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"content": "\u003cp>As Thee Oh Sees prepare to close the second headlining set of their two-night September residency at the Great American Music Hall, the band’s frontman, John Dwyer, explains how it’s going to go down. “We are going to do two more songs,” he tells the buzzing Thursday-night crowd. “One regular one and one long one. And that’s it.”\u003c/p>\n\u003cp>Dwyer and co. launch into their finale and the crowd explodes. Plastic drink cups go flying into the air as the floor undulates under hundreds of stomping feet. Dwyer lets out a few of his signature banshee yelps, made all the more potent by slap-back echo and the accompanying squeal of his guitar. One of the band’s dual drummers, Paul Quattrone — also of Sacramento disco punk outfit !!! — casts sidelong glances at Dwyer. His cheeks puff with each heavy breath as he hammers away at his kit in unison with co-drummer Daniel Rincon. His expression seems to say: “Are we almost done here, boss?”\u003c/p>\n\u003cp>https://youtu.be/K2fNxWG8E0o\u003c/p>\n\u003cp>Quattrone and Rincon, positioned next to one another at the front of the stage, are the thundering heart of the well-oiled machine that is Thee Oh Sees, and Dwyer is the wild-eyed conductor — orchestrating the chaos with the kind of comfort and familiarity that only comes from years of experience. One of the hardest working men in garage rock is at the height of his powers: The full midweek crowd, the precision of the band, and the energy in the room are all a testament to Dwyer’s songwriting and showmanship.\u003c/p>\n\u003cp>About a month after the show, Dwyer is driving home from a hike with longtime collaborator Brigid Dawson. He calls to apologize for missing the appointed start of the interview, promising that he’ll reconnect on his landline shortly. When he rings again, the caller ID displays a 323 area code, not the 415 number that had heralded his cell-phone call. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Prior to his move to Los Angeles in 2014, Dwyer was a fixture on the San Francisco garage revival scene for 17 years. He created some of the weirdest and most compelling music to come out of the city during the mid-2000s while also promoting shows and championing bands on his label, Castle Face Records. The imprint has put out records by some of San Francisco’s best psychedelic and indie rock bands acts, including Kelley Stoltz, White Fence, Fresh & Onlys, and Ty Segall — Dwyer’s contemporary and another luminary in the SF garage scene who once described the Oh Sees frontman as “the mayor of San Francisco.”\u003c/p>\n\u003cfigure id=\"attachment_13814927\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13814927\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/OCS_photo_by_JPD-800x600.jpg\" alt=\"John Dwyer (left) wrote 'Memory of a Cut Off Head' with longtime collaborator Brigid Dawson. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OCS_photo_by_JPD.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OCS_photo_by_JPD-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OCS_photo_by_JPD-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OCS_photo_by_JPD-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OCS_photo_by_JPD-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OCS_photo_by_JPD-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">John Dwyer (left) wrote ‘Memory of a Cut Off Head’ with longtime collaborator Brigid Dawson. \u003ccite>(Courtesy of John Dwyer )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>However, as housing costs continued to rise in the Bay Area, Dwyer moved south. “I couldn’t afford to live there anymore,” he says of San Francisco. “I didn’t really have a choice.”\u003c/p>\n\u003cp>When Dwyer first moved to San Francisco from Providence, Rhode Island, he says finding a place was a “cakewalk.” By the end of his stay, it had become untenable. He was looking at living in apartments with upwards of five roommates. Now, Dwyer owns a home where he can rehearse and record in Los Angeles’ Eagle Rock neighborhood.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/339324287″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>Dwyer and Dawson are currently putting the finishing touches on a new album and rehearsing for a string of four shows, which will benefit homelessness charities in San Francisco and Los Angeles. The record, \u003cem>Memory of a Cut Off Head\u003c/em>, is Dwyer’s 20th full-length Oh Sees release and the 100th pressing on Castle Face. It’s due out on Nov. 17.\u003c/p>\n\u003cp>Memory is a departure from most of what Dwyer has been concocting of late. Instead of the rollicking, shrieking, acid frenzies of \u003cem>A Weird Exits\u003c/em>, \u003cem>An Odd Entrances\u003c/em>, and \u003cem>Orc\u003c/em> — all three released over the course of 2016 and 2017 — the new album is a return to \u003ca href=\"https://soundcloud.com/ocs89471/sets/3-4-songs-about-death-and\" target=\"_blank\" rel=\"noopener\">the very first, hushed bedroom recordings\u003c/a> Dwyer made with Dawson in the early aughts. That was back when he lived in the Lower Haight, and when she worked at a now-closed coffee shop called Bean There on the corner of Waller and Steiner streets.\u003c/p>\n\u003cfigure id=\"attachment_13814963\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13814963\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/OH-SEES-2017-800x600.jpg\" alt='Ty Segall once referred to John Dwyer as the \"mayor of San Francisco\" for his pioneering work with Thee Oh Sees.' width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OH-SEES-2017.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OH-SEES-2017-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OH-SEES-2017-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OH-SEES-2017-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OH-SEES-2017-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OH-SEES-2017-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ty Segall once referred to John Dwyer as the “mayor of San Francisco” for his pioneering work with Thee Oh Sees. \u003ccite>(Courtesy of John Dwyer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It harkened back to just me and John sitting together — him singing me a song and me making the harmonies,” Dawson says of the process of writing \u003cem>Memory\u003c/em>. “It feels very familiar.”\u003c/p>\n\u003cp>\u003cem>Memory\u003c/em> is far more polished than those first bedroom works, and not nearly as ramshackle as the droning, Velvet Underground and Nico-tinged tracks found on 2006’s \u003cem>The Cool Death of Island Raiders\u003c/em>.\u003c/p>\n\u003cp>Those well-versed in Dwyer’s work will find parallels to \u003cem>Memory\u003c/em> in the meandering, lo-fi, freak-folk excursions of his second Oh Sees album, \u003cem>2\u003c/em>. When that record was released in 2004, the project was known simply as OCS, an acronym that originally stood for Orinoka Crash Suite. From there, the name went through a number of permutations, including The Oh Sees, Thee Oh Sees, and just plain Oh Sees. On the forthcoming \u003cem>Memory of a Cut Off Head\u003c/em>, Dwyer has once again taken up the moniker OCS — a nod to his earlier, mellower collections.\u003c/p>\n\u003cp>Featuring eight players in addition to Dwyer and Dawson, the record includes a menagerie of instruments: singing saws, honking horns, swelling strings, and warm, analog electronics. Dwyer says the album was initially supposed to just be a stripped down acoustic affair, before it evolved into something far more baroque — a beautiful amalgamation of pop, psychedelia, folk, and indie rock. Call it Dwyer’s \u003cem>Sgt. Pepper’s\u003c/em>.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/340187897″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>Dwyer plans to mark the occasion of his latest album’s release with a pair of local shows aimed at offering hope to those facing a cold, wet winter on the streets. Proceeds from the two concerts — Dec. 17 and 18 at \u003ca href=\"https://www.thechapelsf.com/event/1574558-ocs-mellow-quiet-set-san-francisco/\" target=\"_blank\" rel=\"noopener\">The Chapel with Ty Segall and Shannon Lay\u003c/a> — will benefit the \u003ca href=\"http://www.cohsf.org/\" target=\"_blank\" rel=\"noopener\">Coalition on Homelessness San Francisco\u003c/a>. Both shows have already sold out.\u003c/p>\n\u003cp>Beyond the two local OCS shows and a pair of L.A. performances to benefit the food justice nonprofit \u003ca href=\"http://www.lakitchen.org/\" target=\"_blank\" rel=\"noopener\">L.A. Kitchen\u003c/a>, Dwyer isn’t exactly sure what comes next. The only sure bet is that there will be more music. After dedicating the past two decades of his life to rock ‘n’ roll, it’s all he can really think to do.\u003c/p>\n\u003cp>“I don’t plan on doing anything else,” he says. “I don’t have a job or anything.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13814933\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/TOS_MiniVanPhotography1-800x449.jpg\" alt=\"Thee Oh Sees' John Dwyer returns to his quieter, more subtle musical roots with his upcoming album, 'Memory of a Cut Off Head.'\" width=\"0\" height=\"0\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/TOS_MiniVanPhotography1-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/TOS_MiniVanPhotography1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/TOS_MiniVanPhotography1-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/TOS_MiniVanPhotography1-1020x572.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/TOS_MiniVanPhotography1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/TOS_MiniVanPhotography1-1180x662.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/TOS_MiniVanPhotography1-960x539.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/TOS_MiniVanPhotography1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/TOS_MiniVanPhotography1-375x210.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/TOS_MiniVanPhotography1-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "The garage rock luminary's new album, 'Memory of a Cut Off Head,' harks back to his days of hanging out in Lower Haight coffee shops. ",
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"title": "Thee Oh Sees' John Dwyer Returns to His San Francisco Roots | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As Thee Oh Sees prepare to close the second headlining set of their two-night September residency at the Great American Music Hall, the band’s frontman, John Dwyer, explains how it’s going to go down. “We are going to do two more songs,” he tells the buzzing Thursday-night crowd. “One regular one and one long one. And that’s it.”\u003c/p>\n\u003cp>Dwyer and co. launch into their finale and the crowd explodes. Plastic drink cups go flying into the air as the floor undulates under hundreds of stomping feet. Dwyer lets out a few of his signature banshee yelps, made all the more potent by slap-back echo and the accompanying squeal of his guitar. One of the band’s dual drummers, Paul Quattrone — also of Sacramento disco punk outfit !!! — casts sidelong glances at Dwyer. His cheeks puff with each heavy breath as he hammers away at his kit in unison with co-drummer Daniel Rincon. His expression seems to say: “Are we almost done here, boss?”\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/K2fNxWG8E0o'\n title='//www.youtube.com/embed/K2fNxWG8E0o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Quattrone and Rincon, positioned next to one another at the front of the stage, are the thundering heart of the well-oiled machine that is Thee Oh Sees, and Dwyer is the wild-eyed conductor — orchestrating the chaos with the kind of comfort and familiarity that only comes from years of experience. One of the hardest working men in garage rock is at the height of his powers: The full midweek crowd, the precision of the band, and the energy in the room are all a testament to Dwyer’s songwriting and showmanship.\u003c/p>\n\u003cp>About a month after the show, Dwyer is driving home from a hike with longtime collaborator Brigid Dawson. He calls to apologize for missing the appointed start of the interview, promising that he’ll reconnect on his landline shortly. When he rings again, the caller ID displays a 323 area code, not the 415 number that had heralded his cell-phone call. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Prior to his move to Los Angeles in 2014, Dwyer was a fixture on the San Francisco garage revival scene for 17 years. He created some of the weirdest and most compelling music to come out of the city during the mid-2000s while also promoting shows and championing bands on his label, Castle Face Records. The imprint has put out records by some of San Francisco’s best psychedelic and indie rock bands acts, including Kelley Stoltz, White Fence, Fresh & Onlys, and Ty Segall — Dwyer’s contemporary and another luminary in the SF garage scene who once described the Oh Sees frontman as “the mayor of San Francisco.”\u003c/p>\n\u003cfigure id=\"attachment_13814927\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13814927\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/OCS_photo_by_JPD-800x600.jpg\" alt=\"John Dwyer (left) wrote 'Memory of a Cut Off Head' with longtime collaborator Brigid Dawson. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OCS_photo_by_JPD.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OCS_photo_by_JPD-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OCS_photo_by_JPD-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OCS_photo_by_JPD-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OCS_photo_by_JPD-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OCS_photo_by_JPD-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">John Dwyer (left) wrote ‘Memory of a Cut Off Head’ with longtime collaborator Brigid Dawson. \u003ccite>(Courtesy of John Dwyer )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>However, as housing costs continued to rise in the Bay Area, Dwyer moved south. “I couldn’t afford to live there anymore,” he says of San Francisco. “I didn’t really have a choice.”\u003c/p>\n\u003cp>When Dwyer first moved to San Francisco from Providence, Rhode Island, he says finding a place was a “cakewalk.” By the end of his stay, it had become untenable. He was looking at living in apartments with upwards of five roommates. Now, Dwyer owns a home where he can rehearse and record in Los Angeles’ Eagle Rock neighborhood.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/339324287″&visual=true&”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true”'\n title='”https://api.soundcloud.com/tracks/339324287″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Dwyer and Dawson are currently putting the finishing touches on a new album and rehearsing for a string of four shows, which will benefit homelessness charities in San Francisco and Los Angeles. The record, \u003cem>Memory of a Cut Off Head\u003c/em>, is Dwyer’s 20th full-length Oh Sees release and the 100th pressing on Castle Face. It’s due out on Nov. 17.\u003c/p>\n\u003cp>Memory is a departure from most of what Dwyer has been concocting of late. Instead of the rollicking, shrieking, acid frenzies of \u003cem>A Weird Exits\u003c/em>, \u003cem>An Odd Entrances\u003c/em>, and \u003cem>Orc\u003c/em> — all three released over the course of 2016 and 2017 — the new album is a return to \u003ca href=\"https://soundcloud.com/ocs89471/sets/3-4-songs-about-death-and\" target=\"_blank\" rel=\"noopener\">the very first, hushed bedroom recordings\u003c/a> Dwyer made with Dawson in the early aughts. That was back when he lived in the Lower Haight, and when she worked at a now-closed coffee shop called Bean There on the corner of Waller and Steiner streets.\u003c/p>\n\u003cfigure id=\"attachment_13814963\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13814963\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/OH-SEES-2017-800x600.jpg\" alt='Ty Segall once referred to John Dwyer as the \"mayor of San Francisco\" for his pioneering work with Thee Oh Sees.' width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OH-SEES-2017.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OH-SEES-2017-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OH-SEES-2017-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OH-SEES-2017-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OH-SEES-2017-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/OH-SEES-2017-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ty Segall once referred to John Dwyer as the “mayor of San Francisco” for his pioneering work with Thee Oh Sees. \u003ccite>(Courtesy of John Dwyer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It harkened back to just me and John sitting together — him singing me a song and me making the harmonies,” Dawson says of the process of writing \u003cem>Memory\u003c/em>. “It feels very familiar.”\u003c/p>\n\u003cp>\u003cem>Memory\u003c/em> is far more polished than those first bedroom works, and not nearly as ramshackle as the droning, Velvet Underground and Nico-tinged tracks found on 2006’s \u003cem>The Cool Death of Island Raiders\u003c/em>.\u003c/p>\n\u003cp>Those well-versed in Dwyer’s work will find parallels to \u003cem>Memory\u003c/em> in the meandering, lo-fi, freak-folk excursions of his second Oh Sees album, \u003cem>2\u003c/em>. When that record was released in 2004, the project was known simply as OCS, an acronym that originally stood for Orinoka Crash Suite. From there, the name went through a number of permutations, including The Oh Sees, Thee Oh Sees, and just plain Oh Sees. On the forthcoming \u003cem>Memory of a Cut Off Head\u003c/em>, Dwyer has once again taken up the moniker OCS — a nod to his earlier, mellower collections.\u003c/p>\n\u003cp>Featuring eight players in addition to Dwyer and Dawson, the record includes a menagerie of instruments: singing saws, honking horns, swelling strings, and warm, analog electronics. Dwyer says the album was initially supposed to just be a stripped down acoustic affair, before it evolved into something far more baroque — a beautiful amalgamation of pop, psychedelia, folk, and indie rock. Call it Dwyer’s \u003cem>Sgt. Pepper’s\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/340187897″&visual=true&”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true”'\n title='”https://api.soundcloud.com/tracks/340187897″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Dwyer plans to mark the occasion of his latest album’s release with a pair of local shows aimed at offering hope to those facing a cold, wet winter on the streets. Proceeds from the two concerts — Dec. 17 and 18 at \u003ca href=\"https://www.thechapelsf.com/event/1574558-ocs-mellow-quiet-set-san-francisco/\" target=\"_blank\" rel=\"noopener\">The Chapel with Ty Segall and Shannon Lay\u003c/a> — will benefit the \u003ca href=\"http://www.cohsf.org/\" target=\"_blank\" rel=\"noopener\">Coalition on Homelessness San Francisco\u003c/a>. Both shows have already sold out.\u003c/p>\n\u003cp>Beyond the two local OCS shows and a pair of L.A. performances to benefit the food justice nonprofit \u003ca href=\"http://www.lakitchen.org/\" target=\"_blank\" rel=\"noopener\">L.A. Kitchen\u003c/a>, Dwyer isn’t exactly sure what comes next. The only sure bet is that there will be more music. After dedicating the past two decades of his life to rock ‘n’ roll, it’s all he can really think to do.\u003c/p>\n\u003cp>“I don’t plan on doing anything else,” he says. “I don’t have a job or anything.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"headTitle": "EXCLUSIVE: Unseen Footage of Pink Floyd Playing in 1970 | KQED",
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"content": "\u003cp>\u003cb>To watch previously unseen video of Pink Floyd playing “Astronomy Domine” in 1970, scroll to the bottom of the story.\u003c/b>\u003c/p>\n\u003cp>In the last week of April 1973, Pink Floyd’s \u003cem>Dark Side of the Moon\u003c/em> reached No. 1 on the American charts. In the last week of April 1970, though, they had yet to crack the U.S. Top 50 after three years of recording and performing. In the midst of their third stateside tour, they weren’t selling out stadiums.\u003c/p>\n\u003cp>It was during this tour, on April 30, that Pink Floyd played an hour-long set in an empty Fillmore Auditorium in San Francisco, filmed for broadcast by small local television station called KQED.\u003c/p>\n\u003cp>“At that point, they were really anxious to have whatever publicity they could,” remembers the program’s co-producer at KQED, Jim Farber. “We did not have much of a budget. Pink Floyd did the performance and offered the rights for a certain number of airings for practically nothing. My memory is we paid them $200.”\u003c/p>\n\u003cfigure id=\"attachment_13814965\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Waters-singing-800x419.jpg\" alt='Roger Waters making sound effects during \"Astronomy Domine\"' width=\"800\" height=\"419\" class=\"size-medium wp-image-13814965\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Waters-singing-800x419.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Waters-singing-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Waters-singing-768x402.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Waters-singing-1020x534.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Waters-singing-1180x617.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Waters-singing-960x502.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Waters-singing-240x126.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Waters-singing-375x196.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Waters-singing-520x272.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Waters-singing.jpg 1552w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Roger Waters making sound effects during “Astronomy Domine” \u003ccite>(KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Widely bootlegged in the decades since, the performance is now officially available on DVD from the band. Recently, KQED unearthed raw footage of Pink Floyd’s performance, which included a half hour of music not included in the original program. After months of negotiations, KQED has been granted the right to exclusively premiere film of one of those songs, “Astronomy Domine.” [Video is at the \u003ca href=\"#video\">end of this post\u003c/a>.]\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>You might be wondering: in 1970, KQED was more known for \u003cem>Sesame Street\u003c/em> than psychedelic rock. So how in the world did the Pink Floyd program happen in the first place?\u003c/p>\n\u003ch2>Connecting with Pink Floyd\u003c/h2>\n\u003cp>Simulcast on KQED radio, the special was set up as a direct result of Farber’s enthusiasm for the group. He first saw Pink Floyd in a basement club in London in 1967, when Syd Barrett (soon to be replaced by David Gilmour) was still the band’s lead guitarist and principal singer-songwriter.\u003c/p>\n\u003cp>“When I went to work at KQED June of 1969, I proposed the idea that we do a program with them,” he explains. “John Coney, the other producer [who also directed the special], really liked their music. So we decided we might as well make a proposal to them.”\u003c/p>\n\u003cp>The KQED production team brought “a huge mobile truck the size of a boxcar that held the video recording equipment” outside the original Fillmore Auditorium so the performance could be “recorded as well as you could outside the studio at that time. There’s a certain amount of vibration that was caused just from the sound of the amps. Because the technology just wasn’t that advanced yet. Portable video, the way we think of it, didn’t even exist.”\u003c/p>\n\u003cfigure id=\"attachment_13814966\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/WRight-Singing-800x632.jpg\" alt=\"Pink Floyd's Richard Wright singing during 1970 performance\" width=\"800\" height=\"632\" class=\"size-medium wp-image-13814966\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/WRight-Singing-800x632.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/WRight-Singing-160x126.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/WRight-Singing-768x607.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/WRight-Singing-1020x806.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/WRight-Singing-960x759.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/WRight-Singing-240x190.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/WRight-Singing-375x296.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/WRight-Singing-520x411.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/WRight-Singing.jpg 1039w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pink Floyd’s Richard Wright singing during 1970 performance \u003ccite>(KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The original Fillmore wasn’t hosting rock concerts in 1970 — Bill Graham had transferred his operations to the Fillmore West on Market and Van Ness — but it was made available to the band and KQED for this special TV performance. Pink Floyd played a concert in front of paying customers at the Fillmore West the following night, reprising all of the half dozen songs they’d performed for KQED’s cameras, as well as other early favorites like “Astronomy Domine” and “A Saucerful of Secrets.”\u003c/p>\n\u003cp>Unexpectedly, the program opens with aerial shots of desolate fields and marshes in the San Joaquin Valley — indeed, seven minutes of “Atom Heart Mother” pass before any of the musicians are seen on screen. During “Grantchester Meadows,” the performance is interspersed with what Farber calls “nature footage.” The cinematography is marked by close-ups of the casually dressed musicians and slow pans around the band’s perimeter. Periodic smoke effects and solarization add to the late-psychedelic-period mood.\u003c/p>\n\u003cp>“John Coney was doing some very experimental video work at KQED, and KQED at that time was really wide open in terms of they would let you do,” enthuses Farber. “So John mapped out a visual scheme for the production. There’s no narration, there’s not the usual PBS thing of explaining everything you’re going to see. It was very abstract.\u003c/p>\n\u003cp>“We had one go at getting the Pink Floyd performance, and one day to essentially do all of the effects and lay in everything in the studio. There was no such thing as stereo TV. People could put on the FM channel and then watch it on the TV, and that was how we approximated getting the best audio we could out of it.”\u003c/p>\n\u003cfigure id=\"attachment_13814964\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Gilmour-Waters-Mason-800x450.jpg\" alt=\"Pink Floyd playing for KQED in 1970. L-R: David Gilmour, Nick Mason and Roger Waters\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13814964\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gilmour-Waters-Mason-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gilmour-Waters-Mason-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gilmour-Waters-Mason-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gilmour-Waters-Mason-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gilmour-Waters-Mason-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gilmour-Waters-Mason-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gilmour-Waters-Mason-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gilmour-Waters-Mason-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gilmour-Waters-Mason-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gilmour-Waters-Mason.jpg 1462w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pink Floyd playing for KQED in 1970. L-R: David Gilmour, Nick Mason and Roger Waters \u003ccite>(KQED )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Reception\u003c/h2>\n\u003cp>It wasn’t unusual for KQED to broadcast rock concerts in psychedelia’s heyday, especially by local icons. Big Brother & the Holding Company, Jefferson Airplane, and Quicksilver Messenger Service all got airtime. In the more experimental realm, a long raga by minimalist pioneer Terry Riley sparked, reveals an amused Farber, “more nasty phone calls than anything we ever did at the station.” But Pink Floyd, for as strong an underground following as they building in the United States, were so eager for an American audience that they played a free concert at UCLA a week later. (Farber traveled to Los Angeles with the band in the hopes of getting some additional footage, but none was used. The free concert, he explains, “was really a disaster.”)\u003c/p>\n\u003cp>Not broadcast until Jan. 26, 1971, the special “got an incredibly positive response when we aired it in San Francisco,” says Farber. “After that, it had two national broadcasts on PBS.”\u003c/p>\n\u003cp>Pink Floyd’s concert for KQED hasn’t been broadcast on television for many years, and wasn’t made commercially available until its appearance on a massive 27-disc Pink Floyd CD/DVD box set in 2016, \u003cem>The Early Years 1965-1972\u003c/em>. But Farber recently oversaw a meticulous transfer from the two-inch masters to DVD — “we cleaned them up as much as we could and the audio is superb.”\u003c/p>\n\u003cfigure id=\"attachment_13814968\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Gilmour-staring-800x450.jpg\" alt=\"David Gilmour waiting to play\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13814968\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gilmour-staring-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gilmour-staring-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gilmour-staring-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gilmour-staring-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gilmour-staring-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gilmour-staring-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gilmour-staring-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gilmour-staring-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gilmour-staring-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gilmour-staring.jpg 1450w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Gilmour waiting to play \u003ccite>(KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m amazed we got it done,” reflects Farber, now a Los Angeles-based writer. “We did it on such a shoestring, and it all came together at the right moment. You could take out certain little glitches, but I kind of like it for its roughness. ‘Cause it was a reflection of who we were at that time. \u003c/p>\n\u003cp>“The ‘60s were still very alive in San Francisco in 1970, and the thing that I loved about KQED is that you had a public television station, but the people on the staff were exceedingly hip. The amount of energy that was being generated at KQED at that time was remarkable.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ca name=\"#video\">\u003ci>Watch Pink Floyd play “Astronomy Domine” in 1970.\u003c/i>\u003c/a>\u003c/p>\n\u003cdiv style=\"width:100%;padding-bottom:75%;height: 0;position: relative\">\n\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>To watch previously unseen video of Pink Floyd playing “Astronomy Domine” in 1970, scroll to the bottom of the story.\u003c/b>\u003c/p>\n\u003cp>In the last week of April 1973, Pink Floyd’s \u003cem>Dark Side of the Moon\u003c/em> reached No. 1 on the American charts. In the last week of April 1970, though, they had yet to crack the U.S. Top 50 after three years of recording and performing. In the midst of their third stateside tour, they weren’t selling out stadiums.\u003c/p>\n\u003cp>It was during this tour, on April 30, that Pink Floyd played an hour-long set in an empty Fillmore Auditorium in San Francisco, filmed for broadcast by small local television station called KQED.\u003c/p>\n\u003cp>“At that point, they were really anxious to have whatever publicity they could,” remembers the program’s co-producer at KQED, Jim Farber. “We did not have much of a budget. Pink Floyd did the performance and offered the rights for a certain number of airings for practically nothing. My memory is we paid them $200.”\u003c/p>\n\u003cfigure id=\"attachment_13814965\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Waters-singing-800x419.jpg\" alt='Roger Waters making sound effects during \"Astronomy Domine\"' width=\"800\" height=\"419\" class=\"size-medium wp-image-13814965\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Waters-singing-800x419.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Waters-singing-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Waters-singing-768x402.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Waters-singing-1020x534.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Waters-singing-1180x617.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Waters-singing-960x502.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Waters-singing-240x126.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Waters-singing-375x196.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Waters-singing-520x272.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Waters-singing.jpg 1552w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Roger Waters making sound effects during “Astronomy Domine” \u003ccite>(KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Widely bootlegged in the decades since, the performance is now officially available on DVD from the band. Recently, KQED unearthed raw footage of Pink Floyd’s performance, which included a half hour of music not included in the original program. After months of negotiations, KQED has been granted the right to exclusively premiere film of one of those songs, “Astronomy Domine.” [Video is at the \u003ca href=\"#video\">end of this post\u003c/a>.]\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>You might be wondering: in 1970, KQED was more known for \u003cem>Sesame Street\u003c/em> than psychedelic rock. So how in the world did the Pink Floyd program happen in the first place?\u003c/p>\n\u003ch2>Connecting with Pink Floyd\u003c/h2>\n\u003cp>Simulcast on KQED radio, the special was set up as a direct result of Farber’s enthusiasm for the group. He first saw Pink Floyd in a basement club in London in 1967, when Syd Barrett (soon to be replaced by David Gilmour) was still the band’s lead guitarist and principal singer-songwriter.\u003c/p>\n\u003cp>“When I went to work at KQED June of 1969, I proposed the idea that we do a program with them,” he explains. “John Coney, the other producer [who also directed the special], really liked their music. So we decided we might as well make a proposal to them.”\u003c/p>\n\u003cp>The KQED production team brought “a huge mobile truck the size of a boxcar that held the video recording equipment” outside the original Fillmore Auditorium so the performance could be “recorded as well as you could outside the studio at that time. There’s a certain amount of vibration that was caused just from the sound of the amps. Because the technology just wasn’t that advanced yet. Portable video, the way we think of it, didn’t even exist.”\u003c/p>\n\u003cfigure id=\"attachment_13814966\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/WRight-Singing-800x632.jpg\" alt=\"Pink Floyd's Richard Wright singing during 1970 performance\" width=\"800\" height=\"632\" class=\"size-medium wp-image-13814966\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/WRight-Singing-800x632.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/WRight-Singing-160x126.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/WRight-Singing-768x607.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/WRight-Singing-1020x806.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/WRight-Singing-960x759.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/WRight-Singing-240x190.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/WRight-Singing-375x296.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/WRight-Singing-520x411.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/WRight-Singing.jpg 1039w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pink Floyd’s Richard Wright singing during 1970 performance \u003ccite>(KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The original Fillmore wasn’t hosting rock concerts in 1970 — Bill Graham had transferred his operations to the Fillmore West on Market and Van Ness — but it was made available to the band and KQED for this special TV performance. Pink Floyd played a concert in front of paying customers at the Fillmore West the following night, reprising all of the half dozen songs they’d performed for KQED’s cameras, as well as other early favorites like “Astronomy Domine” and “A Saucerful of Secrets.”\u003c/p>\n\u003cp>Unexpectedly, the program opens with aerial shots of desolate fields and marshes in the San Joaquin Valley — indeed, seven minutes of “Atom Heart Mother” pass before any of the musicians are seen on screen. During “Grantchester Meadows,” the performance is interspersed with what Farber calls “nature footage.” The cinematography is marked by close-ups of the casually dressed musicians and slow pans around the band’s perimeter. Periodic smoke effects and solarization add to the late-psychedelic-period mood.\u003c/p>\n\u003cp>“John Coney was doing some very experimental video work at KQED, and KQED at that time was really wide open in terms of they would let you do,” enthuses Farber. “So John mapped out a visual scheme for the production. There’s no narration, there’s not the usual PBS thing of explaining everything you’re going to see. It was very abstract.\u003c/p>\n\u003cp>“We had one go at getting the Pink Floyd performance, and one day to essentially do all of the effects and lay in everything in the studio. There was no such thing as stereo TV. People could put on the FM channel and then watch it on the TV, and that was how we approximated getting the best audio we could out of it.”\u003c/p>\n\u003cfigure id=\"attachment_13814964\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Gilmour-Waters-Mason-800x450.jpg\" alt=\"Pink Floyd playing for KQED in 1970. L-R: David Gilmour, Nick Mason and Roger Waters\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13814964\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gilmour-Waters-Mason-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gilmour-Waters-Mason-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gilmour-Waters-Mason-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gilmour-Waters-Mason-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gilmour-Waters-Mason-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gilmour-Waters-Mason-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gilmour-Waters-Mason-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gilmour-Waters-Mason-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gilmour-Waters-Mason-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gilmour-Waters-Mason.jpg 1462w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pink Floyd playing for KQED in 1970. L-R: David Gilmour, Nick Mason and Roger Waters \u003ccite>(KQED )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Reception\u003c/h2>\n\u003cp>It wasn’t unusual for KQED to broadcast rock concerts in psychedelia’s heyday, especially by local icons. Big Brother & the Holding Company, Jefferson Airplane, and Quicksilver Messenger Service all got airtime. In the more experimental realm, a long raga by minimalist pioneer Terry Riley sparked, reveals an amused Farber, “more nasty phone calls than anything we ever did at the station.” But Pink Floyd, for as strong an underground following as they building in the United States, were so eager for an American audience that they played a free concert at UCLA a week later. (Farber traveled to Los Angeles with the band in the hopes of getting some additional footage, but none was used. The free concert, he explains, “was really a disaster.”)\u003c/p>\n\u003cp>Not broadcast until Jan. 26, 1971, the special “got an incredibly positive response when we aired it in San Francisco,” says Farber. “After that, it had two national broadcasts on PBS.”\u003c/p>\n\u003cp>Pink Floyd’s concert for KQED hasn’t been broadcast on television for many years, and wasn’t made commercially available until its appearance on a massive 27-disc Pink Floyd CD/DVD box set in 2016, \u003cem>The Early Years 1965-1972\u003c/em>. But Farber recently oversaw a meticulous transfer from the two-inch masters to DVD — “we cleaned them up as much as we could and the audio is superb.”\u003c/p>\n\u003cfigure id=\"attachment_13814968\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Gilmour-staring-800x450.jpg\" alt=\"David Gilmour waiting to play\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13814968\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gilmour-staring-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gilmour-staring-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gilmour-staring-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gilmour-staring-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gilmour-staring-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gilmour-staring-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gilmour-staring-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gilmour-staring-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gilmour-staring-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Gilmour-staring.jpg 1450w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Gilmour waiting to play \u003ccite>(KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m amazed we got it done,” reflects Farber, now a Los Angeles-based writer. “We did it on such a shoestring, and it all came together at the right moment. You could take out certain little glitches, but I kind of like it for its roughness. ‘Cause it was a reflection of who we were at that time. \u003c/p>\n\u003cp>“The ‘60s were still very alive in San Francisco in 1970, and the thing that I loved about KQED is that you had a public television station, but the people on the staff were exceedingly hip. The amount of energy that was being generated at KQED at that time was remarkable.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca name=\"#video\">\u003ci>Watch Pink Floyd play “Astronomy Domine” in 1970.\u003c/i>\u003c/a>\u003c/p>\n\u003cdiv style=\"width:100%;padding-bottom:75%;height: 0;position: relative\">\n\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Brand New Frontman Apologizes for Sexual Misconduct, Postpones Tour",
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"content": "\u003cp>The band Brand New is \u003ca href=\"https://www.facebook.com/BrandNew/?hc_ref=ARQmpnFNCPaZSiliAGgJ0YRkM9fqCWwOb633l8f9ZwHoSlgbDcohOmof27G7MoQXgXQ&fref=nf\" target=\"_blank\" rel=\"noopener\">postponing\u003c/a> its comeback tour of the U.K. following accusations of sexual misconduct against its singer, Jesse Lacey, made public last week on social media.\u003c/p>\n\u003cp>In a since-deleted thread on Facebook (a request for comment from that poster wasn’t immediately returned) — accurate excerpts from which were posted \u003ca href=\"http://uproxx.com/music/brand-new-jesse-lacey-sexual-misconduct-allegations/2/\" target=\"_blank\" rel=\"noopener\">by culture blog \u003cem>Uproxx\u003c/em>\u003c/a> — a woman accused Brand New singer Jesse Lacey of soliciting nude photographs from her when she was 15 years old, and of having masturbated while on a Skype video call with her (she did not clarify her age at the time of the Skype conversation).\u003c/p>\n\u003cp>Lacey responded over the weekend with a blanket apology for his behavior, without admitting to any specific allegations. “I was selfish, narcissistic, and insensitive in my past, and there are a number of people who have had to shoulder the burden of my failures. I apologize for the hurt I have caused, and hope to be able to take the correct actions to earn forgiveness and trust,” he \u003ca href=\"https://www.facebook.com/BrandNew/posts/10155923794753023\" target=\"_blank\" rel=\"noopener\">wrote\u003c/a>. “I am sorry for how I have hurt people, mistreated them, lied, and cheated. I am sorry for ignoring the way in which my position, status, and power as a member of a band affected the way people viewed me or their approach to their interactions with me. And I am sorry for how often I have not afforded women the respect, support, or honesty that they deserved.”\u003c/p>\n\u003cp>Lacey’s statement arrives on the heels of comedian Louis C.K.’s \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/10/563316860/louis-c-k-admits-to-sexual-harassment-of-multiple-female-comedians\" target=\"_blank\" rel=\"noopener\">admission of guilt\u003c/a> and statement of contrition over his own history of sexual assaults. “There is nothing about this that I forgive myself for,” C.K. wrote in a statement. “And I have to reconcile it with who I am. Which is nothing compared to the task I left them with.” C.K.’s confirmation of \u003cem>The New York Times\u003c/em>‘ investigation was part of a broad wave of sexual misconduct allegations against many, \u003ca href=\"https://www.npr.org/sections/ombudsman/2017/11/06/561834350/npr-looks-inward-as-it-covers-its-own-sexual-harassment-allegations\" target=\"_blank\" rel=\"noopener\">including\u003c/a> former NPR news executive Mike Oreskes, in what is being commonly referred to as a “post-Weinstein” moment, in reference to the \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/10/14/557790894/weinstein-expelled-from-the-academy-of-motion-pictures-arts-and-sciences\" target=\"_blank\" rel=\"noopener\">disgraced\u003c/a> Hollywood mogul.\u003c/p>\n\u003cp>Kevin Devine, a former touring guitarist for Brand New, posted a statement of his own, writing that he had “not heard the story prior to it being made public yesterday. I’m heartbroken for her and for every person who absorbs and subsequently has to figure out how to live with this type of trauma. We all need to do a lot better, myself very much included.” Devine went on to cite his own struggles with addiction, and long-term sobriety, as offering a possible path to similar rehabilitation for Lacey.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The accusations and Lacey’s statement also prompted the group Martha to recuse itself from Brand New’s tour: “We have decided to pull out of the brand new shows. Support survivors always,” the band \u003ca href=\"https://twitter.com/MarthaDIY/status/929315515855790080\" target=\"_blank\" rel=\"noopener\">wrote\u003c/a> on Twitter.\u003c/p>\n\u003cp>Brand New emerged from Long Island, N.Y. in 2001 with \u003cem>Your Favorite Weapon\u003c/em>, and broke an eight-year hiatus this past August with the release of \u003cem>Science Fiction\u003c/em>. That latest record propelled the group to No. 1 on the Billboard 200 album chart, one of just three guitar-reliant bands this year to do so, \u003ca href=\"http://www.billboard.com/articles/columns/chart-beat/7942129/brand-new-first-number-1-album-billboard-200-chart-science-fiction\" target=\"_blank\" rel=\"noopener\">according to \u003cem>Billboard\u003c/em>\u003c/a>, and drew glowing reviews from music critics — including \u003ca href=\"https://www.npr.org/sections/allsongs/2017/08/26/545558097/brand-new-again-science-fiction-is-a-self-revival\">one published by NPR Music\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Requests for further comment from Brand New’s publicist were not returned. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Brand+New+Frontman+Jesse+Lacey+Apologizes+For+Sexual+Misconduct%2C+Postpones+Tour&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The band Brand New is \u003ca href=\"https://www.facebook.com/BrandNew/?hc_ref=ARQmpnFNCPaZSiliAGgJ0YRkM9fqCWwOb633l8f9ZwHoSlgbDcohOmof27G7MoQXgXQ&fref=nf\" target=\"_blank\" rel=\"noopener\">postponing\u003c/a> its comeback tour of the U.K. following accusations of sexual misconduct against its singer, Jesse Lacey, made public last week on social media.\u003c/p>\n\u003cp>In a since-deleted thread on Facebook (a request for comment from that poster wasn’t immediately returned) — accurate excerpts from which were posted \u003ca href=\"http://uproxx.com/music/brand-new-jesse-lacey-sexual-misconduct-allegations/2/\" target=\"_blank\" rel=\"noopener\">by culture blog \u003cem>Uproxx\u003c/em>\u003c/a> — a woman accused Brand New singer Jesse Lacey of soliciting nude photographs from her when she was 15 years old, and of having masturbated while on a Skype video call with her (she did not clarify her age at the time of the Skype conversation).\u003c/p>\n\u003cp>Lacey responded over the weekend with a blanket apology for his behavior, without admitting to any specific allegations. “I was selfish, narcissistic, and insensitive in my past, and there are a number of people who have had to shoulder the burden of my failures. I apologize for the hurt I have caused, and hope to be able to take the correct actions to earn forgiveness and trust,” he \u003ca href=\"https://www.facebook.com/BrandNew/posts/10155923794753023\" target=\"_blank\" rel=\"noopener\">wrote\u003c/a>. “I am sorry for how I have hurt people, mistreated them, lied, and cheated. I am sorry for ignoring the way in which my position, status, and power as a member of a band affected the way people viewed me or their approach to their interactions with me. And I am sorry for how often I have not afforded women the respect, support, or honesty that they deserved.”\u003c/p>\n\u003cp>Lacey’s statement arrives on the heels of comedian Louis C.K.’s \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/10/563316860/louis-c-k-admits-to-sexual-harassment-of-multiple-female-comedians\" target=\"_blank\" rel=\"noopener\">admission of guilt\u003c/a> and statement of contrition over his own history of sexual assaults. “There is nothing about this that I forgive myself for,” C.K. wrote in a statement. “And I have to reconcile it with who I am. Which is nothing compared to the task I left them with.” C.K.’s confirmation of \u003cem>The New York Times\u003c/em>‘ investigation was part of a broad wave of sexual misconduct allegations against many, \u003ca href=\"https://www.npr.org/sections/ombudsman/2017/11/06/561834350/npr-looks-inward-as-it-covers-its-own-sexual-harassment-allegations\" target=\"_blank\" rel=\"noopener\">including\u003c/a> former NPR news executive Mike Oreskes, in what is being commonly referred to as a “post-Weinstein” moment, in reference to the \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/10/14/557790894/weinstein-expelled-from-the-academy-of-motion-pictures-arts-and-sciences\" target=\"_blank\" rel=\"noopener\">disgraced\u003c/a> Hollywood mogul.\u003c/p>\n\u003cp>Kevin Devine, a former touring guitarist for Brand New, posted a statement of his own, writing that he had “not heard the story prior to it being made public yesterday. I’m heartbroken for her and for every person who absorbs and subsequently has to figure out how to live with this type of trauma. We all need to do a lot better, myself very much included.” Devine went on to cite his own struggles with addiction, and long-term sobriety, as offering a possible path to similar rehabilitation for Lacey.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The accusations and Lacey’s statement also prompted the group Martha to recuse itself from Brand New’s tour: “We have decided to pull out of the brand new shows. Support survivors always,” the band \u003ca href=\"https://twitter.com/MarthaDIY/status/929315515855790080\" target=\"_blank\" rel=\"noopener\">wrote\u003c/a> on Twitter.\u003c/p>\n\u003cp>Brand New emerged from Long Island, N.Y. in 2001 with \u003cem>Your Favorite Weapon\u003c/em>, and broke an eight-year hiatus this past August with the release of \u003cem>Science Fiction\u003c/em>. That latest record propelled the group to No. 1 on the Billboard 200 album chart, one of just three guitar-reliant bands this year to do so, \u003ca href=\"http://www.billboard.com/articles/columns/chart-beat/7942129/brand-new-first-number-1-album-billboard-200-chart-science-fiction\" target=\"_blank\" rel=\"noopener\">according to \u003cem>Billboard\u003c/em>\u003c/a>, and drew glowing reviews from music critics — including \u003ca href=\"https://www.npr.org/sections/allsongs/2017/08/26/545558097/brand-new-again-science-fiction-is-a-self-revival\">one published by NPR Music\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Requests for further comment from Brand New’s publicist were not returned. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Brand+New+Frontman+Jesse+Lacey+Apologizes+For+Sexual+Misconduct%2C+Postpones+Tour&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Meet Flipper's Ted Falconi, Vietnam Vet and Punk Rock Legend",
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"headTitle": "Meet Flipper’s Ted Falconi, Vietnam Vet and Punk Rock Legend | KQED",
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"content": "\u003cp>Ted Falconi says he doesn’t know how old he is because he stopped counting birthdays after he turned 50. He’s totally serious, and why the guitarist of the band Flipper would be so defensive of his age is odd for a punk rocker, especially when he’s undeniably old. His hair is a rat’s nest of shoulder-length, salt-and-pepper dreads, and his voice has a slight wheeze to it. He’s even got false teeth, but that’s because they got knocked out in a fight 15 years ago.\u003c/p>\n\u003cp>“I was ‘rat-packed.’ Ten kids jumped me all at once,” Falconi says. “I was taken to the hospital in an ambulance and woke up four, five hours later. They had busted out all my teeth, and there was no police report.”\u003c/p>\n\u003cp>That’s the kind of story you should expect from Falconi, who’s spent the last four decades playing with Flipper, punk’s ambassadors of nihilism. Flipper was the antithesis of the lightning fast hardcore punk scene of the ’80s, focusing their songs on dissonant, mid-tempo grooves that they drove into the ground. And while the hardcore bands did all they could to get a pit going, Flipper made it clear that they did not care what their audience did, even going as far as frustrating crowds on purpose by playing one song the entire night.\u003c/p>\n\u003cp>[audio src=\"https://www.kqed.org/.stream/anon/radio/tcrmag/2017/11/JonesFlipperV101.mp3\" title=\"Ted Falconi, Punk Hero and Vietnam Vet\" program=\"The California Report Magazine\" image=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Ted-Cropped2-1920x1080.jpg\"]\u003c/p>\n\u003cp>“It was even more punk rock than so much punk rock,” Mudhoney singer Mark Arm says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The list of Flipper’s biggest fans reads like a ballot for the Rock and Roll Hall of Fame: Kurt Cobain, Rick Rubin, Moby, Henry Rollins, and many more. Much of that adoration is owed to the band’s co-founder Falconi, whose mind-melting guitar style defines the group’s sound. Falconi also designed the band’s iconic “angry fish” logo.\u003c/p>\n\u003cp>Looking back, Falconi says there’s plenty of factors in his life that influenced his work with Flipper, but there’s one that stands out above all: the Vietnam War.\u003c/p>\n\u003cp>“If I hadn’t gone to Vietnam, I probably wouldn’t have started Flipper,” Falconi says.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fYbdG2dVcE0&t=46s\u003c/p>\n\u003ch2>Going Around the Draft\u003c/h2>\n\u003cp>Falconi grew up in Pittsburgh, Pennsylvania. His parents were both immigrants — his mother was Slovakian, his father was Italian — and when he was 17, they helped him enlist into the army so he could avoid the draft.\u003c/p>\n\u003cp>“Drafted, I would’ve been artillery or a front line troop,” Falconi says. “What I enlisted into was an extra year but I was indoors.”\u003c/p>\n\u003caside class=\"pullquote alignright\">That’s what came out of the guitar, not music, as much as the man.\u003cbr>\n\u003ccite>Henry Rollins\u003c/cite>\u003c/aside>\n\u003cp>Stationed in Da Nang, Vietnam, Falconi worked in communications. He spent his days sitting in a bunker, passing on messages intercepted from the Viet Cong to his fellow troops. North Vietnamese soldiers used the large radio antenna near his bunker as a guide for their rockets when they fired on a nearby heliport. There were a few craters near his office from projectiles that missed their mark.\u003c/p>\n\u003cp>Even with an office job, being stationed in Vietnam had plenty of risks. Daily life was loud and scary, full of squawking radios and explosions, and sometimes the blasts were so big he could feel them from yards away. He says he was always aware of who was behind him when he was out in public, especially when he was driving.\u003c/p>\n\u003cp>But that didn’t stop him from living a little wrecklessly.\u003c/p>\n\u003cp>“You know in \u003ci>Apocalypse Now,\u003c/i> when they’re talking about surfing in Da Nang? That was me,” Falconi said. “And I was the only guy I knew that had a surfboard in Da Nang.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=u4ZLkl15_d8\u003c/p>\n\u003cp>Falconi spent two years in Vietnam, from ’67 to ’69, and he came home with a new determination to live by his own rules. The army showed him how to focus on his goals and work to reach them.\u003c/p>\n\u003cp>“If you’re in the military, they tell you to build a bridge across this river and in a week you’re moving trucks across it,” Falconi says. “Here, they build a bridge and two years later they’re still building it.”\u003c/p>\n\u003ch2>Coming Back and Finding Punk\u003c/h2>\n\u003cp>After Falconi got out of the Army, he moved to San Francisco. It was 1970, and for the next decade, Falconi would dedicate his life to art — mostly sculpture. He earned an MFA in art from UC Berkeley and almost completed a second master’s degree in music from Mills College, where he experimented with early synthesizers and other noise-making instruments.\u003c/p>\n\u003cfigure id=\"attachment_13814580\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13814580\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/1237244_647332345297510_442566246_o-800x1202.jpg\" alt=\"Falconi playing in a pre-Flipper band\" width=\"800\" height=\"1202\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/1237244_647332345297510_442566246_o-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/1237244_647332345297510_442566246_o-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/1237244_647332345297510_442566246_o-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/1237244_647332345297510_442566246_o-1020x1533.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/1237244_647332345297510_442566246_o-1180x1773.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/1237244_647332345297510_442566246_o-960x1442.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/1237244_647332345297510_442566246_o-240x361.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/1237244_647332345297510_442566246_o-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/1237244_647332345297510_442566246_o-520x781.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/1237244_647332345297510_442566246_o.jpg 1363w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Falconi playing in a pre-Flipper band \u003ccite>(Courtesy of Ted Falconi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But it was John Gullak, guitarist for the Mutants, who introduced Falconi to the electric guitar. The two were hanging out at Joe “Target” Rees’s studios in San Francisco, where the Mutants were being filmed, and Gullak let Falconi play around with his guitar and amp.\u003c/p>\n\u003cp>“I never had that much loudness,” Falconi said. “So a week later, I had a guitar and amplifier, and I was starting a band.”\u003c/p>\n\u003cp>Falconi played in two bands before he started jamming with friend and bassist Russell Wilkerson, later known as Will Shatter. Both had played in punk bands, but the sound they developed during long sessions at a warehouse in Fremont were something different — it was noisy and punk, but it had a groove. After a few months of jamming, they recruited Ricky Williams of the Sleepers to be their singer. Williams also inspired the band’s name.\u003c/p>\n\u003cp>“All of his pets were named Flipper, so we thought it was the perfect name because he wouldn’t forget it,” Falconi says.\u003c/p>\n\u003cp>Williams lasted just six months with the band before being kicked out after missing a number of shows. (He died of a heroin overdose in 1992.) The band replaced Williams with Bruce “Loose” Calderwood, and with Negative Trend’s Steve DePace on drums, they became Flipper, the band that “\u003ca href=\"http://www.stthomas1976.net/flipper/articles_roughguide.html\" target=\"_blank\" rel=\"noopener\">rules, OK?\u003c/a>”\u003c/p>\n\u003cp>The band made fans both locally and nationally with their lumbering rhythms and air of indifference to the music scene. But DePace says what made the band truly unique was Falconi’s guitar riffs. While the bass, drums, and vocals provided the foundation for each song, Falconi would go almost in the opposite direction with his playing, creating a cacophonous atmosphere that blanketed their punk rumbling.\u003c/p>\n\u003cp>“When you mix a record, you’ll isolate each instrument to get all the tones right and stuff like that,” DePace says. “Whenever we isolate Ted, it’s literally brain-damaging.”\u003c/p>\n\u003cfigure id=\"attachment_13814588\" class=\"wp-caption alignright\" style=\"max-width: 229px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13814588\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Flipper-logo.jpg\" alt=\"Flipper's logo\" width=\"229\" height=\"250\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Flipper-logo.jpg 229w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Flipper-logo-160x175.jpg 160w\" sizes=\"(max-width: 229px) 100vw, 229px\">\u003cfigcaption class=\"wp-caption-text\">Flipper’s logo\u003c/figcaption>\u003c/figure>\n\u003cp>It was early in the band’s career when Falconi came up with the iconic fish logo. After choosing Flipper as the band name, Falconi worried that they’d be connected to something sweet like the dolphin from the old TV show. To make it clear that they were far from cute, Falconi drew a crude-looking fish with big teeth and x’s for eyes. He also made sure that the fish logo was easy anyone could draw it, which is exactly what fans like Mark Arm and his friends in Seattle did.\u003c/p>\n\u003cp>“You saw that graffiti everywhere for a while, and you know Flipper didn’t come up [to Seattle] until the ‘90s, so it wasn’t the band doing it,” Arm says.\u003c/p>\n\u003ch2>Never Stop Playing\u003c/h2>\n\u003cp>With the four core members, Flipper toured the nation and released four albums — two studio recordings and two live ones. They shared the stage with punk luminaries like Black Flag, Bad Brains, the Dead Kennedys, and many others. Among their notable fans at the time was then-Black Flag singer Henry Rollins, who described the band as “heavier than anything” and Falconi’s guitar playing as “amazing,” putting him in the same category as Black Flag’s Greg Ginn and PIL’s Keith Levene.\u003c/p>\n\u003cfigure id=\"attachment_13814535\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13814535\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Falconi-and-Rollins-800x923.jpg\" alt=\"Henry Rollins and Ted Falconi backstage at a show in the '80s.\" width=\"800\" height=\"923\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Falconi-and-Rollins-800x923.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Falconi-and-Rollins-160x185.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Falconi-and-Rollins-768x887.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Falconi-and-Rollins-1020x1177.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Falconi-and-Rollins-960x1108.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Falconi-and-Rollins-240x277.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Falconi-and-Rollins-375x433.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Falconi-and-Rollins-520x600.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Falconi-and-Rollins.jpg 1173w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Henry Rollins and Ted Falconi backstage at a show in the ’80s. \u003ccite>(Courtesy of Ted Falconi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When I was around him, he was always pretty friendly but also incredibly intense and at times, scary,” Rollins wrote in an email. “That’s what came out of the guitar: not music, as much as the man.”\u003c/p>\n\u003cp>Shatter, the band’s co-founder and one of the main songwriters, died in 1987 of a heroin overdose. The band went on hiatus until they were asked to play some benefits at CBGB’s in 1990. The following year, Rick Rubin signed them to Def American, his new label at the time. A little while after that, Nirvana played on \u003cem>Saturday Night Live\u003c/em>, and Cobain wore a homemade Flipper t-shirt featuring Falconi’s logo. After a decade of playing crappy punk clubs and dealing with drug-addicted band members, Flipper was finally recognized as being more than just another punk band.\u003c/p>\n\u003cp>“That was pretty cool,” Falconi said.\u003c/p>\n\u003cfigure id=\"attachment_13814583\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13814583\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/418749_4621648985482_661906572_n-800x644.jpg\" alt='Old promotional shot of Flipper. L-R: Falconi, Bruce \"Loose\" Calderwood, Will Shatter, Steve DePace' width=\"800\" height=\"644\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/418749_4621648985482_661906572_n-800x644.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/418749_4621648985482_661906572_n-160x129.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/418749_4621648985482_661906572_n-768x618.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/418749_4621648985482_661906572_n.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/418749_4621648985482_661906572_n-240x193.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/418749_4621648985482_661906572_n-375x302.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/418749_4621648985482_661906572_n-520x419.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Old promotional shot of Flipper. L-R: Falconi, Bruce “Loose” Calderwood, Will Shatter, Steve DePace \u003ccite>(Courtesy of Ted Falconi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Flipper is still together but they’re currently on hiatus. They’ll celebrate their 40th anniversary in 2018, but the past three decades haven’t been easy. For one, they’ve had trouble keeping bass players after Shatter died. They’ve seen four come and go, including Nirvana’s Krist Novoselic, who recorded a studio album with them in 2008.\u003c/p>\n\u003cp>They now have a steady bassist in Bruno DeSmartass, but in recent years Flipper’s had to look for new singers. The band split ways with Loose in 2015 because his severe back issues kept him from performing live, and they temporarily replaced him \u003ca href=\"https://ww2.kqed.org/arts/2015/07/31/influential-punks-flipper-reuniting-with-jesus-lizard-singer/\" target=\"_blank\" rel=\"noopener\">with Jesus Lizard frontman David Yow.\u003c/a> Now they’re trying out new singers this winter so they can start playing again. Arm was considered a candidate at one time, and they’re trying out other frontmen with similar pedigrees.\u003c/p>\n\u003cp>A retiree, Falconi spends more time riding his bike around Oakland than he does playing guitar. He wants to record more albums with Flipper, but he won’t ever start a new band. Falconi says there’s comfort in playing with Flipper. If he was back in Vietnam, Flipper would be Falconi’s unit — the guys he’s closer with than anyone else because of what been through together. He says he can’t imagine himself playing with anyone else.\u003c/p>\n\u003cp>“But if anything ever happens to Steve, I’m looking for a new drummer,” Falconi says, laughing.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"alignright size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "Falconi signed up for the army at 17 and went to Vietnam. When he came back to the Bay Area, he dedicated his life to art. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ted Falconi says he doesn’t know how old he is because he stopped counting birthdays after he turned 50. He’s totally serious, and why the guitarist of the band Flipper would be so defensive of his age is odd for a punk rocker, especially when he’s undeniably old. His hair is a rat’s nest of shoulder-length, salt-and-pepper dreads, and his voice has a slight wheeze to it. He’s even got false teeth, but that’s because they got knocked out in a fight 15 years ago.\u003c/p>\n\u003cp>“I was ‘rat-packed.’ Ten kids jumped me all at once,” Falconi says. “I was taken to the hospital in an ambulance and woke up four, five hours later. They had busted out all my teeth, and there was no police report.”\u003c/p>\n\u003cp>That’s the kind of story you should expect from Falconi, who’s spent the last four decades playing with Flipper, punk’s ambassadors of nihilism. Flipper was the antithesis of the lightning fast hardcore punk scene of the ’80s, focusing their songs on dissonant, mid-tempo grooves that they drove into the ground. And while the hardcore bands did all they could to get a pit going, Flipper made it clear that they did not care what their audience did, even going as far as frustrating crowds on purpose by playing one song the entire night.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It was even more punk rock than so much punk rock,” Mudhoney singer Mark Arm says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The list of Flipper’s biggest fans reads like a ballot for the Rock and Roll Hall of Fame: Kurt Cobain, Rick Rubin, Moby, Henry Rollins, and many more. Much of that adoration is owed to the band’s co-founder Falconi, whose mind-melting guitar style defines the group’s sound. Falconi also designed the band’s iconic “angry fish” logo.\u003c/p>\n\u003cp>Looking back, Falconi says there’s plenty of factors in his life that influenced his work with Flipper, but there’s one that stands out above all: the Vietnam War.\u003c/p>\n\u003cp>“If I hadn’t gone to Vietnam, I probably wouldn’t have started Flipper,” Falconi says.\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/fYbdG2dVcE0'\n title='//www.youtube.com/embed/fYbdG2dVcE0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Going Around the Draft\u003c/h2>\n\u003cp>Falconi grew up in Pittsburgh, Pennsylvania. His parents were both immigrants — his mother was Slovakian, his father was Italian — and when he was 17, they helped him enlist into the army so he could avoid the draft.\u003c/p>\n\u003cp>“Drafted, I would’ve been artillery or a front line troop,” Falconi says. “What I enlisted into was an extra year but I was indoors.”\u003c/p>\n\u003caside class=\"pullquote alignright\">That’s what came out of the guitar, not music, as much as the man.\u003cbr>\n\u003ccite>Henry Rollins\u003c/cite>\u003c/aside>\n\u003cp>Stationed in Da Nang, Vietnam, Falconi worked in communications. He spent his days sitting in a bunker, passing on messages intercepted from the Viet Cong to his fellow troops. North Vietnamese soldiers used the large radio antenna near his bunker as a guide for their rockets when they fired on a nearby heliport. There were a few craters near his office from projectiles that missed their mark.\u003c/p>\n\u003cp>Even with an office job, being stationed in Vietnam had plenty of risks. Daily life was loud and scary, full of squawking radios and explosions, and sometimes the blasts were so big he could feel them from yards away. He says he was always aware of who was behind him when he was out in public, especially when he was driving.\u003c/p>\n\u003cp>But that didn’t stop him from living a little wrecklessly.\u003c/p>\n\u003cp>“You know in \u003ci>Apocalypse Now,\u003c/i> when they’re talking about surfing in Da Nang? That was me,” Falconi said. “And I was the only guy I knew that had a surfboard in Da Nang.”\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/u4ZLkl15_d8'\n title='//www.youtube.com/embed/u4ZLkl15_d8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Falconi spent two years in Vietnam, from ’67 to ’69, and he came home with a new determination to live by his own rules. The army showed him how to focus on his goals and work to reach them.\u003c/p>\n\u003cp>“If you’re in the military, they tell you to build a bridge across this river and in a week you’re moving trucks across it,” Falconi says. “Here, they build a bridge and two years later they’re still building it.”\u003c/p>\n\u003ch2>Coming Back and Finding Punk\u003c/h2>\n\u003cp>After Falconi got out of the Army, he moved to San Francisco. It was 1970, and for the next decade, Falconi would dedicate his life to art — mostly sculpture. He earned an MFA in art from UC Berkeley and almost completed a second master’s degree in music from Mills College, where he experimented with early synthesizers and other noise-making instruments.\u003c/p>\n\u003cfigure id=\"attachment_13814580\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13814580\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/1237244_647332345297510_442566246_o-800x1202.jpg\" alt=\"Falconi playing in a pre-Flipper band\" width=\"800\" height=\"1202\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/1237244_647332345297510_442566246_o-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/1237244_647332345297510_442566246_o-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/1237244_647332345297510_442566246_o-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/1237244_647332345297510_442566246_o-1020x1533.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/1237244_647332345297510_442566246_o-1180x1773.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/1237244_647332345297510_442566246_o-960x1442.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/1237244_647332345297510_442566246_o-240x361.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/1237244_647332345297510_442566246_o-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/1237244_647332345297510_442566246_o-520x781.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/1237244_647332345297510_442566246_o.jpg 1363w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Falconi playing in a pre-Flipper band \u003ccite>(Courtesy of Ted Falconi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But it was John Gullak, guitarist for the Mutants, who introduced Falconi to the electric guitar. The two were hanging out at Joe “Target” Rees’s studios in San Francisco, where the Mutants were being filmed, and Gullak let Falconi play around with his guitar and amp.\u003c/p>\n\u003cp>“I never had that much loudness,” Falconi said. “So a week later, I had a guitar and amplifier, and I was starting a band.”\u003c/p>\n\u003cp>Falconi played in two bands before he started jamming with friend and bassist Russell Wilkerson, later known as Will Shatter. Both had played in punk bands, but the sound they developed during long sessions at a warehouse in Fremont were something different — it was noisy and punk, but it had a groove. After a few months of jamming, they recruited Ricky Williams of the Sleepers to be their singer. Williams also inspired the band’s name.\u003c/p>\n\u003cp>“All of his pets were named Flipper, so we thought it was the perfect name because he wouldn’t forget it,” Falconi says.\u003c/p>\n\u003cp>Williams lasted just six months with the band before being kicked out after missing a number of shows. (He died of a heroin overdose in 1992.) The band replaced Williams with Bruce “Loose” Calderwood, and with Negative Trend’s Steve DePace on drums, they became Flipper, the band that “\u003ca href=\"http://www.stthomas1976.net/flipper/articles_roughguide.html\" target=\"_blank\" rel=\"noopener\">rules, OK?\u003c/a>”\u003c/p>\n\u003cp>The band made fans both locally and nationally with their lumbering rhythms and air of indifference to the music scene. But DePace says what made the band truly unique was Falconi’s guitar riffs. While the bass, drums, and vocals provided the foundation for each song, Falconi would go almost in the opposite direction with his playing, creating a cacophonous atmosphere that blanketed their punk rumbling.\u003c/p>\n\u003cp>“When you mix a record, you’ll isolate each instrument to get all the tones right and stuff like that,” DePace says. “Whenever we isolate Ted, it’s literally brain-damaging.”\u003c/p>\n\u003cfigure id=\"attachment_13814588\" class=\"wp-caption alignright\" style=\"max-width: 229px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13814588\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Flipper-logo.jpg\" alt=\"Flipper's logo\" width=\"229\" height=\"250\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Flipper-logo.jpg 229w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Flipper-logo-160x175.jpg 160w\" sizes=\"(max-width: 229px) 100vw, 229px\">\u003cfigcaption class=\"wp-caption-text\">Flipper’s logo\u003c/figcaption>\u003c/figure>\n\u003cp>It was early in the band’s career when Falconi came up with the iconic fish logo. After choosing Flipper as the band name, Falconi worried that they’d be connected to something sweet like the dolphin from the old TV show. To make it clear that they were far from cute, Falconi drew a crude-looking fish with big teeth and x’s for eyes. He also made sure that the fish logo was easy anyone could draw it, which is exactly what fans like Mark Arm and his friends in Seattle did.\u003c/p>\n\u003cp>“You saw that graffiti everywhere for a while, and you know Flipper didn’t come up [to Seattle] until the ‘90s, so it wasn’t the band doing it,” Arm says.\u003c/p>\n\u003ch2>Never Stop Playing\u003c/h2>\n\u003cp>With the four core members, Flipper toured the nation and released four albums — two studio recordings and two live ones. They shared the stage with punk luminaries like Black Flag, Bad Brains, the Dead Kennedys, and many others. Among their notable fans at the time was then-Black Flag singer Henry Rollins, who described the band as “heavier than anything” and Falconi’s guitar playing as “amazing,” putting him in the same category as Black Flag’s Greg Ginn and PIL’s Keith Levene.\u003c/p>\n\u003cfigure id=\"attachment_13814535\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13814535\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Falconi-and-Rollins-800x923.jpg\" alt=\"Henry Rollins and Ted Falconi backstage at a show in the '80s.\" width=\"800\" height=\"923\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Falconi-and-Rollins-800x923.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Falconi-and-Rollins-160x185.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Falconi-and-Rollins-768x887.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Falconi-and-Rollins-1020x1177.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Falconi-and-Rollins-960x1108.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Falconi-and-Rollins-240x277.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Falconi-and-Rollins-375x433.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Falconi-and-Rollins-520x600.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Falconi-and-Rollins.jpg 1173w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Henry Rollins and Ted Falconi backstage at a show in the ’80s. \u003ccite>(Courtesy of Ted Falconi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When I was around him, he was always pretty friendly but also incredibly intense and at times, scary,” Rollins wrote in an email. “That’s what came out of the guitar: not music, as much as the man.”\u003c/p>\n\u003cp>Shatter, the band’s co-founder and one of the main songwriters, died in 1987 of a heroin overdose. The band went on hiatus until they were asked to play some benefits at CBGB’s in 1990. The following year, Rick Rubin signed them to Def American, his new label at the time. A little while after that, Nirvana played on \u003cem>Saturday Night Live\u003c/em>, and Cobain wore a homemade Flipper t-shirt featuring Falconi’s logo. After a decade of playing crappy punk clubs and dealing with drug-addicted band members, Flipper was finally recognized as being more than just another punk band.\u003c/p>\n\u003cp>“That was pretty cool,” Falconi said.\u003c/p>\n\u003cfigure id=\"attachment_13814583\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13814583\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/418749_4621648985482_661906572_n-800x644.jpg\" alt='Old promotional shot of Flipper. L-R: Falconi, Bruce \"Loose\" Calderwood, Will Shatter, Steve DePace' width=\"800\" height=\"644\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/418749_4621648985482_661906572_n-800x644.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/418749_4621648985482_661906572_n-160x129.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/418749_4621648985482_661906572_n-768x618.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/418749_4621648985482_661906572_n.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/418749_4621648985482_661906572_n-240x193.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/418749_4621648985482_661906572_n-375x302.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/418749_4621648985482_661906572_n-520x419.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Old promotional shot of Flipper. L-R: Falconi, Bruce “Loose” Calderwood, Will Shatter, Steve DePace \u003ccite>(Courtesy of Ted Falconi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Flipper is still together but they’re currently on hiatus. They’ll celebrate their 40th anniversary in 2018, but the past three decades haven’t been easy. For one, they’ve had trouble keeping bass players after Shatter died. They’ve seen four come and go, including Nirvana’s Krist Novoselic, who recorded a studio album with them in 2008.\u003c/p>\n\u003cp>They now have a steady bassist in Bruno DeSmartass, but in recent years Flipper’s had to look for new singers. The band split ways with Loose in 2015 because his severe back issues kept him from performing live, and they temporarily replaced him \u003ca href=\"https://ww2.kqed.org/arts/2015/07/31/influential-punks-flipper-reuniting-with-jesus-lizard-singer/\" target=\"_blank\" rel=\"noopener\">with Jesus Lizard frontman David Yow.\u003c/a> Now they’re trying out new singers this winter so they can start playing again. Arm was considered a candidate at one time, and they’re trying out other frontmen with similar pedigrees.\u003c/p>\n\u003cp>A retiree, Falconi spends more time riding his bike around Oakland than he does playing guitar. He wants to record more albums with Flipper, but he won’t ever start a new band. Falconi says there’s comfort in playing with Flipper. If he was back in Vietnam, Flipper would be Falconi’s unit — the guys he’s closer with than anyone else because of what been through together. He says he can’t imagine himself playing with anyone else.\u003c/p>\n\u003cp>“But if anything ever happens to Steve, I’m looking for a new drummer,” Falconi says, laughing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>“Music Heals.”\u003c/p>\n\u003cp>That’s what Metallica singer James Hetfield told a sold-out stadium before the band played a benefit concert for those affected by the North Bay wildfires, which left some of the most devastating losses in California history with more than 5,000 homes lost and many people displaced. \u003c/p>\n\u003cp>Metallica, along with G-Eazy, Rancid, Metallica, Dave Matthews and Tim Reynolds, Dead & Company and Raphael Saadiq, performed at AT&T Park on Thursday, Nov. 9, at Band Together Bay Area. Artists waived their usual fees as ticket revenues were donated to \u003ca href=\"https://tippingpoint.org/relief\" rel=\"noopener\" target=\"_blank\">Tipping Point Emergency Relief Fund\u003c/a>, which supports low-income North Bay residents displaced by the fire. \u003c/p>\n\u003cp>A number of seats were given also given to first responders, volunteers and people impacted by the fires. While music can’t heal everything, the concert gave a number of families a break from hard times — not to mention to mention the whole event raised a reported $15 million for a good cause. \u003c/p>\n\u003cp>[gallery type=\"slideshow\" size=\"full\" ids=\"13814629,13814627,13814625,13814624,13814622,13814621,13814620,13814619,13814617,13814616,13814615,13814614,13814613,13814612,13814611,13814610,13814609,13814608,13814607,13814606,13814605,13814604,13814603,13814601,13814598\" orderby=\"rand\"]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13814632\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/MG_1082-1-800x450.jpg\" alt=\"Metallica headlines Band Together Bay Area, a benefit concert for North Bay Fire relief at AT&T Park on Thursday, November 9.\" width=\"0\" height=\"0\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_1082-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_1082-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_1082-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_1082-1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_1082-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_1082-1-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_1082-1-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_1082-1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_1082-1-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_1082-1-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Music Heals.”\u003c/p>\n\u003cp>That’s what Metallica singer James Hetfield told a sold-out stadium before the band played a benefit concert for those affected by the North Bay wildfires, which left some of the most devastating losses in California history with more than 5,000 homes lost and many people displaced. \u003c/p>\n\u003cp>Metallica, along with G-Eazy, Rancid, Metallica, Dave Matthews and Tim Reynolds, Dead & Company and Raphael Saadiq, performed at AT&T Park on Thursday, Nov. 9, at Band Together Bay Area. Artists waived their usual fees as ticket revenues were donated to \u003ca href=\"https://tippingpoint.org/relief\" rel=\"noopener\" target=\"_blank\">Tipping Point Emergency Relief Fund\u003c/a>, which supports low-income North Bay residents displaced by the fire. \u003c/p>\n\u003cp>A number of seats were given also given to first responders, volunteers and people impacted by the fires. While music can’t heal everything, the concert gave a number of families a break from hard times — not to mention to mention the whole event raised a reported $15 million for a good cause. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "NorCal Blogger Tussles With Taylor Swift Over First Amendment",
"headTitle": "NorCal Blogger Tussles With Taylor Swift Over First Amendment | KQED",
"content": "\u003cp>In a post titled “\u003ca href=\"http://popfront.us/2017/09/swiftly-to-the-alt-right-taylor-subtly-get-the-lower-case-kkk-in-formation/\">Swiftly to the alt-right: Taylor subtly gets the lower case kkk in formation\u003c/a>” on her blog \u003ca href=\"http://popfront.us/2017/09/swiftly-to-the-alt-right-taylor-subtly-get-the-lower-case-kkk-in-formation/\">Po\u003cem>pFront\u003c/em>\u003c/a>, San Jose native Meghan Herning theorized to her 200-ish subscribers about parallels she saw between the \u003ca href=\"https://store.taylorswift.com/\">Taylor Swift\u003c/a> song “Look WhatYou Made Me Do” and a documentary she watched featuring Neo-Nazis marching through Charlottesville.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Taylor Swift - Look What You Made Me Do\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/3tmd-ClpJxA?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>“I\u003cspan style=\"font-weight: 400\">n my personal opinion, I thought the tone of lyrics in Swift’s song, like, ‘I don’t like your kingdom keys / They once belonged to me’ were similar to you chants of ‘You will not replace us’ in Charlottesville,” Herning says. \u003c/span>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Charlottesville: Race and Terror – VICE News Tonight on HBO\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/RIrcB1sAN8I?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>More prominent media outlets like \u003ca href=\"https://broadly.vice.com/en_us/article/ae5x8a/cant-shake-it-off-how-taylor-swift-became-a-nazi-idol\">\u003cem>Vice\u003c/em>\u003c/a> and \u003ca href=\"https://www.huffingtonpost.com/entry/alt-right-website-really-wants-you-to-believe-taylor-swift-voted-for-donald-trump_us_582dc80ce4b058ce7aa96a73\">\u003cem>The Huffington Post\u003c/em>\u003c/a> have speculated about the connection between the pop star and far right politics.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So when Herning received a letter via email a couple of weeks ago from Swift’s Los Angeles-based lawyer, William J. Briggs II, demanding that she take down her blog post or face legal action for defamation, the 30-year-old Sacramento resident was shocked.\u003c/p>\n\u003cfigure id=\"attachment_13814231\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13814231\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.55.51-800x1031.png\" alt=\"Letter blogger Meghan Herning received from Taylor Swift's lawyer demanding that she take down her blog post or face charges. \" width=\"800\" height=\"1031\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.55.51-800x1031.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.55.51-160x206.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.55.51-768x990.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.55.51-240x309.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.55.51-375x483.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.55.51-520x670.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.55.51.png 908w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Letter blogger Meghan Herning received from Taylor Swift’s lawyer demanding that she take down her blog post or face charges. \u003ccite>(Photo: Courtesy of ACLU)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“\u003cspan style=\"font-weight: 400\">I’m like, how on earth could she have found this?” Herning says. “I don’t think enough people even read it for a Google alert to be triggered.” \u003c/span>\u003c/p>\n\u003cp>Herning graduated from law school, though she works in the solar power industry these days. So after doing some research to authenticate the letter, she decided to contact the \u003ca href=\"https://www.aclunc.org/news/taylor-swift-attempts-silence-critic-aclu-fires-back\">American Civil Liberties Union\u003c/a> (ACLU) for help.\u003c/p>\n\u003cp>The ACLU took on her case. Earlier this week, the organization hit back with a \u003ca href=\"http://www.aclunc.org/docs/Swift_letter_final.pdf\">letter\u003c/a> to Briggs refuting Swift’s charges on freedom of speech grounds.\u003c/p>\n\u003cfigure id=\"attachment_13814225\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13814225\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.35.04-800x1027.png\" alt=\"The letter sent by the ACLU legal team representing Meghan Herning to Taylor Swift's lawyer, William J Briggs II.\" width=\"800\" height=\"1027\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.35.04-800x1027.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.35.04-160x205.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.35.04-768x986.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.35.04-240x308.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.35.04-375x481.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.35.04-520x667.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.35.04.png 910w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The letter sent by the ACLU legal team representing Meghan Herning to Taylor Swift’s lawyer, William J Briggs II. \u003ccite>(Photo: Courtesy of ACLU)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The powerful shouldn’t be able to deploy these types of legal threats to silence opinions and press they don’t like,” says Christine Sun, one of three ACLU attorneys representing Herning.\u003c/p>\n\u003cp>The spat has since caused \u003ca href=\"http://perezhilton.com/2017-11-06-taylor-swift-kill-stories-journalism-bloggers-writers/?from=post\">dozens of other commentators\u003c/a> to share similar experiences with Swift on Twitter.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13814228\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.44.15-800x289.png\" alt=\"\" width=\"800\" height=\"289\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.44.15-800x289.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.44.15-160x58.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.44.15-768x278.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.44.15-960x347.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.44.15-240x87.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.44.15-375x136.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.44.15-520x188.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.44.15.png 996w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13814230\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.43.54-800x322.png\" alt=\"\" width=\"800\" height=\"322\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.43.54-800x322.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.43.54-160x64.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.43.54-768x309.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.43.54-960x387.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.43.54-240x97.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.43.54-375x151.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.43.54-520x209.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.43.54.png 998w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>But the pop star, whose estimated net worth stands at $280 million, is by no means the only powerful celebrity to sic their lawyers on writers. Just this week, \u003ca href=\"http://trackrecord.net/jay-z-reportedly-threatened-a-music-site-over-an-articl-1820215682\">the rapper Jay Z’s attorney attacked a \u003cem>Digital Music News\u003c/em> reporter\u003c/a> over an article the attorney considered “false.”\u003c/p>\n\u003cp>University of Southern California journalism professor \u003ca href=\"http://annenberg.usc.edu/faculty/journalism/joe-saltzman\">Joe Saltzman\u003c/a>, who specializes in perceptions of journalists in pop culture, says this type of threat happens all too frequently.\u003c/p>\n\u003cp>“They want to set an example,” Saltzman says. “They want to say, ‘Look, we don’t care if you have 200 subscribers or two million. You write something bad about my client, we’re going after you.'”\u003c/p>\n\u003cp>Saltzman says writers are fairly powerless to do anything about this. Indeed, many of those who shared their own stories of being threatened by Swift’s lawyers over the past couple of days admitted to buckling under the intimidation tactics.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13814229\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.43.34-800x324.png\" alt=\"\" width=\"800\" height=\"324\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.43.34-800x324.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.43.34-160x65.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.43.34-768x312.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.43.34-960x389.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.43.34-240x97.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.43.34-375x152.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.43.34-520x211.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.43.34.png 996w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>KQED reached out to several of these commentators. The only one who responded said he couldn’t share any information about the cease and desist order for legal reasons and asked not to be identified.\u003c/p>\n\u003cp>But Herning thinks writers should learn to defend themselves.\u003cbr>\n“I hope that other journalists who have been threatened legally educate themselves on their legal rights,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13814238\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13814238\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Christine-Sun-ACLU-of-Northern-California-e1510204857262-800x635.jpg\" alt=\"ACLU attorney Christine Sun.\" width=\"800\" height=\"635\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Christine-Sun-ACLU-of-Northern-California-e1510204857262-800x635.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Christine-Sun-ACLU-of-Northern-California-e1510204857262-160x127.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Christine-Sun-ACLU-of-Northern-California-e1510204857262-768x610.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Christine-Sun-ACLU-of-Northern-California-e1510204857262-1020x810.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Christine-Sun-ACLU-of-Northern-California-e1510204857262-1920x1524.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Christine-Sun-ACLU-of-Northern-California-e1510204857262-1180x937.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Christine-Sun-ACLU-of-Northern-California-e1510204857262-960x762.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Christine-Sun-ACLU-of-Northern-California-e1510204857262-240x191.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Christine-Sun-ACLU-of-Northern-California-e1510204857262-375x298.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Christine-Sun-ACLU-of-Northern-California-e1510204857262-520x413.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">ACLU attorney Christine Sun. \u003ccite>(Photo: Courtesy of ACLU)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sun says Swift’s attorney, who couldn’t be reached for comment, has until Monday, Nov. 13 to drop the charges against Herning. If that doesn’t happen, the ACLU might file a federal lawsuit, Sun says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Meanwhile, Swift’s new album, \u003ca href=\"https://store.taylorswift.com/reputation.html\">\u003cem>Reputation\u003c/em>\u003c/a>, comes out Friday. And so far, there’s been no comment from the pop star herself on the issues raised by Herning’s case.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a post titled “\u003ca href=\"http://popfront.us/2017/09/swiftly-to-the-alt-right-taylor-subtly-get-the-lower-case-kkk-in-formation/\">Swiftly to the alt-right: Taylor subtly gets the lower case kkk in formation\u003c/a>” on her blog \u003ca href=\"http://popfront.us/2017/09/swiftly-to-the-alt-right-taylor-subtly-get-the-lower-case-kkk-in-formation/\">Po\u003cem>pFront\u003c/em>\u003c/a>, San Jose native Meghan Herning theorized to her 200-ish subscribers about parallels she saw between the \u003ca href=\"https://store.taylorswift.com/\">Taylor Swift\u003c/a> song “Look WhatYou Made Me Do” and a documentary she watched featuring Neo-Nazis marching through Charlottesville.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Taylor Swift - Look What You Made Me Do\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/3tmd-ClpJxA?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>“I\u003cspan style=\"font-weight: 400\">n my personal opinion, I thought the tone of lyrics in Swift’s song, like, ‘I don’t like your kingdom keys / They once belonged to me’ were similar to you chants of ‘You will not replace us’ in Charlottesville,” Herning says. \u003c/span>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Charlottesville: Race and Terror – VICE News Tonight on HBO\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/RIrcB1sAN8I?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>More prominent media outlets like \u003ca href=\"https://broadly.vice.com/en_us/article/ae5x8a/cant-shake-it-off-how-taylor-swift-became-a-nazi-idol\">\u003cem>Vice\u003c/em>\u003c/a> and \u003ca href=\"https://www.huffingtonpost.com/entry/alt-right-website-really-wants-you-to-believe-taylor-swift-voted-for-donald-trump_us_582dc80ce4b058ce7aa96a73\">\u003cem>The Huffington Post\u003c/em>\u003c/a> have speculated about the connection between the pop star and far right politics.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So when Herning received a letter via email a couple of weeks ago from Swift’s Los Angeles-based lawyer, William J. Briggs II, demanding that she take down her blog post or face legal action for defamation, the 30-year-old Sacramento resident was shocked.\u003c/p>\n\u003cfigure id=\"attachment_13814231\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13814231\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.55.51-800x1031.png\" alt=\"Letter blogger Meghan Herning received from Taylor Swift's lawyer demanding that she take down her blog post or face charges. \" width=\"800\" height=\"1031\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.55.51-800x1031.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.55.51-160x206.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.55.51-768x990.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.55.51-240x309.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.55.51-375x483.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.55.51-520x670.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.55.51.png 908w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Letter blogger Meghan Herning received from Taylor Swift’s lawyer demanding that she take down her blog post or face charges. \u003ccite>(Photo: Courtesy of ACLU)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“\u003cspan style=\"font-weight: 400\">I’m like, how on earth could she have found this?” Herning says. “I don’t think enough people even read it for a Google alert to be triggered.” \u003c/span>\u003c/p>\n\u003cp>Herning graduated from law school, though she works in the solar power industry these days. So after doing some research to authenticate the letter, she decided to contact the \u003ca href=\"https://www.aclunc.org/news/taylor-swift-attempts-silence-critic-aclu-fires-back\">American Civil Liberties Union\u003c/a> (ACLU) for help.\u003c/p>\n\u003cp>The ACLU took on her case. Earlier this week, the organization hit back with a \u003ca href=\"http://www.aclunc.org/docs/Swift_letter_final.pdf\">letter\u003c/a> to Briggs refuting Swift’s charges on freedom of speech grounds.\u003c/p>\n\u003cfigure id=\"attachment_13814225\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13814225\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.35.04-800x1027.png\" alt=\"The letter sent by the ACLU legal team representing Meghan Herning to Taylor Swift's lawyer, William J Briggs II.\" width=\"800\" height=\"1027\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.35.04-800x1027.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.35.04-160x205.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.35.04-768x986.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.35.04-240x308.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.35.04-375x481.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.35.04-520x667.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.35.04.png 910w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The letter sent by the ACLU legal team representing Meghan Herning to Taylor Swift’s lawyer, William J Briggs II. \u003ccite>(Photo: Courtesy of ACLU)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The powerful shouldn’t be able to deploy these types of legal threats to silence opinions and press they don’t like,” says Christine Sun, one of three ACLU attorneys representing Herning.\u003c/p>\n\u003cp>The spat has since caused \u003ca href=\"http://perezhilton.com/2017-11-06-taylor-swift-kill-stories-journalism-bloggers-writers/?from=post\">dozens of other commentators\u003c/a> to share similar experiences with Swift on Twitter.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13814228\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.44.15-800x289.png\" alt=\"\" width=\"800\" height=\"289\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.44.15-800x289.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.44.15-160x58.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.44.15-768x278.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.44.15-960x347.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.44.15-240x87.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.44.15-375x136.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.44.15-520x188.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.44.15.png 996w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13814230\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.43.54-800x322.png\" alt=\"\" width=\"800\" height=\"322\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.43.54-800x322.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.43.54-160x64.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.43.54-768x309.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.43.54-960x387.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.43.54-240x97.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.43.54-375x151.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.43.54-520x209.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.43.54.png 998w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>But the pop star, whose estimated net worth stands at $280 million, is by no means the only powerful celebrity to sic their lawyers on writers. Just this week, \u003ca href=\"http://trackrecord.net/jay-z-reportedly-threatened-a-music-site-over-an-articl-1820215682\">the rapper Jay Z’s attorney attacked a \u003cem>Digital Music News\u003c/em> reporter\u003c/a> over an article the attorney considered “false.”\u003c/p>\n\u003cp>University of Southern California journalism professor \u003ca href=\"http://annenberg.usc.edu/faculty/journalism/joe-saltzman\">Joe Saltzman\u003c/a>, who specializes in perceptions of journalists in pop culture, says this type of threat happens all too frequently.\u003c/p>\n\u003cp>“They want to set an example,” Saltzman says. “They want to say, ‘Look, we don’t care if you have 200 subscribers or two million. You write something bad about my client, we’re going after you.'”\u003c/p>\n\u003cp>Saltzman says writers are fairly powerless to do anything about this. Indeed, many of those who shared their own stories of being threatened by Swift’s lawyers over the past couple of days admitted to buckling under the intimidation tactics.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13814229\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.43.34-800x324.png\" alt=\"\" width=\"800\" height=\"324\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.43.34-800x324.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.43.34-160x65.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.43.34-768x312.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.43.34-960x389.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.43.34-240x97.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.43.34-375x152.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.43.34-520x211.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.43.34.png 996w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>KQED reached out to several of these commentators. The only one who responded said he couldn’t share any information about the cease and desist order for legal reasons and asked not to be identified.\u003c/p>\n\u003cp>But Herning thinks writers should learn to defend themselves.\u003cbr>\n“I hope that other journalists who have been threatened legally educate themselves on their legal rights,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13814238\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13814238\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Christine-Sun-ACLU-of-Northern-California-e1510204857262-800x635.jpg\" alt=\"ACLU attorney Christine Sun.\" width=\"800\" height=\"635\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Christine-Sun-ACLU-of-Northern-California-e1510204857262-800x635.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Christine-Sun-ACLU-of-Northern-California-e1510204857262-160x127.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Christine-Sun-ACLU-of-Northern-California-e1510204857262-768x610.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Christine-Sun-ACLU-of-Northern-California-e1510204857262-1020x810.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Christine-Sun-ACLU-of-Northern-California-e1510204857262-1920x1524.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Christine-Sun-ACLU-of-Northern-California-e1510204857262-1180x937.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Christine-Sun-ACLU-of-Northern-California-e1510204857262-960x762.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Christine-Sun-ACLU-of-Northern-California-e1510204857262-240x191.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Christine-Sun-ACLU-of-Northern-California-e1510204857262-375x298.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Christine-Sun-ACLU-of-Northern-California-e1510204857262-520x413.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">ACLU attorney Christine Sun. \u003ccite>(Photo: Courtesy of ACLU)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sun says Swift’s attorney, who couldn’t be reached for comment, has until Monday, Nov. 13 to drop the charges against Herning. If that doesn’t happen, the ACLU might file a federal lawsuit, Sun says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Meanwhile, Swift’s new album, \u003ca href=\"https://store.taylorswift.com/reputation.html\">\u003cem>Reputation\u003c/em>\u003c/a>, comes out Friday. And so far, there’s been no comment from the pop star herself on the issues raised by Herning’s case.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>This week we’re featuring a number of museum and gallery shows worth taking in now or during the holidays, when we all have a bit more time to get out and possibly need to escape our families. My co-host KQED Arts Editor Sarah Hotchkiss is the perfect guide for this endeavor, as she frequently escapes to local art exhibits.\u003c/p>\n\u003cp>Plus we talk about a country music ballet, an anniversary music festival and North Bay fire benefits.\u003c/p>\n\u003cp>\u003cstrong>Ongoing:\u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VXGh\" target=\"_blank\" rel=\"noopener\"> Our favorite museum shows for the holidays\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Nov. 16-18:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VXGb\" target=\"_blank\" rel=\"noopener\">The Del Sol Quartet celebrates 25 years with world premieres and an audience ukulele choir\u003c/a>\u003c/p>\n\u003cp>Nov. 17-18: \u003ca href=\"https://wp.me/p4oi3Y-VXGW\" target=\"_blank\" rel=\"noopener\">Post:Ballet sets a dance to music by America’s first gay country band, Lavender Country\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Nov. 12: \u003ca href=\"https://wp.me/p4oi3Y-VXGA\" target=\"_blank\" rel=\"noopener\">Signs of normalcy at Sonoma’s Gundlach Bundschu, a winery touched by the North Bay Fires\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Nov. 19:\u003c/strong> \u003ca href=\"http://www.slimspresents.com/event/fire-relief-benefit-show-featuring-rupa-and-the-april-fishes-slims-w-the-sam-chase-down-dirty-shake-presented-by-seaweed-sway-friends/\" target=\"_blank\" rel=\"noopener\">Rupa and the April Fishes andThe Sam Chase in a benefit for North Bay Fire relief\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Nov. 19:\u003c/strong> \u003ca href=\"https://www.youtube.com/watch?time_continue=2&v=R4zu3TegSFI\" target=\"_blank\" rel=\"noopener\">The San Francisco Symphony schedules a special benefit concert for North Bay Fire Relief\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=2&v=R4zu3TegSFI\u003c/p>\n\n",
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}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
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"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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},
"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"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. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"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.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"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>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"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?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"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",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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