.com/forum/#!topic/japan.music.punk/pb0K-Bp-MKM\" target=\"_blank\" rel=\"noopener\">still-unreleased video footage\u003c/a> have continued for years; and people still talk about it around Petaluma. But fewer than 900 people witnessed Nowell’s final performance. The rest of Sublime’s millions of fans always want to know: \u003cem>what was it like?\u003c/em>\u003c/p>\n\u003cp>I was there that night, and left after four songs. My band had played the Warped Tour with Sublime the year before, and I’d had my fill of them, to say nothing of Nowell’s impulsive behavior. (He once \u003ca href=\"http://www.bohemian.com/northbay/what-i-got/Content?oid=2170536\" target=\"_blank\" rel=\"noopener\">sicced his dog on a skateboarder and then expected me to back him up in a fight\u003c/a>.) But I’ve always wondered how the rest of the night went down.\u003c/p>\n\u003cp>So to mark the 30th anniversary of Sublime’s last show in Petaluma, I’ve decided to pull together those memories, stories, and loose threads—from regular showgoers, people behind the scenes, performers on stage and band members themselves.\u003c/p>\n\u003cfigure id=\"attachment_11611375\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Sublime.Pool_.BIG_-800x450.jpg\" alt=\"Sublime with Lou Dog.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11611375\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sublime.Pool_.BIG_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sublime.Pool_.BIG_-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sublime.Pool_.BIG_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sublime.Pool_.BIG_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sublime.Pool_.BIG_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sublime.Pool_.BIG_-960x540.jpg 960w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sublime with Lou Dog.\u003c/figcaption>\u003c/figure>\n\u003ch2>Stand by Your Van\u003c/h2>\n\u003cp>\u003cb>Eric Wilson (Bassist, Sublime)\u003c/b>: We had just finished the album. For two or three years before that, we had gotten a really strong cult following, just from playing up and down the coast. We started packing in 2,000 people just from word of mouth, before we even had any deal with a record company.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Rick Bonde (Booking agent, the Tahoe Agency)\u003c/b>: In the time I worked with them, they made it to every gig, we really tightened up the scene, Brad had gotten clean. From my memory, he’d been clean for almost a year. They were going to go to Europe, Brad had a brand-new wife, a new baby.\u003c/p>\n\u003cp>\u003cb>Lil’ Mike\u003c/b>: I was gonna meet ’em at the Glass House in Pomona. They were supposed to play there the week before, and I was gonna jump in the van with ’em and head up the coast. But they canceled the Pomona show. I went down to the club that night, and they were like, “Nah, they’re not coming.” I was worried there had been an O.D.\u003c/p>\n\u003cp>\u003cb>Jason Boggs (Filibuster)\u003c/b>: They’d come to Sacramento and open up for us and play for 30-40 people at little dive bars around town, and they’d crash on our floors. But they’d really started to blow up right around then, with “Date Rape” on KROQ.\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/CeMeDihwyrg'\n title='//www.youtube.com/embed/CeMeDihwyrg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>Tom Gaffey (Manager, Phoenix Theater)\u003c/b>: We were just starting to see more ska and less punk. My punk crowd was just starting to finally turn 21. Ska was the next thing. The youngsters loved it. Most of our crowd for the Sublime show was under 18, and definitely under 21.\u003c/p>\n\u003cp>\u003cb>Rick Bonde\u003c/b>: I was with them the night before up in Chico. That was one of the most insane, crazy rock ‘n’ roll shows I’ve ever seen in my life. There were probably 2,000 people there. The fence got torn down, security was overwhelmed.\u003c/p>\n\u003cp>\u003cb>Eric Wilson\u003c/b>: It was in a park, with a traveling circus. All these people with tattoos and piercings, the freakshow thing. \u003c/p>\n\u003cp>\u003cb>Rick Bonde\u003c/b>: At one point I saw an opening in the crowd and I thought someone had gotten hurt and gone down. So I jumped off the stage, right in the middle of this crowd, and there was nothing there, but everyone was looking on the ground. I’m like, “What are we looking for?” And some guy yells out, “A finger! A fuckin’ finger!” And I’m like, “What do you mean, a finger?!” So we’re all there looking around for this guy’s finger.\u003c/p>\n\u003cp>\u003cb>Eric Wilson\u003c/b>: In Chico, there were a lot of drugs. We stayed over at some college girls’ house and smoked crack for breakfast. So it wasn’t really surprising that that’s where Brad found his last bag.\u003c/p>\n\u003cp>\u003cb>Rick Bonde\u003c/b>: At the afterparty, Brad came up to Mitch, who was the bodyguard we’d hired to protect Brad from himself. Brad walked up and said, “Gimme some money.” And Mitch was like, “No, I’m not giving you any money.” And Brad got really upset and was like, “It’s my money! Gimme my fuckin’ money!” And Mitch was like, “I’m not giving you any money.” Because we all knew what that was about. But the unfortunate thing is that Brad didn’t need money to score, you know what I mean? So I’m convinced he got it that night.\u003c/p>\n\u003cfigure id=\"attachment_11611248\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Sublime.Ticket-800x462.jpg\" alt=\"A ticket for Sublime's last show, May 24, 1996.\" width=\"800\" height=\"462\" class=\"size-medium wp-image-11611248\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sublime.Ticket-800x462.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sublime.Ticket-400x231.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sublime.Ticket-768x443.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sublime.Ticket-960x554.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sublime.Ticket.jpg 1100w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A ticket for Sublime’s last show, May 24, 1996. \u003ccite>(Photo: Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Eric Wilson\u003c/b>: I slept hungover on the way to Petaluma. And so did anybody else that was in the van. We had a big old junker motor home and we had our own bunks. That was like a tour bus to us.\u003c/p>\n\u003cp>\u003cb>Boots Hughston (Manager, Maritime Hall)\u003c/b>: We had ’em at Maritime once before, and we had ’em at the Phoenix a couple times. They were kind of wild and crazy. Bradley was a little bit out of control, but he wasn’t a bad person or anything. I liked him. I thought he was cool. They were booked at the Phoenix one night, and the Maritime the next night.\u003c/p>\n\u003cp>\u003cb>Rhi Smith-Guerrero\u003c/b>: I was 19. A bunch of dudes were going. My best friend had just met a guy, and his roommates were all like, “Let’s go see Sublime!” So I hopped in with the roommates and left her behind with her boyfriend, which she still regrets to this day.\u003c/p>\n\u003cp>\u003cb>Josh Drake\u003c/b>: Earth Crisis played at the Phoenix with the metal band I was in and there were maybe six people there. But whenever there was a big ska show at the Phoenix—Let’s Go Bowling, Skankin’ Pickle, Reel Big Fish—lots of people would go to the ska shows, so you would just go to whatever show it was.\u003c/p>\n\u003cp>\u003cb>Lil’ Mike\u003c/b>: Everybody’d be singing along and know all the words, even if the record wasn’t out! They just had that contagious enthusiasm. I’ve never seen anything like it. \u003c/p>\n\u003cp>\u003cb>Tom Gaffey\u003c/b>: That was their third show here. The first time they came in was as the support band and absolutely stole the show. So we brought them back on their own two more times. Their guarantee in those days was probably $1,500 plus backend. In those days, backend was still at 70 percent.\u003c/p>\n\u003cp>\u003cb>Boots Hughston\u003c/b>: They probably got three grand.\u003c/p>\n\u003cp>\u003cb>Rick Bonde\u003c/b>: I would guess that their guarantee was probably in the $2,500 range. And right now, they’d be playing for no less than $250,000 or $500,000 a night.\u003c/p>\n\u003cp>\u003cb>Tom Gaffey\u003c/b>: Here’s one of the differences that I noticed. The first couple times that they came through, they’d get here early, they’d do their soundcheck and then they’d hang out with all the skater kids. The skater kids would be going onto their RV and watching videos with them and hanging out. The last time through, the RV was not open to skaters. They weren’t hanging out as much. Bradley wasn’t skating with the kids like he had before. That was the first sign that something was a little bit wrong.\u003c/p>\n\u003cfigure id=\"attachment_11611373\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Phoenix.Inside-800x474.jpg\" alt=\"The inside of the Phoenix Theater today.\" width=\"800\" height=\"474\" class=\"size-medium wp-image-11611373\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Phoenix.Inside-800x474.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Phoenix.Inside-400x237.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Phoenix.Inside-768x455.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Phoenix.Inside-1180x699.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Phoenix.Inside.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Phoenix.Inside-960x569.jpg 960w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The inside of the Phoenix Theater today. \u003ccite>(Photo: Jim Agius)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Work That We Do\u003c/h2>\n\u003cp>\u003cb>Jason Boggs (Filibuster)\u003c/b>: It was the Ziggens, us, and Sublime. We had a 27-foot 1967 school bus that we took around on tour, so we rolled up in that, and all the guys from the band hung out in there. That was like our little backstage party zone.\u003c/p>\n\u003cp>\u003cb>Hollie Simons\u003c/b>: I remember lots of frat boys, which was weird for the Phoenix, and the crowd that usually went there. It was never the college boys, it was the punk rockers and skaters. I went with my girlfriends. \u003c/p>\n\u003cp>\u003cb>Tyson Engel\u003c/b>: Brad was hanging out with people out front. He was excited with the new record coming out. I gave him a cigarette, but I didn’t really talk to him that much.\u003c/p>\n\u003cp>\u003cb>Hollie Simons\u003c/b>: I thought it was incredibly cool that before they played, Brad was in the crowd, drinking and hanging out.\u003c/p>\n\u003cp>\u003cb>Eric Wilson\u003c/b>: I remember before the show—it was in the Bay Area, with a college crowd—and there were some guys discussing politics. I said what I thought about it, which wasn’t much, and then the guy put me down for a couple minutes in a real intelligent way.\u003c/p>\n\u003cp>\u003cb>Josh Drake\u003c/b>: The way the Phoenix used to get when there were tons of people in there, it was so hot that you had to try to crane your head up to get fresh air. With the crowd, and the heat, it was tough to breathe.\u003c/p>\n\u003cp>\u003cb>Hollie Simons\u003c/b>: It was an awesome concert, and a huge party. The energy level was just insane.\u003c/p>\n\u003cfigure id=\"attachment_11611247\" class=\"wp-caption alignright\" style=\"max-width: 450px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Sublime.LastShowFlyer-450x600.jpg\" alt=\"The flyer for Sublime's last show, May 24, 1996.\" width=\"450\" height=\"600\" class=\"size-medium wp-image-11611247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sublime.LastShowFlyer-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sublime.LastShowFlyer-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sublime.LastShowFlyer.jpg 720w\" sizes=\"auto, (max-width: 450px) 100vw, 450px\">\u003cfigcaption class=\"wp-caption-text\">The flyer for Sublime’s last show, May 24, 1996. \u003ccite>(Courtesy Glenn Rubenstein)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Jason Boggs\u003c/b>: Sublime killed it that night. They did a great, great job. Considering how much we’d all been partying before the show, I was very, very impressed at how tight they sounded.\u003c/p>\n\u003cp>\u003cb>Tom Gaffey\u003c/b>: I think I read somewhere that said he’d called home, and said he was having the best show he’d ever had. I don’t want to go against what common belief is, but I do recall that I was kind of bored with that show. I’m sorry to say that. It just didn’t have the energy the other shows had had. \u003c/p>\n\u003cp>\u003cb>Sara Sugrue\u003c/b>: I recall feeling sheer disappointment. I thought it sounded awful, especially Brad. I feel a little bad saying it, being that he’s passed.\u003c/p>\n\u003cp>\u003cb>Drew Hirschfield\u003c/b>: It was my second time seeing them and I just remember Brad looking just awful. He was smoking lots of cigarettes during the set. \u003c/p>\n\u003cp>\u003cb>Josh Drake\u003c/b>: When Sublime was on, I went up to the balcony where they had the fire escape doors open, and you could get some fresh air. And of course, there were some guys with big army jackets standing around clearly smoking weed, and me, sidling up to them, trying to stand in the circle hoping they’d pass it to me. It was a gross-tasting wooden pipe that everyone’s mouth had been on, it was disgusting. \u003c/p>\n\u003cp>\u003cb>Tom Gaffey\u003c/b>: In those days that was acceptable behavior. Nowadays, our rules are stricter and stricter. The party finally ate us up.\u003c/p>\n\u003cfigure id=\"attachment_11611374\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Sublime.Sunglasses.BIG_.jpg\" alt=\"Sublime.\" width=\"1100\" height=\"619\" class=\"size-full wp-image-11611374\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sublime.Sunglasses.BIG_.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sublime.Sunglasses.BIG_-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sublime.Sunglasses.BIG_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sublime.Sunglasses.BIG_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sublime.Sunglasses.BIG_-960x540.jpg 960w\" sizes=\"auto, (max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Sublime.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Jared Powell\u003c/b>: I left the show. I was like, “Whatever, I’ll see them play again.” \u003c/p>\n\u003cp>\u003cb>Drew Hirschfield\u003c/b>: It was a show I was stoked about because I had become a real fan, and then there was something worrisome and sadly disconnected about the band. \u003c/p>\n\u003cp>\u003cb>Eric Wilson\u003c/b>: It was a hit-and-miss thing for us. We used to drink a lot. A lot of my older acquaintances would say, “I would never know if you guys were going to sound like total shit or play great.” We didn’t have our professional skills going on back then. We just thought the world was ours, or whatever.\u003c/p>\n\u003cp>\u003cb>Jason Boggs\u003c/b>: They had the halfpipes at the front. It was almost like a rec center, the way it was set up.\u003c/p>\n\u003cp>\u003cb>Hollie Simons\u003c/b>: There were pro skateboarders skating on the ramps while they were playing, and people were just going nuts. I wanna say Mike Carroll was one of them? My friends I was with, they were more in awe of the skateboarders than the band itself. \u003c/p>\n\u003cp>\u003cb>Rhi Smith-Guerrero\u003c/b>: I stayed in the back. I remember that the pit was pretty rowdy. I was being a little more cautious than I would have been in the past couple years prior to that. I had pit injuries.\u003c/p>\n\u003cfigure id=\"attachment_11611377\" class=\"wp-caption alignright\" style=\"max-width: 858px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Sublime.Cassette.jpg\" alt=\"Skunk Records sampler.\" width=\"858\" height=\"1308\" class=\"size-full wp-image-11611377\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sublime.Cassette.jpg 858w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sublime.Cassette-400x610.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sublime.Cassette-394x600.jpg 394w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sublime.Cassette-768x1171.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sublime.Cassette-774x1180.jpg 774w\" sizes=\"auto, (max-width: 858px) 100vw, 858px\">\u003cfigcaption class=\"wp-caption-text\">Skunk Records sampler. \u003ccite>(Courtesy Josh Drake)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Sara Sugrue\u003c/b>: There was this one guy that I couldn’t take my eyes off of. I recall him being dressed in all black, and wearing a skirt, and he decided to dance ballet-style in the pit. He would pirouette through some macho douchebags that were pushing people around, and he looked so free, without a care in the world of what others thought. \u003c/p>\n\u003cp>\u003cb>Faith Corrien Valdez\u003c/b>: I just remember their Dalmatian running around.\u003c/p>\n\u003cp>\u003cb>Eric Wilson\u003c/b>: Lou Dog running around on stage, that was typical, yeah. He probably bit somebody too.\u003c/p>\n\u003cp>\u003cb>Josh Drake\u003c/b>: I still have a cassette tape, a Skunk Records sampler, that I think the Ziggens threw out to the crowd.\u003c/p>\n\u003cp>\u003cb>Rhi Smith-Guerrero\u003c/b>: My friend was up in the front, and I guess he buddied up to this big, burly, muscly black dude who was their merch guy, and so he left with a bunch of stickers, pins and t-shirts and stuff.\u003c/p>\n\u003cp>\u003cb>Lil’ Mike\u003c/b>: Sublime would give you 10 copies of their records, and be like, “Give these to your bros, let people know about us!” \u003c/p>\n\u003cp>\u003cb>Hollie Simons\u003c/b>: We snuck backstage, which was amazing for us, in our Osh-Kosh overalls, and really curly hair, with a Mickey’s 40 oz. poured into a Big Gulp cup. I was 19. There was lots of weed, and it was crowded. We just stood there in the corner, in awe, drinking out of our 7-11 Big Gulps full of beer.\u003c/p>\n\u003cp>\u003cb>Eric Wilson\u003c/b>: It was always a scene backstage. We had our guard down, so we didn’t see what [Brad] was up to.\u003c/p>\n\u003cfigure id=\"attachment_11611243\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/LastPhoto.jpg\" alt=\"The last known photo of Brad Nowell, with fan Barbie Shearer and friend.\" width=\"400\" height=\"321\" class=\"size-full wp-image-11611243\">\u003cfigcaption class=\"wp-caption-text\">The last known photo of Brad Nowell, with fan Barbie Shearer and friend. \u003ccite>(Courtesy Barbie Shearer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Waking up to an Alarm\u003c/h2>\n\u003cp>\u003cb>Tom Gaffey\u003c/b>: Rick Bonde called me the next day and said, “Tom, I want you to know this wasn’t your fault.” I said, “What are you talking about?” \u003c/p>\n\u003cp>\u003cb>Eric Wilson\u003c/b>: I was asleep in the motor home. We woke up to have bloody marys, and I sent my friend inside the hotel to get some ice for the bloody marys. And he came back frantically crying.\u003c/p>\n\u003cp>\u003cb>Rhi Smith-Guerrero\u003c/b>: I was at my parents’ house and I woke up and poured myself a bowl of cereal and was sitting in front of MTV. And the MTV News splash was “Bradley Nowell Dead at 28. Died in San Francisco.” I just about spewed my cereal.\u003c/p>\n\u003cp>\u003cb>Rick Bonde\u003c/b>: Bud [Gaugh, Sublime drummer] found him. What I heard is that Lou Dog was on the bed, licking Brad’s face. Bud looked at him, and there was zero question. Lou was licking the vomit off of him, his face was green-colored. There was no saving him. Obviously it was over.\u003c/p>\n\u003cfigure id=\"attachment_11611378\" class=\"wp-caption aligncenter\" style=\"max-width: 480px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/tmptrf4MG_full.jpeg\" alt=\"The Oceanview Motel, San Francisco.\" width=\"480\" height=\"360\" class=\"size-full wp-image-11611378\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/tmptrf4MG_full.jpeg 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/tmptrf4MG_full-400x300.jpeg 400w\" sizes=\"auto, (max-width: 480px) 100vw, 480px\">\u003cfigcaption class=\"wp-caption-text\">The Oceanview Motel, San Francisco.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Boots Hughston\u003c/b>: At first I thought it was bullshit. I thought somebody was pulling my leg. That’s the kind of band they were, always goofing off. “Tell the Maritime promoter that Bradley died and then he won’t give us any shit for missing soundcheck.” That’s what I was thinking. But then this girl I talked to, who was hanging with the band, she got real serious and real quiet, and she said, “No, no man. He’s not here anymore.” \u003c/p>\n\u003cp>\u003cb>Eric Wilson\u003c/b>: It killed part of me. I don’t really like talking about it.\u003c/p>\n\u003cp>\u003cb>Jason Boggs\u003c/b>: From what I heard, there were a bunch of people in San Francisco that got the same batch, and there were a bunch of O.D.’s that night. \u003c/p>\n\u003cfigure id=\"attachment_11611244\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Maritime.Postcard-781x1180.jpg\" alt=\"A poster announcing Sublime's show at the Maritime Hall on May 25, 1996, which never happened.\" width=\"640\" height=\"967\" class=\"size-large wp-image-11611244\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Maritime.Postcard-781x1180.jpg 781w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Maritime.Postcard-400x604.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Maritime.Postcard-397x600.jpg 397w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Maritime.Postcard-768x1160.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Maritime.Postcard-960x1450.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Maritime.Postcard.jpg 1059w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A poster announcing Sublime’s show at the Maritime Hall on May 25, 1996, which never happened.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Drew Hirschfield\u003c/b>: The next day during recess at Montgomery High my pal John told me he heard about the overdose. I was shocked and a bit scared. I think we felt sacredly important that we were at their last show ever, ’cause we were a bunch of 17 year old punks. \u003c/p>\n\u003cp>\u003cb>Josh Drake\u003c/b>: It was on the news. And I got that kind of excitement that I was \u003cem>part of news\u003c/em>! Like, “I was at that show!” I know that that’s insane, taking someone’s death and turning it into a win. But when you’re that age and nothing ever happens to you, it was at least some excitement in our small town.\u003c/p>\n\u003cp>\u003cb>Tom Gaffey\u003c/b>: Three or four creepy downtown denizens in town tried to claim responsibility, tried to say that they were the ones that sold him the drugs, as a source of pride. How ghoulish is that? What a bunch of idiots. And I wasn’t the only one who heard stuff like that. It’s like, is that your stupid way of at least being able to say you were a part of history? That’s how you want to be known, as the guy that sold Bradley Nowell the drugs?\u003c/p>\n\u003cp>\u003cb>Rhi Smith-Guerrero\u003c/b>: I heard a lot of rumors about where the drugs came from. I heard people say, “Yeah, my friend was the guy that sold him the dope,” and all that. It sounded like a lot of exaggeration and rumor. \u003c/p>\n\u003cp>\u003cb>Jared Powell\u003c/b>: Everybody says they know someone who did something. There are rumors that seem plausible, but it’s also coming from people who want to hang onto some celebrity moment, and that’s just scumbaggy anyway.\u003c/p>\n\u003cp>\u003cb>Rhi Smith-Guerrero\u003c/b>: The rumors were nasty, about who was trying to boast about it.\u003c/p>\n\u003cp>\u003cb>Rick Bonde\u003c/b>: I’m convinced he got it in Chico. And here’s my theory. I think that Brad knew that he was going to be home, seeing his wife and baby in a few days, and I think that he got high that night and probably decided he needed to just finish it off so he wasn’t tempted to do it the next day. So he could clean up for a couple days before he needed to see his family. That’s been my gut this whole time, and believe me, I’ve thought about it a million times in the last 20 years.\u003c/p>\n\u003cfigure id=\"attachment_11611379\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/SublimeST.jpg\" alt=\"Sublime's self-titled major label debut.\" width=\"800\" height=\"810\" class=\"size-full wp-image-11611379\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SublimeST.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SublimeST-400x405.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SublimeST-593x600.jpg 593w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SublimeST-768x778.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SublimeST-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SublimeST-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SublimeST-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SublimeST-96x96.jpg 96w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sublime’s self-titled major label debut.\u003c/figcaption>\u003c/figure>\n\u003ch2>Look at All the Love We’ve Found\u003c/h2>\n\u003cp>\u003cb>Boots Hughston\u003c/b>: Their fans were incredible. When the show at Maritime was canceled, instead of freaking out and demanding refunds, they just came and were, like, really sad. They didn’t care about the money they paid for the tickets. I probably only refunded 10 or 20 people out of 1,500 tickets sold. Usually when something like that happens, people start to demand their money back right at the door. It wasn’t like that. They were just sad that it happened. The whole space in front of the hall turned into a makeshift wake for Bradley. \u003c/p>\n\u003cp>\u003cb>Tom Gaffey\u003c/b>: In the next five to ten years we were getting a lot of people coming through taking pictures of the place. That’s dropped off, of course. \u003c/p>\n\u003cp>\u003cb>Rick Bonde\u003c/b>: The president of MCA Records met with me about a month later. I was in his office, and he told me that he was not going to release their record. He said, “I’m done, Rick, I can’t do this. I’ve spent half a million dollars on Brad’s rehab, and now we don’t have a band to tour behind it, I’m just gonna shelve it, it’s not going to work, it’s never going to be successful.” I was like, “I’m not leaving until you promise to put out this record.” I wouldn’t let up on him. And like, 20 minutes later, he was finally like, “Okay, I’ll try it. I’ll put it out and see what happens.” And now… how many millions of records later?\u003c/p>\n\u003cp>\u003cb>Josh Drake\u003c/b>: I was into punk bands and more underground music, so in that scene, we all rejected Sublime once their big album came out, and the horrible scarring of the musical landscape they caused by telling bands it was okay to play this crappy reggae music.\u003c/p>\n\u003cp>\u003cb>Jared Powell\u003c/b>: Now, everyone says they were at that show. If everybody who says they were at that show was actually at the show, it would have been thousands of people. \u003c/p>\n\u003cfigure id=\"attachment_11611245\" class=\"wp-caption alignright\" style=\"max-width: 537px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/phoenix-sublime-mural.jpg\" alt=\"The mural backstage at the Phoenix Theater, painted by Long Beach Dub All-Stars.\" width=\"537\" height=\"720\" class=\"size-full wp-image-11611245\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/phoenix-sublime-mural.jpg 537w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/phoenix-sublime-mural-400x536.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/phoenix-sublime-mural-448x600.jpg 448w\" sizes=\"auto, (max-width: 537px) 100vw, 537px\">\u003cfigcaption class=\"wp-caption-text\">The mural backstage at the Phoenix Theater, painted by Long Beach Dub All-Stars. \u003ccite>(Mikey DeLosa-Tham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Tom Gaffey\u003c/b>: The other guys came back here a few years later with Long Beach Dub All-Stars, and painted a mural backstage for Brad. \u003c/p>\n\u003cp>\u003cb>Eric Wilson\u003c/b>: That would have been done by Opie, the singer. He’s the guy who drew the sun [on \u003cem>40 Oz. to Freedom\u003c/em>]. He’s a tattoo artist.\u003c/p>\n\u003cp>\u003cb>Tom Gaffey\u003c/b>: It lasted forever, until last year when some idiot came and painted a mural over it.\u003c/p>\n\u003cp>\u003cb>Jared Powell\u003c/b>: Tom went apeshit. He started screaming and yelling, and this young little 18-year old grafitti writer that didn’t know what was going on was almost in tears. \u003c/p>\n\u003cp>\u003cb>Tom Gaffey\u003c/b>: That was a painful thing. It was a beautiful piece. I’d invite them to come back and redo it, because I’d love to have it back.\u003c/p>\n\u003cp>\u003cb>Jim Agius (Phoenix Theater in-house promoter)\u003c/b>: There’s actually audio from the show out there on the internet. The story I heard was that a girl recorded it from the balcony with a Walkman, and she and her boyfriend put it out on CD with money she made as a stripper.\u003c/p>\n\u003cp>\u003cb>Eric Wilson\u003c/b>: I haven’t heard that recording. Did we sound good? I hope we sounded good.\u003c/p>\n\u003cfigure id=\"attachment_11611246\" class=\"wp-caption aligncenter\" style=\"max-width: 300px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/PlayniceinthepitTape.jpg\" alt=\"'Play Nice in the Pit,' recorded at Sublime's last show, May 24, 1996.\" width=\"300\" height=\"226\" class=\"size-full wp-image-11611246\">\u003cfigcaption class=\"wp-caption-text\">‘Play Nice in the Pit,’ recorded at Sublime’s last show, May 24, 1996.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Lil Mike\u003c/b>: It wasn’t great audio quality. But yeah, she had this little Walkman, a hand-held thing. You can hear the whole thing on the internet, because I gave the tape to these internet guys after a while, they were just hounding me. It was called “\u003ca href=\"http://sublimewiki.com/index.php?title=05.24.1996\" target=\"_blank\" rel=\"noopener\">Play Nice in the Pit\u003c/a>,” because that’s what was painted on the wall of the Phoenix, so she went home that night and wrote that on the tape. We put some of the better-sounding songs out on a CD called \u003cem>\u003ca href=\"http://sublimewiki.com/index.php?title=It_All_Seems_so_Silly_in_the_Long_Run\" target=\"_blank\" rel=\"noopener\">It All Seems So Silly in the Long Run\u003c/a>\u003c/em> with some other recordings we’d done at Klub Komotion, and I sent ’em $1,000 each. Bud and Eric told me that was the most money they’d gotten from their music at that point. Their album was out and selling millions, but they hadn’t seen any money because they owed so much money to MCA for Brad’s rehab, which I’d heard cost half a million dollars. So the only royalty check they received at that point was from a bootleg!\u003c/p>\n\u003cp>\u003cb>Jim Agius\u003c/b>: The other thing is that there’s video footage of the whole show, but it’s never been released. After Brad died, there was some \u003ca href=\"http://articles.latimes.com/1998/feb/06/entertainment/ca-15990\" target=\"_blank\" rel=\"noopener\">ugly legal battle between the guy who filmed it and the band\u003c/a>, and he’s just sat on the footage all these years, not doing anything with it.\u003c/p>\n\u003cp>\u003cb>Eric Wilson\u003c/b>: I’m sure it’ll come out sometime, but I don’t know anything about the politics of it.\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/KuL8Iexv8g8'\n title='//www.youtube.com/embed/KuL8Iexv8g8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>Sara Sugrue\u003c/b>: It’s also where I first met my ex, on the stairs of the Phoenix. Initially I was planning to say that it was a night I could have done without. However, without that night and the next few years of hell with my ex, I may have never been at Gale’s that one night where I met my amazing husband. Seventeen years together this year! So, with that thought, I am so happy that I have that disastrous night in my history. If I didn’t go to that show, I honestly would not be who I am now. \u003c/p>\n\u003cp>\u003cb>Hollie Simons\u003c/b>: I remember telling my husband, “Ah! I was at their last show!” when a Sublime song came on the radio when we were driving to Disneyland with our kids. He’s like, “No you weren’t!” I was like, “No, they played their last show at the Phoenix!”\u003c/p>\n\u003cp>\u003cb>Boots Hughston\u003c/b>: I didn’t really expect it to happen. Bradley, he was crazy and partying, but I just never got the vibe that he was going to check out like that.\u003c/p>\n\u003cp>\u003cb>Rick Bonde\u003c/b>: You know what was really going through my mind after he died? I swear this is true, that as sad I was for myself, and for my business, and obviously Brad’s wife and family, and the band—the thing I thought about the most was that the rest of the world didn’t know what they just lost.\u003c/p>\n\u003cp>\u003cb>Jason Boggs\u003c/b>: I think Brad would have gotten a lot more seasoned. I think he might have started to realize that he was a voice. He never got a chance to see how much influence he had on people, or how his music affected people in such a good way; he brought that positivity that I think he understood about reggae and rocksteady and even punk rock. He was a very positive person.\u003c/p>\n\u003cp>\u003cb>Eric Wilson\u003c/b>: He’d probably be playing music. Probably with me, but he might have gone solo. But who knows? We’ll never know.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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"link": "/radio/program/reveal",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
},
"link": "/podcasts/rightnowish",
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