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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A guitar that Jerry Garcia played everywhere from San Francisco’s Winterland Ballroom to Egypt’s Great Pyramids is headed to auction.\u003c/p>\n\u003cp>The Grateful Dead frontman’s guitar — named Wolf — will be offered Wednesday night in Brooklyn. The proceeds are earmarked for the Montgomery, Alabama-based Southern Poverty Law Center.\u003c/p>\n\u003cp>The guitar is being sold by devoted Deadhead Daniel Pritzker. The philanthropist, musician and film director bought it in 2002 at Guernsey’s for $790,000.\u003c/p>\n\u003cp>It’s predicted that the guitar could fetch over $1 million this time around.\u003c/p>\n\u003cp>The auctioneer says Wolf first appeared in a 1973 New York performance the Grateful Dead gave for the Hells Angels.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The 1977 film “The Grateful Dead Movie” was directed by Garcia and features extensive footage of the instrument.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Garcia died in 1995.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Listen to the Bay Bridged’s mix of music by local bands playing this summer’s best music festivals.\u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/Festivals_2017_Mixtape.mp3\u003c/p>\n\u003c/aside>\n\u003cp>Music festival season unofficially kicked off on Friday, May 26, with the latest installment of \u003ca href=\"https://ww2.kqed.org/arts/2017/05/27/bottlerock-photos-maroon-5-macklemore-2017-day-one/\" target=\"_blank\" rel=\"noopener noreferrer\">BottleRock Napa Valley festival\u003c/a> attracting many thousands of music fans for three days of food, wine, and over 80 bands ranging from the Foo Fighters to the Napa Youth Symphony. The number and types of music fests has grown considerably in recent years — among this year’s new offerings are not one, but \u003cem>two\u003c/em> new music and comedy weekends coming to the Bay in June — surely to the dismay of fans who might prefer to see bands in more intimate, contained environments.\u003c/p>\n\u003cp>The multi-day festival experience may not be for everyone, but it does provides a great way to sample a large variety of acts in a single setting. Where else but \u003ca href=\"https://www.sfoutsidelands.com/\">Outside Lands\u003c/a> could one see Metallica, Kamaiyah, and The She’s, along with dozens of other bands, at the same show? How awesome is it that Allah Las, Cass McCombs, Beachwood Sparks, and Christopher Owens’ new band Curls are all headed to the \u003ca href=\"http://www.huichica.com/welcome-1\">Huichica Music Festival\u003c/a>?\u003c/p>\n\u003cp>In this mixtape, we check out a variety of local bands playing at music festivals across Northern California. In addition to sampling a great mix of Bay Area music, the collection also highlights the variety of unique fests happening around the area over the next few months.\u003c/p>\n\u003cp>If you’re looking to get out of town, consider one of the many festivals that combine music and the great outdoors, like \u003ca href=\"https://www.facebook.com/events/988622057937950/\">Deathstock III\u003c/a>, \u003ca href=\"http://hickeyfest.com/\">Hickey Fest\u003c/a>, and the \u003ca href=\"http://highsierramusic.com\">High Sierra Music Festival\u003c/a>. But if you’d prefer to stay closer to home, there are plenty of great festivals coming to local parks, including the summer-long \u003ca href=\"http://www.sterngrove.org/\">Stern Grove Festival\u003c/a>, Oakland’s \u003ca href=\"http://burgerboogaloo.com/\">Burger Boogaloo\u003c/a>, and our \u003ca href=\"http://www.phonodelsol.com/\">Phono del Sol Music and Food Festival\u003c/a>.\u003c/p>\n\u003cp>Listen to the mixtape above to learn more about all of the upcoming festivals and all 13 artists.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>\u003cu>About the Bands\u003c/u>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/waterswaters/\">WATERS\u003c/a>\u003c/strong> – “Hiccups”\u003cbr>\nAppearing at \u003ca href=\"http://live105.cbslocal.com/show/bfd/\">BFD 2017\u003c/a> on June 10\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/tuckeredoutboy/\">Tuckered Out\u003c/a>\u003c/strong> – “Hippocracy”\u003cbr>\nThe Death Records artist performs at \u003ca href=\"https://www.facebook.com/events/988622057937950/\">Deathstock III\u003c/a> on July 8\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://blanksquared.bandcamp.com/releases\">Blank Square\u003c/a>\u003c/strong> – “Charmer”\u003cbr>\nSF’s Blank Square joins over 40 other bands on July 8 at \u003ca href=\"https://www.facebook.com/events/988622057937950/\">Deathstock III\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/Glitter-Wizard-77619029508/\">Glitter Wizard\u003c/a>\u003c/strong> – “Mycelia”\u003cbr>\nPlaying on July 2 at \u003ca href=\"http://burgerboogaloo.com/\">Burger Boogaloo\u003c/a> in Oakland’s Mosswood Park\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/kevchoice/?hc_ref=SEARCH&fref=nf\">Kev Choice\u003c/a>\u003c/strong> – “Hero’s Theme”\u003cbr>\nPerforming alongside Mavis Staples on August 27 as part of the \u003ca href=\"http://www.sterngrove.org/\">Stern Grove Festival\u003c/a>‘s 80th season\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/MEERNAAthefuture/\">Meernaa\u003c/a>\u003c/strong> – “Redwood”\u003cbr>\nOne of over thirty bands performing at \u003ca href=\"http://hickeyfest.com/\">Hickey Fest\u003c/a>, which takes place June 16-18 in Leggett, California\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/theshesmusic/\">The She’s\u003c/a>\u003c/strong> – “My Secret To Keep”\u003cbr>\nJoining Metallica, The Who, and many more at the tenth annual \u003ca href=\"https://www.sfoutsidelands.com/\">Outside Lands Festival\u003c/a> from August 11-13\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/jaysommusic/\">Jay Som\u003c/a>\u003c/strong> – “1 Billion Dogs”\u003cbr>\nOn June 17, Melina Duterte and her band perform at The Bay Bridged’s \u003ca href=\"http://www.phonodelsol.com/\">Phono del Sol Music and Food Festival\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/outerembassy/?hc_ref=SEARCH&fref=nf\">Outer Embassy\u003c/a>\u003c/strong> – “Iron Strike”\u003cbr>\nThe SF band plays this year’s \u003ca href=\"http://www.huichica.com/welcome-1\">Huichica Music Festival\u003c/a> on June 10\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://timcohen.bandcamp.com/\">Tim Cohen\u003c/a>\u003c/strong> – “John Hughes”\u003cbr>\nThe Fresh & Onlys’ bandleader appears at the \u003ca href=\"http://www.huichica.com/welcome-1\">Huichica Music Festival\u003c/a> on June 10 with Allah Las, Dean Wareham, Robyn Hitchcock and more\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/nickibluhm/\">Nicki Bluhm and The Gramblers\u003c/a>\u003c/strong> – “Waiting on Love”\u003cbr>\nNicki Bluhm and her band perform at the \u003ca href=\"http://www.sterngrove.org/\">Stern Grove Festival\u003c/a> on July 2; the singer will also join the Dirty Dozen Brass Band for a special set at the \u003ca href=\"https://montereypopfestival50.com/\">Monterey International Pop Festival\u003c/a> on June 18\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/thebrotherscomatose/?ref=br_rs\">The Brothers Comatose\u003c/a>\u003c/strong> – “Black Light Moon”\u003cbr>\nThe band is set to appear at the \u003ca href=\"http://highsierramusic.com\">High Sierra Music Festival\u003c/a> on June 29 and July 1, and is presenting its third annual \u003ca href=\"https://www.eventbrite.com/e/comatopia-2017-presented-by-the-brothers-comatose-august-11-12-tickets-33290065482\">Comatopia\u003c/a> festival on August 11 and 12 in North Fork, California\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/personalandthepizzas/\">Personal and the Pizzas\u003c/a>\u003c/strong> – “Joey Quit the Pouch”\u003cbr>\nThe “New Jersey” band is racking up the festival appearances this summer, with sets at \u003ca href=\"https://www.facebook.com/sfpopfest/\">SF Popfest\u003c/a>, \u003ca href=\"http://burgerboogaloo.com/\">Burger Boogaloo\u003c/a>, and \u003ca href=\"https://www.facebook.com/events/988622057937950/\">Deathstock III\u003c/a>\u003c/p>\n\n",
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"excerpt": "It's official: music festival season is upon us. Here are 13 of the hometown heroes playing Northern California's best fests this summer. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>Listen to the Bay Bridged’s mix of music by local bands playing this summer’s best music festivals.\u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/Festivals_2017_Mixtape.mp3\u003c/p>\n\u003c/aside>\n\u003cp>Music festival season unofficially kicked off on Friday, May 26, with the latest installment of \u003ca href=\"https://ww2.kqed.org/arts/2017/05/27/bottlerock-photos-maroon-5-macklemore-2017-day-one/\" target=\"_blank\" rel=\"noopener noreferrer\">BottleRock Napa Valley festival\u003c/a> attracting many thousands of music fans for three days of food, wine, and over 80 bands ranging from the Foo Fighters to the Napa Youth Symphony. The number and types of music fests has grown considerably in recent years — among this year’s new offerings are not one, but \u003cem>two\u003c/em> new music and comedy weekends coming to the Bay in June — surely to the dismay of fans who might prefer to see bands in more intimate, contained environments.\u003c/p>\n\u003cp>The multi-day festival experience may not be for everyone, but it does provides a great way to sample a large variety of acts in a single setting. Where else but \u003ca href=\"https://www.sfoutsidelands.com/\">Outside Lands\u003c/a> could one see Metallica, Kamaiyah, and The She’s, along with dozens of other bands, at the same show? How awesome is it that Allah Las, Cass McCombs, Beachwood Sparks, and Christopher Owens’ new band Curls are all headed to the \u003ca href=\"http://www.huichica.com/welcome-1\">Huichica Music Festival\u003c/a>?\u003c/p>\n\u003cp>In this mixtape, we check out a variety of local bands playing at music festivals across Northern California. In addition to sampling a great mix of Bay Area music, the collection also highlights the variety of unique fests happening around the area over the next few months.\u003c/p>\n\u003cp>If you’re looking to get out of town, consider one of the many festivals that combine music and the great outdoors, like \u003ca href=\"https://www.facebook.com/events/988622057937950/\">Deathstock III\u003c/a>, \u003ca href=\"http://hickeyfest.com/\">Hickey Fest\u003c/a>, and the \u003ca href=\"http://highsierramusic.com\">High Sierra Music Festival\u003c/a>. But if you’d prefer to stay closer to home, there are plenty of great festivals coming to local parks, including the summer-long \u003ca href=\"http://www.sterngrove.org/\">Stern Grove Festival\u003c/a>, Oakland’s \u003ca href=\"http://burgerboogaloo.com/\">Burger Boogaloo\u003c/a>, and our \u003ca href=\"http://www.phonodelsol.com/\">Phono del Sol Music and Food Festival\u003c/a>.\u003c/p>\n\u003cp>Listen to the mixtape above to learn more about all of the upcoming festivals and all 13 artists.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cu>About the Bands\u003c/u>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/waterswaters/\">WATERS\u003c/a>\u003c/strong> – “Hiccups”\u003cbr>\nAppearing at \u003ca href=\"http://live105.cbslocal.com/show/bfd/\">BFD 2017\u003c/a> on June 10\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/tuckeredoutboy/\">Tuckered Out\u003c/a>\u003c/strong> – “Hippocracy”\u003cbr>\nThe Death Records artist performs at \u003ca href=\"https://www.facebook.com/events/988622057937950/\">Deathstock III\u003c/a> on July 8\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://blanksquared.bandcamp.com/releases\">Blank Square\u003c/a>\u003c/strong> – “Charmer”\u003cbr>\nSF’s Blank Square joins over 40 other bands on July 8 at \u003ca href=\"https://www.facebook.com/events/988622057937950/\">Deathstock III\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/Glitter-Wizard-77619029508/\">Glitter Wizard\u003c/a>\u003c/strong> – “Mycelia”\u003cbr>\nPlaying on July 2 at \u003ca href=\"http://burgerboogaloo.com/\">Burger Boogaloo\u003c/a> in Oakland’s Mosswood Park\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/kevchoice/?hc_ref=SEARCH&fref=nf\">Kev Choice\u003c/a>\u003c/strong> – “Hero’s Theme”\u003cbr>\nPerforming alongside Mavis Staples on August 27 as part of the \u003ca href=\"http://www.sterngrove.org/\">Stern Grove Festival\u003c/a>‘s 80th season\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/MEERNAAthefuture/\">Meernaa\u003c/a>\u003c/strong> – “Redwood”\u003cbr>\nOne of over thirty bands performing at \u003ca href=\"http://hickeyfest.com/\">Hickey Fest\u003c/a>, which takes place June 16-18 in Leggett, California\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/theshesmusic/\">The She’s\u003c/a>\u003c/strong> – “My Secret To Keep”\u003cbr>\nJoining Metallica, The Who, and many more at the tenth annual \u003ca href=\"https://www.sfoutsidelands.com/\">Outside Lands Festival\u003c/a> from August 11-13\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/jaysommusic/\">Jay Som\u003c/a>\u003c/strong> – “1 Billion Dogs”\u003cbr>\nOn June 17, Melina Duterte and her band perform at The Bay Bridged’s \u003ca href=\"http://www.phonodelsol.com/\">Phono del Sol Music and Food Festival\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/outerembassy/?hc_ref=SEARCH&fref=nf\">Outer Embassy\u003c/a>\u003c/strong> – “Iron Strike”\u003cbr>\nThe SF band plays this year’s \u003ca href=\"http://www.huichica.com/welcome-1\">Huichica Music Festival\u003c/a> on June 10\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://timcohen.bandcamp.com/\">Tim Cohen\u003c/a>\u003c/strong> – “John Hughes”\u003cbr>\nThe Fresh & Onlys’ bandleader appears at the \u003ca href=\"http://www.huichica.com/welcome-1\">Huichica Music Festival\u003c/a> on June 10 with Allah Las, Dean Wareham, Robyn Hitchcock and more\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/nickibluhm/\">Nicki Bluhm and The Gramblers\u003c/a>\u003c/strong> – “Waiting on Love”\u003cbr>\nNicki Bluhm and her band perform at the \u003ca href=\"http://www.sterngrove.org/\">Stern Grove Festival\u003c/a> on July 2; the singer will also join the Dirty Dozen Brass Band for a special set at the \u003ca href=\"https://montereypopfestival50.com/\">Monterey International Pop Festival\u003c/a> on June 18\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/thebrotherscomatose/?ref=br_rs\">The Brothers Comatose\u003c/a>\u003c/strong> – “Black Light Moon”\u003cbr>\nThe band is set to appear at the \u003ca href=\"http://highsierramusic.com\">High Sierra Music Festival\u003c/a> on June 29 and July 1, and is presenting its third annual \u003ca href=\"https://www.eventbrite.com/e/comatopia-2017-presented-by-the-brothers-comatose-august-11-12-tickets-33290065482\">Comatopia\u003c/a> festival on August 11 and 12 in North Fork, California\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/personalandthepizzas/\">Personal and the Pizzas\u003c/a>\u003c/strong> – “Joey Quit the Pouch”\u003cbr>\nThe “New Jersey” band is racking up the festival appearances this summer, with sets at \u003ca href=\"https://www.facebook.com/sfpopfest/\">SF Popfest\u003c/a>, \u003ca href=\"http://burgerboogaloo.com/\">Burger Boogaloo\u003c/a>, and \u003ca href=\"https://www.facebook.com/events/988622057937950/\">Deathstock III\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "six-historic-venues-from-1967-that-werent-the-fillmore",
"title": "Six Historic Venues from 1967 That Weren't the Fillmore",
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"headTitle": "Six Historic Venues from 1967 That Weren’t the Fillmore | KQED",
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"content": "\u003cp>When people talk about San Francisco as the epicenter of hippie culture in 1967, Bill Graham’s Fillmore Auditorium is invariably mentioned as the scene’s musical focal point. A 1,000-capacity hall that was once a roller-skating rink, the Fillmore served as training grounds for bands like Jefferson Airplane, the Grateful Dead, and Big Brother and the Holding Company. By many accounts, the “San Francisco Sound” came from the Fillmore’s stage — and as young people came to San Francisco in droves, Graham’s shows were practically tourist attractions.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/programs/summer-of-love/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13338499\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Summer-of-Love-300x300JPG.jpg\" alt=\"\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Summer-of-Love-300x300JPG.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Summer-of-Love-300x300JPG-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Summer-of-Love-300x300JPG-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Summer-of-Love-300x300JPG-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Summer-of-Love-300x300JPG-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Summer-of-Love-300x300JPG-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Summer-of-Love-300x300JPG-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Summer-of-Love-300x300JPG-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Summer-of-Love-300x300JPG-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>But the Fillmore wasn’t the only stage during the Summer of Love. Once the San Francisco Sound became mainstream, all kinds of new clubs popped up, providing gigs for groups who weren’t on that week’s bill at the Fillmore.\u003c/p>\n\u003cp>“There were so many dives that popped up out of nowhere, and because the [Grateful] Dead had done one show there, they were the new club on the map,” Flamin’ Groovies guitarist Cyril Jordan said.\u003c/p>\n\u003cp>Not all those places had an impact on the music, but the ones that did have stories worth telling. Here’s just a few.\u003c/p>\n\u003cfigure id=\"attachment_13333481\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13333481\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/The-Avalon-Ballroom-by-Estefany-Gonzalez-800x533.jpg\" alt=\"The entrance to the former Avalon Ballroom\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Avalon-Ballroom-by-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Avalon-Ballroom-by-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Avalon-Ballroom-by-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Avalon-Ballroom-by-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Avalon-Ballroom-by-Estefany-Gonzalez.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Avalon-Ballroom-by-Estefany-Gonzalez-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Avalon-Ballroom-by-Estefany-Gonzalez-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Avalon-Ballroom-by-Estefany-Gonzalez-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Avalon-Ballroom-by-Estefany-Gonzalez-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Avalon-Ballroom-by-Estefany-Gonzalez-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The entrance to the former Avalon Ballroom. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Avalon Ballroom\u003c/h2>\n\u003cp>In 1966, when asked by the \u003ca href=\"http://www.rockmine.com/Archive/Library/MojoNav/Mojo08.pdf\" target=\"_blank\" rel=\"noopener\">Mojo Navigator\u003c/a> where would she would rather play — the Fillmore or the Avalon — Janis Joplin said the acoustics at the Avalon were better, and that the last time her band played the Fillmore, the audience members “weren’t really into the music” and “would walk around trying to pick each other up, sailors and all that…”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Those comments led to Joplin and Big Brother And The Holding Company being unofficially banned from Graham’s stage for about seven months. It didn’t matter — they were managed by Chet Helms, who also ran the Avalon, the hall with the better sound.\u003c/p>\n\u003cp>Tall, bearded, and with hair to his shoulders before it was a hippie standard, Helms was a messiah-like figure with a religious view of music that he was hell-bent on preaching. Helms was also Joplin’s earliest supporter, and he believed in her so much that he drove to Texas to bring her back with him to San Francisco — twice.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=yxdTnLL2fec\u003c/p>\n\u003cp>After putting on a few shows with a little help from Bill Graham, Helms broke out on his own and, while working with a local commune called the Family Dog, secured permits to rent the Avalon Ballroom, a former dance hall on Sutter. Helms had the phrase “May the baby Jesus shut your mouth and open your mind” painted above the entrance, and went on to book a series of concerts that focused not just on music but an entire experience.\u003c/p>\n\u003cp>“When you come to the Avalon, some of the time, you just get entertainment, but very often, you get a connection with people. In a sense, an oceanic experience of being unified with something larger than yourself, that is essentially ultimately regenerating and renewing and is what the word recreation means in its true sense,” Helms said \u003ca href=\"https://ww2.kqed.org/arts/2016/04/28/chet-helms-on-bringing-janis-to-s-f-starting-music-scene-1998-qa/\" target=\"_blank\" rel=\"noopener\">during a 1998 interview\u003c/a>.\u003c/p>\n\u003cp>From \u003ca href=\"http://www.chickenonaunicycle.com/FD%20Shows.htm\" target=\"_blank\" rel=\"noopener\">January 1966 to March of ’69\u003c/a>, Helms booked bands of all stripes at the Avalon, including psychedelic rock pioneers like the 13th Floor Elevators and Captain Beefheart and almost-forgotten-by-then blues musicians like Bo Diddley and Buddy Guy. He gave Moby Grape and the Steve Miller Band their first big breaks, and — like the Fillmore — every show was advertised with eye-catching, multi-colored psychedelic posters that now go for hundreds of dollars. Ask anybody who was alive back then and they’ll tell you the Avalon wasn’t appropriating the hippie culture — it was the real deal. It’s why many call Helms the “father of the Summer of Love.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=iC8tlP4N6uc\u003c/p>\n\u003cp>But noise complaints brought the Avalon’s fun times to an end. Helms relocated Family Dog Productions to a space on the Great Highway, and other promoters who tried to book the hall afterward could never recreate the same vibe.\u003c/p>\n\u003cp>Today, the Regency Ballroom, a live music venue right next door, is often mistaken for the Avalon. In actuality, the old Avalon is now an office space — and, for a brief time, the shell of the Avalon \u003ca href=\"http://www.sfgate.com/homeandgarden/slideshow/S-F-Real-World-house-in-old-Avalon-Ballroom-75179.php\" target=\"_blank\" rel=\"noopener\">served as living quarters\u003c/a> for the cast of MTV’s \u003cem>The Real World\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13333482\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13333482\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/The-Matrix-by-Estefany-Gonzalez-800x533.jpg\" alt=\"The Matrix \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Matrix-by-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Matrix-by-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Matrix-by-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Matrix-by-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Matrix-by-Estefany-Gonzalez.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Matrix-by-Estefany-Gonzalez-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Matrix-by-Estefany-Gonzalez-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Matrix-by-Estefany-Gonzalez-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Matrix-by-Estefany-Gonzalez-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Matrix-by-Estefany-Gonzalez-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Matrix. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Matrix\u003c/h2>\n\u003cp>The Matrix came to be after \u003ca href=\"http://web.archive.org/web/20050222091301/http://www.geocities.com/balinmiracles/hightimesart.html\" target=\"_blank\" rel=\"noopener\">Marty Balin convinced three guys\u003c/a> he met randomly at a bar to put up $3,000 each for a club he wanted to start. He then found a former pizza place in the Marina, signed a lease, and, before opening, enlisted some friends to paint a gigantic mural of the four horsemen on the wall.\u003c/p>\n\u003cp>Balin later said he opened the Matrix so he could start a band and have a place to play. That band turned out to be the Jefferson Airplane, and they were the first group to play the club. On opening night, a publicist convinced local jazz critic Ralph Gleason to come to the show. Gleason fell in love with the band that night, and not only did he dedicate an entire column in the \u003cem>San Francisco Chronicle\u003c/em> to them, he would go onto be the group’s biggest cheerleader.\u003c/p>\n\u003cp>It wasn’t long before the place started packing in all the local eccentrics, who would be treated to early performances from the Doors, Grateful Dead and the Steve Miller Blues Band in an intimate setting (the club sat about 100 people). An early Matrix regular was gonzo journalist Hunter S. Thompson, who immortalized the club in his book, \u003ci>Fear And Loathing in Las Vegas\u003c/i>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QkaJzNwQUTM\u003c/p>\n\u003cp>One huge bonus for bands playing the Matrix was the high-quality recording setup used to capture performances. Almost every group’s set was put to tape, and recordings of Steppenwolf, Santana, the Great Society (Grace Slick’s first band) and the Velvet Underground were later released as live albums. But many tapes never saw the light of day, like the recording of fuzz-rock legends Blue Cheer, who played the club once as a six-piece. According to the band’s Leigh Stephens, the Matrix recording convinced the group that they needed to pare down to a trio.\u003c/p>\n\u003cp>“We listened to [our recording] back and three guys were playing the songs one way and the other three were somewhere else,” Stephens said.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Tx9f0IAKYYI\u003c/p>\n\u003cp>Balin’s share was eventually bought out by two of the other partners, and after a few different bookers, the club closed in 1972. Now, the building is an “ultralounge” concept, still called the Matrix, which is owned by Lt. Gov. Gavin Newsom’s company, the Plumpjack Group. For a short time it hosted live bands, but now only DJs provide the tunes.\u003c/p>\n\u003cp>\u003ci>(Bonus link: An interview with the singers of The Only Alternative and His Other Possibilities on the \u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/210748\" target=\"_blank\" rel=\"noopener\">San Francisco Bay Area Television Archive\u003c/a>.)\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13333479\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13333479\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/California-Hall-by-Estefany-Gonzalez-800x533.jpg\" alt=\"California Hall\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/California-Hall-by-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/California-Hall-by-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/California-Hall-by-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/California-Hall-by-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/California-Hall-by-Estefany-Gonzalez.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/California-Hall-by-Estefany-Gonzalez-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/California-Hall-by-Estefany-Gonzalez-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/California-Hall-by-Estefany-Gonzalez-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/California-Hall-by-Estefany-Gonzalez-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/California-Hall-by-Estefany-Gonzalez-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">California Hall \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>California Hall\u003c/h2>\n\u003cp>Chet Helms used this large rental hall for a few shows, as did many activists raising funds for various causes — the end of marijuana prohibition, for instance, or sexual liberation. The Hells Angels also once held a party there, and Blue Cheer played “A Tribute to J. Edgar Hoover” (not a genuine celebration of the former head of the F.B.I.).\u003c/p>\n\u003cfigure id=\"attachment_13333872\" class=\"wp-caption alignright\" style=\"max-width: 538px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13333872\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Cal-Hall-19670210-2.jpg\" alt='Flyer from \"A Tribute to J. Edgar Hoover\"' width=\"538\" height=\"757\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cal-Hall-19670210-2.jpg 538w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cal-Hall-19670210-2-160x225.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cal-Hall-19670210-2-240x338.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cal-Hall-19670210-2-375x528.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cal-Hall-19670210-2-520x732.jpg 520w\" sizes=\"(max-width: 538px) 100vw, 538px\">\u003cfigcaption class=\"wp-caption-text\">Flyer from “A Tribute to J. Edgar Hoover.” \u003ccite>(Courtesy of Chicken on a Unicycle)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There are some heaven-sent lineups that happened at the California Hall — a fundraiser for the Sexual Freedom League is a standout, which featured the Doors, Captain Beefheart and the 13th Floor Elevators. But you won’t hear much about California Hall from those in the scene, as it simply wasn’t a great place to see shows. Housed inside a 1912 building, the hall itself didn’t have great acoustics. Its lack of soundproofing made it sound “boomy,” which you can hear in a live recording of Big Brother and the Holding Company.\u003c/p>\n\u003cp>“That was the worst gig in town,” Jordan said. “Everybody who played there sounded like shit. I remember bands playing their first show there and breaking up afterward.”\u003c/p>\n\u003cp>What the hall is remembered more for are non-musical activities. In 1965, the “\u003ca href=\"https://www.lgbtran.org/Exhibits/CRH/Room.aspx?RID=3\" target=\"_blank\" rel=\"noopener\">Council on Religion and the Homosexual\u003c/a>,” which brought together gay men and religious leaders, tried to host a Mardi Gras-themed drag party at the hall to raise funds. When police caught wind of the plans, they attempted to force the hall’s owners to shut it down. When that failed, officers stood outside the hall and took pictures of attendees in an attempt to intimidate them. Some of the ministers from the event held a press conference the next day and described the police as being like the Gestapo.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=RScBsb0vYOc\u003c/p>\n\u003cp>San Francisco Police attracted more bad press at California Hall decades later in 1984, when they held a graduation party for new recruits at the Rathskeller, a restaurant in the basement. During the party, a shy recruit was \u003ca href=\"http://articles.latimes.com/1985-04-15/news/mn-13956_1_police-department\" target=\"_blank\" rel=\"noopener\">handcuffed to a chair and made to receive a blowjob\u003c/a> from a prostitute.\u003c/p>\n\u003cp>Still, whenever a new music scene popped up in the city, as punk did in the ’80s, its bands would hold shows at the California Hall. U2 played there in 1981. The hall now houses fashion classes for the Academy of Art.\u003c/p>\n\u003cfigure id=\"attachment_13333480\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13333480\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Straight-Theater-by-Estefany-Gonzalez-800x533.jpg\" alt=\"The Goodwill where the Straight Theater once stood\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Straight-Theater-by-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Straight-Theater-by-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Straight-Theater-by-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Straight-Theater-by-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Straight-Theater-by-Estefany-Gonzalez.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Straight-Theater-by-Estefany-Gonzalez-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Straight-Theater-by-Estefany-Gonzalez-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Straight-Theater-by-Estefany-Gonzalez-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Straight-Theater-by-Estefany-Gonzalez-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Straight-Theater-by-Estefany-Gonzalez-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Goodwill where the Straight Theater once stood \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Straight Theater\u003c/h2>\n\u003cp>The Straight Theater holds the honor of being the only live venue actually located in the Haight-Ashbury during the neighborhood’s hippie heydays. Opened as the Haight Theater in 1910, it operated as the ‘hood’s main movie house until it closed in 1964, after two of its owners turned it into an experimental gay theater. For the crime of risqué decor and showing movies like Ed Wood’s \u003ca href=\"http://hoodline.com/2015/07/from-haight-theater-to-goodwill-the-history-of-1700-haight-street\" target=\"_blank\" rel=\"noopener\">\u003ci>Glen or Glenda\u003c/i>, the owners were run out of town by locals in a matter of weeks\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=taoDcurT738\u003c/p>\n\u003cp>Two years later, in 1966, five hippie artists had the idea to buy the theater and turn it into a performing arts space. The Grateful Dead and Country Joe played fundraising concerts at the Avalon, and as many as 20 people supposedly invested in the theater.\u003c/p>\n\u003cp>But the neighborhood didn’t take kindly to the idea. It hadn’t been long since locals ran out the owners who’d showed a movie about a crossdresser, and now they had a hippie problem on their hands. A place for lovey-dovey hippie music was expected to make the neighborhood’s “problems” worse, and the San Francisco Police Department denied the Straight’s application for performance permits.\u003c/p>\n\u003cp>The buyers kept fighting. At a Permit Appeals board hearing, Dame Judith Anderson, considered one of the greatest classical stage actors of the 20th century, testified in support of the club. As the stepmom of one of the five buyers, Anderson told the board that there would be nothing wrong with hippies coming to the theater for rock ‘n’ roll, since they would be exposed to culture in the process — the owners had planned to host poetry readings and even Shakespeare. (Anderson was also clear that she wasn’t a fan of the “hippie cult,” citing their “sick faces and hideous behavior.”)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rx9Gz34BFMQ\u003c/p>\n\u003cp>The owners won their permit, and by June of ’67, the Straight hosted shows for the Steve Miller Band, Clover (pre-Huey Lewis and the News) and the Grateful Dead, who in the beginning had to bill their concerts as “dancing lessons” because the owners didn’t yet have the proper permits.\u003c/p>\n\u003cp>True to Anderson’s testimony, the hall hosted a wide variety of entertainment, including film screenings like the 5am premiere of the Beatles’ \u003ci>Magical Mystery Tour\u003c/i>. It’s also where Kenneth Anger had 1,500-feet of his famous film \u003ci>Lucifer Rising\u003c/i> stolen after a multimedia event called “Equinox of the Gods.” The theft left \u003ca href=\"http://www.independent.co.uk/arts-entertainment/music/features/kenneth-anger-no-rest-for-the-wicked-9185690.html\" target=\"_blank\" rel=\"noopener\">Anger so distraught \u003c/a>that he announced he was dead in the pages of the \u003cem>Village Voice\u003c/em>.\u003c/p>\n\u003cp>The Straight also hosted quite a few “nude theater” events, one of which took place in the middle of a conference on runaway children. According to reports, with over 400 juveniles in attendance during a discussion on why teens run away from home, members of the Jane Lapiner Dance Group came on stage and began doing their thing, naked. Two officers accosted the performers but were stopped by the crowd. Other audience members then surrounded the dancers and escorted them off stage.\u003c/p>\n\u003cp>Though the theater held memorable shows, it always struggled for money. Within a year, it turned to fundraising concerts to keep the doors open. It shut down in 1969 and sat empty for over a decade before it was torn down. A Goodwill is now on Haight St. where the 1,400-seat Straight once stood.\u003c/p>\n\u003cfigure id=\"attachment_13333483\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13333483\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/The-Ark-photo-project-by-Estefany-Gonzalez-800x533.jpg\" alt=\"The lot where the Ark once stood\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Ark-photo-project-by-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Ark-photo-project-by-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Ark-photo-project-by-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Ark-photo-project-by-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Ark-photo-project-by-Estefany-Gonzalez.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Ark-photo-project-by-Estefany-Gonzalez-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Ark-photo-project-by-Estefany-Gonzalez-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Ark-photo-project-by-Estefany-Gonzalez-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Ark-photo-project-by-Estefany-Gonzalez-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Ark-photo-project-by-Estefany-Gonzalez-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The lot where the Ark once stood \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Ark\u003c/h2>\n\u003cp>Built in 1916, the Charles Van Damme was a steamboat that shuttled commuters from Richmond to San Rafael for over 20 years. After being decommissioned and stripped of its parts, the old ferry sat landlocked on Sausalito’s waterfront, in the middle of the town’s thriving houseboat community, still sporting its paddlewheel.\u003c/p>\n\u003cp>Infamous \u003ca href=\"http://www.pressdemocrat.com/csp/mediapool/sites/PressDemocrat/News/story.csp?cid=2291971&sid=555&fid=181\" target=\"_blank\" rel=\"noopener\">North Bay restaurateur Juanita Musson\u003c/a> housed her late-night diner Juanita’s Galley there for three years before taking her famous clientele and irreverent hijinks to Sonoma Valley. Fred “Marti” Martinez and Frank McGinnis then bought the Van Damme, cleaned up the boat’s interior, and by 1965 they had turned it into a plush after-hours nightclub. The Ark was born.\u003c/p>\n\u003cp>Despite never charging a cover and paying the bands with food — breakfast, usually, since the shows either started or ended at 2am — many seminal groups came to play the Ark. Big Brother and the Holding Company, the Charlatans, and the West Coast Pop Experimental Band played there often, and in attendance would sometimes be stars like David Crosby, Bob Dylan and Jimi Hendrix. Even Otis Redding came down to the club when he was living in a Sausalito houseboat and writing his hit, “(Sittin’ On) The Dock of the Bay.”\u003c/p>\n\u003cp>But the Ark’s biggest contribution to Bay Area music was serving as the incubator for Moby Grape, the band that could’ve ruled the world were it not for bad luck and a host of issues, drugs among them. Moby Grape played their first shows at the Ark and used the boat as a rehearsal space in the daytime. Neil Young and Stephen Stills occasionally jammed with the band on stage, and Young would later say that his song “Mr. Soul” was simply a melding of two Moby Grape tracks.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ffDNfpn7b4Y\u003c/p>\n\u003cp>Another band that became an Ark favorite was the Sparrow, a Canadian band featuring a singer named John Kay. After the Sparrow broke up, Kay moved to Los Angeles and started Steppenwolf, the riff-tastic rockers behind the rebel anthem “Born to Be Wild.”\u003c/p>\n\u003cp>In 1968, during one of its 2-6am weekend shows, someone set fire to the Ark. Subsequent repairs forced the club to shut down for a little while, but the owners tried to keep it going for a few months more until closing it for good. When asked why decades later, \u003ca href=\"http://www.marinij.com/general-news/20060410/famed-ferrys-final-voyage\" target=\"_blank\" rel=\"noopener\">Martinez said\u003c/a> that the muddy lot where the Ark sat clashed with the club’s fancier vibe, keeping it from fulfilling its potential, so they moved on. (Martinez then started the classy waterfront restaurant Ondine.)\u003c/p>\n\u003cp>For years after its time as the Ark, the Charles Van Damme would serve as a center for the local houseboat community. Bands like the Redlegs would play and use the cover charges to help keep up the deteriorating boat. In the early ’80s it was condemned by local authorities, and after an unsuccessful attempt to raise hundreds of thousands of dollars for restoration, it was bulldozed. Locals didn’t make the demolition easy, as dozens laid in front of the bulldozers and were arrested.\u003c/p>\n\u003cp>The site where the Ark once stood is now just a dirt lot, and \u003ca href=\"http://www.charlesvandammeferry.org/\" target=\"_blank\" rel=\"noopener\">local houseboat activists \u003c/a>continue to care for its paddlewheel.\u003c/p>\n\u003cfigure id=\"attachment_13333484\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13333484\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/The-Jabberwock-by-Estefany-Gonzalez-800x533.jpg\" alt=\"The corner where the Jabberwock used to be\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Jabberwock-by-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Jabberwock-by-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Jabberwock-by-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Jabberwock-by-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Jabberwock-by-Estefany-Gonzalez.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Jabberwock-by-Estefany-Gonzalez-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Jabberwock-by-Estefany-Gonzalez-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Jabberwock-by-Estefany-Gonzalez-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Jabberwock-by-Estefany-Gonzalez-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Jabberwock-by-Estefany-Gonzalez-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The corner where the Jabberwock used to be. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Jabberwock\u003c/h2>\n\u003cp>As San Francisco was becoming a breeding ground for psychedelic rock, Berkeley was still enjoying its reputation as \u003ca href=\"http://www.chickenonaunicycle.com/Berkeley%20Art.htm\" target=\"_blank\" rel=\"noopener\">part of the folk circuit\u003c/a>. Throughout the ’60s, folk musicians flocked to Berkeley from around the country to clubs like the Blind Lemon, Steppenwolf and the Cabale, and for over a decade it hosted the Berkeley Folk Music Festival, a major event for the genre.\u003c/p>\n\u003cp>Many of Berkeley’s folk venues were short-lived. Among the shortest-lived but most beloved was the Jabberwock, a former jazz club on Telegraph Avenue. Bill Ehlert, a.k.a. the “Jolly Blue Giant,” bought the place in 1965, and Cal students and local musicians regularly packed the place for bills that read today like a Roots Music Hall of Fame; John Fahey, Doc Watson, Skip James and Ramblin’ Jack Elliott are just a few legends that graced its stage.\u003c/p>\n\u003cp>A roots-music aficionado from Los Angeles named Joe McDonald lived next to the Jabberwock and was a regular, playing in the house “pickup” group, the Instant Action Jug Band, with a guitarist named Barry Melton. McDonald, Melton and a few others would end up recording a song McDonald wrote in a matter of minutes called “I-Feel-Like-I’m-Fixin’-to-Die Rag.” Released on an EP, the song — a satire-laden protest of the Vietnam War — became a regional hit, so McDonald and Melton began playing at the Jabberwock as Country Joe McDonald and the Fish. Three years later, they’d play “Fixin’-To-Die” at Woodstock, with a \u003ca href=\"http://www.countryjoe.com/cheer.htm\" target=\"_blank\" rel=\"noopener\">cheer heard ’round the world\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=oyr7P8VCPDg\u003c/p>\n\u003cp>The bands that developed in the Jabberwock seemed to embrace a dark sense of humor with their Americana. Another notable song from the Jabberwock’s scene was “Friendly Neighborhood Narco Agent” by \u003cem>Berkeley Barb\u003c/em> writer Jef Jaison. \u003ca href=\"http://www.eljefe.net/fnnafaq.html\" target=\"_blank\" rel=\"noopener\">Inspired by a pot dealer\u003c/a> who ripped off some undercover police officers at a Berkeley pizza shop by selling them a large quantity of Jasmine tea for hundreds of dollars, it became of a staple on Dr. Demento’s legendary comedy music show.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zqjSG4YPIG0\u003c/p>\n\u003cp>The Jabberwock closed in 1967 when Ehlert couldn’t afford to bring the club up to code. Doc Watson played its final show, and the club was immortalized by Jaison in the \u003cem>Berkeley Barb\u003c/em>. By 1969, the corner of Telegraph and Russell where the Jabberwock once stood was a barren lot.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Special thanks to Ross Hannan for expertise and connections. Hannan and Corry Arnold created the \u003ca href=\"http://www.chickenonaunicycle.com/\" target=\"_blank\" rel=\"noopener\">Chicken on a Unicycle website\u003c/a>, a one-stop source for information on the Bay Area’s live music scene during the ’60s.\u003c/i>\u003c/p>\n\n",
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"excerpt": "Everyone knows about the Fillmore Auditorium — but what about the smaller clubs crucial to San Francisco's music scene in the Summer of Love?",
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"title": "Six Historic Venues from 1967 That Weren't the Fillmore | KQED",
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"headline": "Six Historic Venues from 1967 That Weren't the Fillmore",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When people talk about San Francisco as the epicenter of hippie culture in 1967, Bill Graham’s Fillmore Auditorium is invariably mentioned as the scene’s musical focal point. A 1,000-capacity hall that was once a roller-skating rink, the Fillmore served as training grounds for bands like Jefferson Airplane, the Grateful Dead, and Big Brother and the Holding Company. By many accounts, the “San Francisco Sound” came from the Fillmore’s stage — and as young people came to San Francisco in droves, Graham’s shows were practically tourist attractions.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/programs/summer-of-love/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13338499\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Summer-of-Love-300x300JPG.jpg\" alt=\"\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Summer-of-Love-300x300JPG.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Summer-of-Love-300x300JPG-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Summer-of-Love-300x300JPG-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Summer-of-Love-300x300JPG-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Summer-of-Love-300x300JPG-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Summer-of-Love-300x300JPG-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Summer-of-Love-300x300JPG-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Summer-of-Love-300x300JPG-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Summer-of-Love-300x300JPG-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>But the Fillmore wasn’t the only stage during the Summer of Love. Once the San Francisco Sound became mainstream, all kinds of new clubs popped up, providing gigs for groups who weren’t on that week’s bill at the Fillmore.\u003c/p>\n\u003cp>“There were so many dives that popped up out of nowhere, and because the [Grateful] Dead had done one show there, they were the new club on the map,” Flamin’ Groovies guitarist Cyril Jordan said.\u003c/p>\n\u003cp>Not all those places had an impact on the music, but the ones that did have stories worth telling. Here’s just a few.\u003c/p>\n\u003cfigure id=\"attachment_13333481\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13333481\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/The-Avalon-Ballroom-by-Estefany-Gonzalez-800x533.jpg\" alt=\"The entrance to the former Avalon Ballroom\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Avalon-Ballroom-by-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Avalon-Ballroom-by-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Avalon-Ballroom-by-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Avalon-Ballroom-by-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Avalon-Ballroom-by-Estefany-Gonzalez.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Avalon-Ballroom-by-Estefany-Gonzalez-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Avalon-Ballroom-by-Estefany-Gonzalez-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Avalon-Ballroom-by-Estefany-Gonzalez-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Avalon-Ballroom-by-Estefany-Gonzalez-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Avalon-Ballroom-by-Estefany-Gonzalez-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The entrance to the former Avalon Ballroom. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Avalon Ballroom\u003c/h2>\n\u003cp>In 1966, when asked by the \u003ca href=\"http://www.rockmine.com/Archive/Library/MojoNav/Mojo08.pdf\" target=\"_blank\" rel=\"noopener\">Mojo Navigator\u003c/a> where would she would rather play — the Fillmore or the Avalon — Janis Joplin said the acoustics at the Avalon were better, and that the last time her band played the Fillmore, the audience members “weren’t really into the music” and “would walk around trying to pick each other up, sailors and all that…”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Those comments led to Joplin and Big Brother And The Holding Company being unofficially banned from Graham’s stage for about seven months. It didn’t matter — they were managed by Chet Helms, who also ran the Avalon, the hall with the better sound.\u003c/p>\n\u003cp>Tall, bearded, and with hair to his shoulders before it was a hippie standard, Helms was a messiah-like figure with a religious view of music that he was hell-bent on preaching. Helms was also Joplin’s earliest supporter, and he believed in her so much that he drove to Texas to bring her back with him to San Francisco — twice.\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/yxdTnLL2fec'\n title='//www.youtube.com/embed/yxdTnLL2fec'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>After putting on a few shows with a little help from Bill Graham, Helms broke out on his own and, while working with a local commune called the Family Dog, secured permits to rent the Avalon Ballroom, a former dance hall on Sutter. Helms had the phrase “May the baby Jesus shut your mouth and open your mind” painted above the entrance, and went on to book a series of concerts that focused not just on music but an entire experience.\u003c/p>\n\u003cp>“When you come to the Avalon, some of the time, you just get entertainment, but very often, you get a connection with people. In a sense, an oceanic experience of being unified with something larger than yourself, that is essentially ultimately regenerating and renewing and is what the word recreation means in its true sense,” Helms said \u003ca href=\"https://ww2.kqed.org/arts/2016/04/28/chet-helms-on-bringing-janis-to-s-f-starting-music-scene-1998-qa/\" target=\"_blank\" rel=\"noopener\">during a 1998 interview\u003c/a>.\u003c/p>\n\u003cp>From \u003ca href=\"http://www.chickenonaunicycle.com/FD%20Shows.htm\" target=\"_blank\" rel=\"noopener\">January 1966 to March of ’69\u003c/a>, Helms booked bands of all stripes at the Avalon, including psychedelic rock pioneers like the 13th Floor Elevators and Captain Beefheart and almost-forgotten-by-then blues musicians like Bo Diddley and Buddy Guy. He gave Moby Grape and the Steve Miller Band their first big breaks, and — like the Fillmore — every show was advertised with eye-catching, multi-colored psychedelic posters that now go for hundreds of dollars. Ask anybody who was alive back then and they’ll tell you the Avalon wasn’t appropriating the hippie culture — it was the real deal. It’s why many call Helms the “father of the Summer of Love.”\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/iC8tlP4N6uc'\n title='//www.youtube.com/embed/iC8tlP4N6uc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But noise complaints brought the Avalon’s fun times to an end. Helms relocated Family Dog Productions to a space on the Great Highway, and other promoters who tried to book the hall afterward could never recreate the same vibe.\u003c/p>\n\u003cp>Today, the Regency Ballroom, a live music venue right next door, is often mistaken for the Avalon. In actuality, the old Avalon is now an office space — and, for a brief time, the shell of the Avalon \u003ca href=\"http://www.sfgate.com/homeandgarden/slideshow/S-F-Real-World-house-in-old-Avalon-Ballroom-75179.php\" target=\"_blank\" rel=\"noopener\">served as living quarters\u003c/a> for the cast of MTV’s \u003cem>The Real World\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13333482\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13333482\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/The-Matrix-by-Estefany-Gonzalez-800x533.jpg\" alt=\"The Matrix \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Matrix-by-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Matrix-by-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Matrix-by-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Matrix-by-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Matrix-by-Estefany-Gonzalez.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Matrix-by-Estefany-Gonzalez-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Matrix-by-Estefany-Gonzalez-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Matrix-by-Estefany-Gonzalez-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Matrix-by-Estefany-Gonzalez-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Matrix-by-Estefany-Gonzalez-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Matrix. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Matrix\u003c/h2>\n\u003cp>The Matrix came to be after \u003ca href=\"http://web.archive.org/web/20050222091301/http://www.geocities.com/balinmiracles/hightimesart.html\" target=\"_blank\" rel=\"noopener\">Marty Balin convinced three guys\u003c/a> he met randomly at a bar to put up $3,000 each for a club he wanted to start. He then found a former pizza place in the Marina, signed a lease, and, before opening, enlisted some friends to paint a gigantic mural of the four horsemen on the wall.\u003c/p>\n\u003cp>Balin later said he opened the Matrix so he could start a band and have a place to play. That band turned out to be the Jefferson Airplane, and they were the first group to play the club. On opening night, a publicist convinced local jazz critic Ralph Gleason to come to the show. Gleason fell in love with the band that night, and not only did he dedicate an entire column in the \u003cem>San Francisco Chronicle\u003c/em> to them, he would go onto be the group’s biggest cheerleader.\u003c/p>\n\u003cp>It wasn’t long before the place started packing in all the local eccentrics, who would be treated to early performances from the Doors, Grateful Dead and the Steve Miller Blues Band in an intimate setting (the club sat about 100 people). An early Matrix regular was gonzo journalist Hunter S. Thompson, who immortalized the club in his book, \u003ci>Fear And Loathing in Las Vegas\u003c/i>.\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/QkaJzNwQUTM'\n title='//www.youtube.com/embed/QkaJzNwQUTM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>One huge bonus for bands playing the Matrix was the high-quality recording setup used to capture performances. Almost every group’s set was put to tape, and recordings of Steppenwolf, Santana, the Great Society (Grace Slick’s first band) and the Velvet Underground were later released as live albums. But many tapes never saw the light of day, like the recording of fuzz-rock legends Blue Cheer, who played the club once as a six-piece. According to the band’s Leigh Stephens, the Matrix recording convinced the group that they needed to pare down to a trio.\u003c/p>\n\u003cp>“We listened to [our recording] back and three guys were playing the songs one way and the other three were somewhere else,” Stephens said.\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/Tx9f0IAKYYI'\n title='//www.youtube.com/embed/Tx9f0IAKYYI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Balin’s share was eventually bought out by two of the other partners, and after a few different bookers, the club closed in 1972. Now, the building is an “ultralounge” concept, still called the Matrix, which is owned by Lt. Gov. Gavin Newsom’s company, the Plumpjack Group. For a short time it hosted live bands, but now only DJs provide the tunes.\u003c/p>\n\u003cp>\u003ci>(Bonus link: An interview with the singers of The Only Alternative and His Other Possibilities on the \u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/210748\" target=\"_blank\" rel=\"noopener\">San Francisco Bay Area Television Archive\u003c/a>.)\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13333479\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13333479\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/California-Hall-by-Estefany-Gonzalez-800x533.jpg\" alt=\"California Hall\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/California-Hall-by-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/California-Hall-by-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/California-Hall-by-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/California-Hall-by-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/California-Hall-by-Estefany-Gonzalez.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/California-Hall-by-Estefany-Gonzalez-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/California-Hall-by-Estefany-Gonzalez-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/California-Hall-by-Estefany-Gonzalez-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/California-Hall-by-Estefany-Gonzalez-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/California-Hall-by-Estefany-Gonzalez-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">California Hall \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>California Hall\u003c/h2>\n\u003cp>Chet Helms used this large rental hall for a few shows, as did many activists raising funds for various causes — the end of marijuana prohibition, for instance, or sexual liberation. The Hells Angels also once held a party there, and Blue Cheer played “A Tribute to J. Edgar Hoover” (not a genuine celebration of the former head of the F.B.I.).\u003c/p>\n\u003cfigure id=\"attachment_13333872\" class=\"wp-caption alignright\" style=\"max-width: 538px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13333872\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Cal-Hall-19670210-2.jpg\" alt='Flyer from \"A Tribute to J. Edgar Hoover\"' width=\"538\" height=\"757\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cal-Hall-19670210-2.jpg 538w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cal-Hall-19670210-2-160x225.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cal-Hall-19670210-2-240x338.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cal-Hall-19670210-2-375x528.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cal-Hall-19670210-2-520x732.jpg 520w\" sizes=\"(max-width: 538px) 100vw, 538px\">\u003cfigcaption class=\"wp-caption-text\">Flyer from “A Tribute to J. Edgar Hoover.” \u003ccite>(Courtesy of Chicken on a Unicycle)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There are some heaven-sent lineups that happened at the California Hall — a fundraiser for the Sexual Freedom League is a standout, which featured the Doors, Captain Beefheart and the 13th Floor Elevators. But you won’t hear much about California Hall from those in the scene, as it simply wasn’t a great place to see shows. Housed inside a 1912 building, the hall itself didn’t have great acoustics. Its lack of soundproofing made it sound “boomy,” which you can hear in a live recording of Big Brother and the Holding Company.\u003c/p>\n\u003cp>“That was the worst gig in town,” Jordan said. “Everybody who played there sounded like shit. I remember bands playing their first show there and breaking up afterward.”\u003c/p>\n\u003cp>What the hall is remembered more for are non-musical activities. In 1965, the “\u003ca href=\"https://www.lgbtran.org/Exhibits/CRH/Room.aspx?RID=3\" target=\"_blank\" rel=\"noopener\">Council on Religion and the Homosexual\u003c/a>,” which brought together gay men and religious leaders, tried to host a Mardi Gras-themed drag party at the hall to raise funds. When police caught wind of the plans, they attempted to force the hall’s owners to shut it down. When that failed, officers stood outside the hall and took pictures of attendees in an attempt to intimidate them. Some of the ministers from the event held a press conference the next day and described the police as being like the Gestapo.\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/RScBsb0vYOc'\n title='//www.youtube.com/embed/RScBsb0vYOc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>San Francisco Police attracted more bad press at California Hall decades later in 1984, when they held a graduation party for new recruits at the Rathskeller, a restaurant in the basement. During the party, a shy recruit was \u003ca href=\"http://articles.latimes.com/1985-04-15/news/mn-13956_1_police-department\" target=\"_blank\" rel=\"noopener\">handcuffed to a chair and made to receive a blowjob\u003c/a> from a prostitute.\u003c/p>\n\u003cp>Still, whenever a new music scene popped up in the city, as punk did in the ’80s, its bands would hold shows at the California Hall. U2 played there in 1981. The hall now houses fashion classes for the Academy of Art.\u003c/p>\n\u003cfigure id=\"attachment_13333480\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13333480\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Straight-Theater-by-Estefany-Gonzalez-800x533.jpg\" alt=\"The Goodwill where the Straight Theater once stood\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Straight-Theater-by-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Straight-Theater-by-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Straight-Theater-by-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Straight-Theater-by-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Straight-Theater-by-Estefany-Gonzalez.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Straight-Theater-by-Estefany-Gonzalez-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Straight-Theater-by-Estefany-Gonzalez-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Straight-Theater-by-Estefany-Gonzalez-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Straight-Theater-by-Estefany-Gonzalez-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Straight-Theater-by-Estefany-Gonzalez-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Goodwill where the Straight Theater once stood \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Straight Theater\u003c/h2>\n\u003cp>The Straight Theater holds the honor of being the only live venue actually located in the Haight-Ashbury during the neighborhood’s hippie heydays. Opened as the Haight Theater in 1910, it operated as the ‘hood’s main movie house until it closed in 1964, after two of its owners turned it into an experimental gay theater. For the crime of risqué decor and showing movies like Ed Wood’s \u003ca href=\"http://hoodline.com/2015/07/from-haight-theater-to-goodwill-the-history-of-1700-haight-street\" target=\"_blank\" rel=\"noopener\">\u003ci>Glen or Glenda\u003c/i>, the owners were run out of town by locals in a matter of weeks\u003c/a>.\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/taoDcurT738'\n title='//www.youtube.com/embed/taoDcurT738'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Two years later, in 1966, five hippie artists had the idea to buy the theater and turn it into a performing arts space. The Grateful Dead and Country Joe played fundraising concerts at the Avalon, and as many as 20 people supposedly invested in the theater.\u003c/p>\n\u003cp>But the neighborhood didn’t take kindly to the idea. It hadn’t been long since locals ran out the owners who’d showed a movie about a crossdresser, and now they had a hippie problem on their hands. A place for lovey-dovey hippie music was expected to make the neighborhood’s “problems” worse, and the San Francisco Police Department denied the Straight’s application for performance permits.\u003c/p>\n\u003cp>The buyers kept fighting. At a Permit Appeals board hearing, Dame Judith Anderson, considered one of the greatest classical stage actors of the 20th century, testified in support of the club. As the stepmom of one of the five buyers, Anderson told the board that there would be nothing wrong with hippies coming to the theater for rock ‘n’ roll, since they would be exposed to culture in the process — the owners had planned to host poetry readings and even Shakespeare. (Anderson was also clear that she wasn’t a fan of the “hippie cult,” citing their “sick faces and hideous behavior.”)\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/rx9Gz34BFMQ'\n title='//www.youtube.com/embed/rx9Gz34BFMQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The owners won their permit, and by June of ’67, the Straight hosted shows for the Steve Miller Band, Clover (pre-Huey Lewis and the News) and the Grateful Dead, who in the beginning had to bill their concerts as “dancing lessons” because the owners didn’t yet have the proper permits.\u003c/p>\n\u003cp>True to Anderson’s testimony, the hall hosted a wide variety of entertainment, including film screenings like the 5am premiere of the Beatles’ \u003ci>Magical Mystery Tour\u003c/i>. It’s also where Kenneth Anger had 1,500-feet of his famous film \u003ci>Lucifer Rising\u003c/i> stolen after a multimedia event called “Equinox of the Gods.” The theft left \u003ca href=\"http://www.independent.co.uk/arts-entertainment/music/features/kenneth-anger-no-rest-for-the-wicked-9185690.html\" target=\"_blank\" rel=\"noopener\">Anger so distraught \u003c/a>that he announced he was dead in the pages of the \u003cem>Village Voice\u003c/em>.\u003c/p>\n\u003cp>The Straight also hosted quite a few “nude theater” events, one of which took place in the middle of a conference on runaway children. According to reports, with over 400 juveniles in attendance during a discussion on why teens run away from home, members of the Jane Lapiner Dance Group came on stage and began doing their thing, naked. Two officers accosted the performers but were stopped by the crowd. Other audience members then surrounded the dancers and escorted them off stage.\u003c/p>\n\u003cp>Though the theater held memorable shows, it always struggled for money. Within a year, it turned to fundraising concerts to keep the doors open. It shut down in 1969 and sat empty for over a decade before it was torn down. A Goodwill is now on Haight St. where the 1,400-seat Straight once stood.\u003c/p>\n\u003cfigure id=\"attachment_13333483\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13333483\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/The-Ark-photo-project-by-Estefany-Gonzalez-800x533.jpg\" alt=\"The lot where the Ark once stood\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Ark-photo-project-by-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Ark-photo-project-by-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Ark-photo-project-by-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Ark-photo-project-by-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Ark-photo-project-by-Estefany-Gonzalez.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Ark-photo-project-by-Estefany-Gonzalez-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Ark-photo-project-by-Estefany-Gonzalez-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Ark-photo-project-by-Estefany-Gonzalez-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Ark-photo-project-by-Estefany-Gonzalez-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Ark-photo-project-by-Estefany-Gonzalez-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The lot where the Ark once stood \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Ark\u003c/h2>\n\u003cp>Built in 1916, the Charles Van Damme was a steamboat that shuttled commuters from Richmond to San Rafael for over 20 years. After being decommissioned and stripped of its parts, the old ferry sat landlocked on Sausalito’s waterfront, in the middle of the town’s thriving houseboat community, still sporting its paddlewheel.\u003c/p>\n\u003cp>Infamous \u003ca href=\"http://www.pressdemocrat.com/csp/mediapool/sites/PressDemocrat/News/story.csp?cid=2291971&sid=555&fid=181\" target=\"_blank\" rel=\"noopener\">North Bay restaurateur Juanita Musson\u003c/a> housed her late-night diner Juanita’s Galley there for three years before taking her famous clientele and irreverent hijinks to Sonoma Valley. Fred “Marti” Martinez and Frank McGinnis then bought the Van Damme, cleaned up the boat’s interior, and by 1965 they had turned it into a plush after-hours nightclub. The Ark was born.\u003c/p>\n\u003cp>Despite never charging a cover and paying the bands with food — breakfast, usually, since the shows either started or ended at 2am — many seminal groups came to play the Ark. Big Brother and the Holding Company, the Charlatans, and the West Coast Pop Experimental Band played there often, and in attendance would sometimes be stars like David Crosby, Bob Dylan and Jimi Hendrix. Even Otis Redding came down to the club when he was living in a Sausalito houseboat and writing his hit, “(Sittin’ On) The Dock of the Bay.”\u003c/p>\n\u003cp>But the Ark’s biggest contribution to Bay Area music was serving as the incubator for Moby Grape, the band that could’ve ruled the world were it not for bad luck and a host of issues, drugs among them. Moby Grape played their first shows at the Ark and used the boat as a rehearsal space in the daytime. Neil Young and Stephen Stills occasionally jammed with the band on stage, and Young would later say that his song “Mr. Soul” was simply a melding of two Moby Grape tracks.\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/ffDNfpn7b4Y'\n title='//www.youtube.com/embed/ffDNfpn7b4Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Another band that became an Ark favorite was the Sparrow, a Canadian band featuring a singer named John Kay. After the Sparrow broke up, Kay moved to Los Angeles and started Steppenwolf, the riff-tastic rockers behind the rebel anthem “Born to Be Wild.”\u003c/p>\n\u003cp>In 1968, during one of its 2-6am weekend shows, someone set fire to the Ark. Subsequent repairs forced the club to shut down for a little while, but the owners tried to keep it going for a few months more until closing it for good. When asked why decades later, \u003ca href=\"http://www.marinij.com/general-news/20060410/famed-ferrys-final-voyage\" target=\"_blank\" rel=\"noopener\">Martinez said\u003c/a> that the muddy lot where the Ark sat clashed with the club’s fancier vibe, keeping it from fulfilling its potential, so they moved on. (Martinez then started the classy waterfront restaurant Ondine.)\u003c/p>\n\u003cp>For years after its time as the Ark, the Charles Van Damme would serve as a center for the local houseboat community. Bands like the Redlegs would play and use the cover charges to help keep up the deteriorating boat. In the early ’80s it was condemned by local authorities, and after an unsuccessful attempt to raise hundreds of thousands of dollars for restoration, it was bulldozed. Locals didn’t make the demolition easy, as dozens laid in front of the bulldozers and were arrested.\u003c/p>\n\u003cp>The site where the Ark once stood is now just a dirt lot, and \u003ca href=\"http://www.charlesvandammeferry.org/\" target=\"_blank\" rel=\"noopener\">local houseboat activists \u003c/a>continue to care for its paddlewheel.\u003c/p>\n\u003cfigure id=\"attachment_13333484\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13333484\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/The-Jabberwock-by-Estefany-Gonzalez-800x533.jpg\" alt=\"The corner where the Jabberwock used to be\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Jabberwock-by-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Jabberwock-by-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Jabberwock-by-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Jabberwock-by-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Jabberwock-by-Estefany-Gonzalez.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Jabberwock-by-Estefany-Gonzalez-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Jabberwock-by-Estefany-Gonzalez-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Jabberwock-by-Estefany-Gonzalez-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Jabberwock-by-Estefany-Gonzalez-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Jabberwock-by-Estefany-Gonzalez-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The corner where the Jabberwock used to be. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Jabberwock\u003c/h2>\n\u003cp>As San Francisco was becoming a breeding ground for psychedelic rock, Berkeley was still enjoying its reputation as \u003ca href=\"http://www.chickenonaunicycle.com/Berkeley%20Art.htm\" target=\"_blank\" rel=\"noopener\">part of the folk circuit\u003c/a>. Throughout the ’60s, folk musicians flocked to Berkeley from around the country to clubs like the Blind Lemon, Steppenwolf and the Cabale, and for over a decade it hosted the Berkeley Folk Music Festival, a major event for the genre.\u003c/p>\n\u003cp>Many of Berkeley’s folk venues were short-lived. Among the shortest-lived but most beloved was the Jabberwock, a former jazz club on Telegraph Avenue. Bill Ehlert, a.k.a. the “Jolly Blue Giant,” bought the place in 1965, and Cal students and local musicians regularly packed the place for bills that read today like a Roots Music Hall of Fame; John Fahey, Doc Watson, Skip James and Ramblin’ Jack Elliott are just a few legends that graced its stage.\u003c/p>\n\u003cp>A roots-music aficionado from Los Angeles named Joe McDonald lived next to the Jabberwock and was a regular, playing in the house “pickup” group, the Instant Action Jug Band, with a guitarist named Barry Melton. McDonald, Melton and a few others would end up recording a song McDonald wrote in a matter of minutes called “I-Feel-Like-I’m-Fixin’-to-Die Rag.” Released on an EP, the song — a satire-laden protest of the Vietnam War — became a regional hit, so McDonald and Melton began playing at the Jabberwock as Country Joe McDonald and the Fish. Three years later, they’d play “Fixin’-To-Die” at Woodstock, with a \u003ca href=\"http://www.countryjoe.com/cheer.htm\" target=\"_blank\" rel=\"noopener\">cheer heard ’round the world\u003c/a>.\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/oyr7P8VCPDg'\n title='//www.youtube.com/embed/oyr7P8VCPDg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The bands that developed in the Jabberwock seemed to embrace a dark sense of humor with their Americana. Another notable song from the Jabberwock’s scene was “Friendly Neighborhood Narco Agent” by \u003cem>Berkeley Barb\u003c/em> writer Jef Jaison. \u003ca href=\"http://www.eljefe.net/fnnafaq.html\" target=\"_blank\" rel=\"noopener\">Inspired by a pot dealer\u003c/a> who ripped off some undercover police officers at a Berkeley pizza shop by selling them a large quantity of Jasmine tea for hundreds of dollars, it became of a staple on Dr. Demento’s legendary comedy music show.\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/zqjSG4YPIG0'\n title='//www.youtube.com/embed/zqjSG4YPIG0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The Jabberwock closed in 1967 when Ehlert couldn’t afford to bring the club up to code. Doc Watson played its final show, and the club was immortalized by Jaison in the \u003cem>Berkeley Barb\u003c/em>. By 1969, the corner of Telegraph and Russell where the Jabberwock once stood was a barren lot.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Special thanks to Ross Hannan for expertise and connections. Hannan and Corry Arnold created the \u003ca href=\"http://www.chickenonaunicycle.com/\" target=\"_blank\" rel=\"noopener\">Chicken on a Unicycle website\u003c/a>, a one-stop source for information on the Bay Area’s live music scene during the ’60s.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Ramen Rock: These Japanese Punk Legends Sing About Food",
"title": "Ramen Rock: These Japanese Punk Legends Sing About Food",
"headTitle": "Bay Area Bites | KQED Food",
"content": "\u003cfigure id=\"attachment_117769\" class=\"wp-caption aligncenter\" style=\"max-width: 3500px\">\u003cimg src=\"https://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0560_edit_custom-aa496e0250b1ac89c98accd81d9b1fd562626f1f.jpg\" alt=\"Shonen Knife performs at the Black Cat in Washington, D.C., on April 30. For over 35 years, the all-female trio has been serving up catchy punk songs with a delicious twist: Many are about a love of food.\" width=\"3500\" height=\"2273\" class=\"size-full wp-image-117769\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0560_edit_custom-aa496e0250b1ac89c98accd81d9b1fd562626f1f.jpg 3500w, https://ww2.kqed.org/app/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0560_edit_custom-aa496e0250b1ac89c98accd81d9b1fd562626f1f-160x104.jpg 160w, https://ww2.kqed.org/app/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0560_edit_custom-aa496e0250b1ac89c98accd81d9b1fd562626f1f-800x520.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0560_edit_custom-aa496e0250b1ac89c98accd81d9b1fd562626f1f-768x499.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0560_edit_custom-aa496e0250b1ac89c98accd81d9b1fd562626f1f-1020x662.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0560_edit_custom-aa496e0250b1ac89c98accd81d9b1fd562626f1f-1180x766.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0560_edit_custom-aa496e0250b1ac89c98accd81d9b1fd562626f1f-960x623.jpg 960w, https://ww2.kqed.org/app/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0560_edit_custom-aa496e0250b1ac89c98accd81d9b1fd562626f1f-240x156.jpg 240w, https://ww2.kqed.org/app/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0560_edit_custom-aa496e0250b1ac89c98accd81d9b1fd562626f1f-375x244.jpg 375w, https://ww2.kqed.org/app/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0560_edit_custom-aa496e0250b1ac89c98accd81d9b1fd562626f1f-520x338.jpg 520w\" sizes=\"(max-width: 3500px) 100vw, 3500px\">\u003cfigcaption class=\"wp-caption-text\">Shonen Knife performs at the Black Cat in Washington, D.C., on April 30. For over 35 years, the all-female trio has been serving up catchy punk songs with a delicious twist: Many are about a love of food. \u003ccite>(Ariel Zambelich/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Listen to the story on All Things Considered:\u003c/strong>\u003cbr>\nhttps://ondemand.npr.org/anon.npr-mp3/npr/atc/2017/05/20170525_atc_shonen_knife_ramen_tour.mp3\u003c/p>\n\u003cp>By night, they play gigs. By day, they sample ramen in cities across America.\u003c/p>\n\u003cp>They're the three women of Shonen Knife, a legendary rock band from Japan. For over 35 years, the band has been serving up infectious punk songs with a delicious twist: Many of them are about food. Think song titles like \"Wasabi,\" \"Hot Chocolate\" and \"Sushi Bar.\" But don't dismiss them as bubblegum pop: Over the years, some of their biggest fans have included giants of alt-rock music.\u003c/p>\n\u003cp>This spring, Shonen Knife embarked on its latest adventure – a ramen rock tour of the U.S.\u003c/p>\n\u003cp>Why ramen? Well, ramen is really like Japanese soul food, says Daisuke Utagawa, a ramen restaurateur in Washington, D.C., and unofficial ambassador of Japanese food culture. \"It's probably as important as your pizza here.\"\u003c/p>\n\u003cfigure id=\"attachment_117779\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg src=\"https://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0166_edit_custom-76374b2c1940b8132a90049019b4e64632c92406-s1500-c85.jpg\" alt='(Left to right) Risa, Naoko and Atsuko of the band Shonen Knife eat ramen at Haikan in Washington, D.C., before playing a show. D.C. was one of their stops on a self-titled \"Ramen Adventure Tour\" of the U.S. By night, they play gigs. By day, they sample ramen in cities across the country.' width=\"1500\" height=\"999\" class=\"size-full wp-image-117779\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0166_edit_custom-76374b2c1940b8132a90049019b4e64632c92406-s1500-c85.jpg 1500w, https://ww2.kqed.org/app/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0166_edit_custom-76374b2c1940b8132a90049019b4e64632c92406-s1500-c85-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0166_edit_custom-76374b2c1940b8132a90049019b4e64632c92406-s1500-c85-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0166_edit_custom-76374b2c1940b8132a90049019b4e64632c92406-s1500-c85-768x511.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0166_edit_custom-76374b2c1940b8132a90049019b4e64632c92406-s1500-c85-1020x679.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0166_edit_custom-76374b2c1940b8132a90049019b4e64632c92406-s1500-c85-1180x786.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0166_edit_custom-76374b2c1940b8132a90049019b4e64632c92406-s1500-c85-960x639.jpg 960w, https://ww2.kqed.org/app/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0166_edit_custom-76374b2c1940b8132a90049019b4e64632c92406-s1500-c85-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0166_edit_custom-76374b2c1940b8132a90049019b4e64632c92406-s1500-c85-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0166_edit_custom-76374b2c1940b8132a90049019b4e64632c92406-s1500-c85-520x346.jpg 520w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">(Left to right) Risa, Naoko and Atsuko of the band Shonen Knife eat ramen at Haikan in Washington, D.C., before playing a show. D.C. was one of their stops on a self-titled \"Ramen Adventure Tour\" of the U.S. By night, they play gigs. By day, they sample ramen in cities across the country. \u003ccite>(Ariel Zambelich/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And the noodles are becoming all the rage in America. So, to promote its latest album, called \u003cem>Adventure\u003c/em>, Shonen Knife is on what it calls the \"\u003ca href=\"http://us13.campaign-archive2.com/?u=f67b4587af2b2ef9aa80ed984&id=6814383c28\">Ramen Adventure Tour\u003c/a>\" of the U.S. I met up with the band at \u003ca href=\"https://www.haikandc.com/\">Haikan\u003c/a>, one of Utagawa's hip ramen restaurants.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The band's line up has changed over the years, but these days, it consists of drummer Risa Kawano and its two founding members — guitarist Naoko Yamano and her sister, Atsuko Yamano, who plays bass guitar. Like Cher or Beyonce, all three ladies prefer to go by first names only.\u003c/p>\n\u003cfigure id=\"attachment_117768\" class=\"wp-caption aligncenter\" style=\"max-width: 3457px\">\u003cimg src=\"https://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0079_edit_custom-1f7a5a096ecf6bfd53b8e72c72b582c35981831d.jpg\" alt=\"For our interview, Risa, Naoko and Atsuko changed into their signature outfits: geometric-patterned dresses, designed by Atsuko, reminiscent of a Mondrian painting.\" width=\"3457\" height=\"2333\" class=\"size-full wp-image-117768\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0079_edit_custom-1f7a5a096ecf6bfd53b8e72c72b582c35981831d.jpg 3457w, https://ww2.kqed.org/app/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0079_edit_custom-1f7a5a096ecf6bfd53b8e72c72b582c35981831d-160x108.jpg 160w, https://ww2.kqed.org/app/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0079_edit_custom-1f7a5a096ecf6bfd53b8e72c72b582c35981831d-800x540.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0079_edit_custom-1f7a5a096ecf6bfd53b8e72c72b582c35981831d-768x518.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0079_edit_custom-1f7a5a096ecf6bfd53b8e72c72b582c35981831d-1020x688.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0079_edit_custom-1f7a5a096ecf6bfd53b8e72c72b582c35981831d-1180x796.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0079_edit_custom-1f7a5a096ecf6bfd53b8e72c72b582c35981831d-960x648.jpg 960w, https://ww2.kqed.org/app/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0079_edit_custom-1f7a5a096ecf6bfd53b8e72c72b582c35981831d-240x162.jpg 240w, https://ww2.kqed.org/app/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0079_edit_custom-1f7a5a096ecf6bfd53b8e72c72b582c35981831d-375x253.jpg 375w, https://ww2.kqed.org/app/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0079_edit_custom-1f7a5a096ecf6bfd53b8e72c72b582c35981831d-520x351.jpg 520w\" sizes=\"(max-width: 3457px) 100vw, 3457px\">\u003cfigcaption class=\"wp-caption-text\">For our interview, Risa, Naoko and Atsuko changed into their signature outfits: geometric-patterned dresses, designed by Atsuko, reminiscent of a Mondrian painting. \u003ccite>(Ariel Zambelich/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Naoko is the most fluent in English and does most of the talking. I kick off by asking the obvious: Why go on a ramen tour?\u003c/p>\n\u003cp>\"Sushi is already very popular, but ramen is now happening in America,\" Naoko says.\u003c/p>\n\u003cp>And — oh yeah — they happen to have a hard-rock anthem called \"\u003ca href=\"https://www.youtube.com/watch?v=jA09J5aPXdk\">Ramen Rock\u003c/a>,\" written for a former band mate who had a habit of dining out on the noodles after playing shows. (Ramen is also a traditional hangover food in Japan.)\u003c/p>\n\u003cfigure id=\"attachment_117778\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg src=\"https://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0196_edit_custom-7cec0213937881254a4860f466af79efffe2f26a-s600-c85.jpg\" alt=\"Atsuko tucks into a bowl of ramen at Haikan.\" width=\"600\" height=\"810\" class=\"size-full wp-image-117778\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0196_edit_custom-7cec0213937881254a4860f466af79efffe2f26a-s600-c85.jpg 600w, https://ww2.kqed.org/app/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0196_edit_custom-7cec0213937881254a4860f466af79efffe2f26a-s600-c85-160x216.jpg 160w, https://ww2.kqed.org/app/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0196_edit_custom-7cec0213937881254a4860f466af79efffe2f26a-s600-c85-240x324.jpg 240w, https://ww2.kqed.org/app/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0196_edit_custom-7cec0213937881254a4860f466af79efffe2f26a-s600-c85-375x506.jpg 375w, https://ww2.kqed.org/app/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0196_edit_custom-7cec0213937881254a4860f466af79efffe2f26a-s600-c85-520x702.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Atsuko tucks into a bowl of ramen at Haikan. \u003ccite>(Ariel Zambelich/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Naoko and Atsuko formed Shonen Knife in 1981 in Osaka, Japan. They were inspired by pop punk bands like the Ramones. (In 2011, the band released a tribute album called \u003cem>Osaka Ramones\u003c/em>.) These days, Naoko says, she's more into \"'70s hard rock music, like Judas Priest or Black Sabbath or sometimes KISS.\"\u003c/p>\n\u003cp>Naoko has always been the front-woman. And from the very beginning, many of their songs have been about food. \"When I started Shonen Knife, I was ashamed to write about love,\" she explains.\u003c/p>\n\u003cp>Naoko says romantic love, the standard stuff of music lyrics, was just too embarrassing to sing about. But love of food was another story.\u003c/p>\n\u003cp>\"I found that eating delicious food is the most important thing for people,\" she says. \"It's a kind of universal topic.\"\u003c/p>\n\u003cp>So is dieting. Naoko — who is quite petite — says the need to curb her love of cookies inspired the song, \"\u003ca href=\"https://www.youtube.com/watch?v=45CNX6e3d2E\">I Wanna Eat Cookies\u003c/a>,\" which features a memorable refrain that many listeners can identify with: \"I wanna eat delicious cookies .... as much as I want to eat!\"\u003c/p>\n\u003cp>By 1989, Shonen Knife's catchy, playful songs had attracted some pretty big-name fans – including influential alternative-rock bands like Sonic Youth, Red Kross and L7, all of whom sang on a tribute album to the group called \u003cem>Every Band Has A Shonen Knife Who Loves Them.\u003c/em>\u003c/p>\n\u003cp>In 1991, Nirvana asked Shonen Knife to join them on tour. At the time, Naoko says, she'd never heard of Kurt Cobain and company, but their grunge look gave her pause. \"I was so scared because their looking was very wild,\" Naoko recalls.\u003c/p>\n\u003cp>That was just as Nirvana's seminal album \u003cem>Nevermind\u003c/em> was blowing up. But as Cobain told MTV News a couple of years later, \u003cem>he\u003c/em> was the one in awe of Shonen Knife, watching them perform night after night from the side of the stage. \"I was an emotional sap the whole time. I cried every night,\" said Cobain, who frequently shared his love of the band with interviewers.\u003c/p>\n\u003cfigure id=\"attachment_117780\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg src=\"https://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0501_edit_custom-e0f9a9edb27b4816e5666a0c1bed0a101b3a7d21-s1500-c85.jpg\" alt=\"Naoko leads the crowd in a clapping beat at D.C.'s Black Cat, where the band played to a packed room.\" width=\"1500\" height=\"999\" class=\"size-full wp-image-117780\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0501_edit_custom-e0f9a9edb27b4816e5666a0c1bed0a101b3a7d21-s1500-c85.jpg 1500w, https://ww2.kqed.org/app/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0501_edit_custom-e0f9a9edb27b4816e5666a0c1bed0a101b3a7d21-s1500-c85-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0501_edit_custom-e0f9a9edb27b4816e5666a0c1bed0a101b3a7d21-s1500-c85-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0501_edit_custom-e0f9a9edb27b4816e5666a0c1bed0a101b3a7d21-s1500-c85-768x511.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0501_edit_custom-e0f9a9edb27b4816e5666a0c1bed0a101b3a7d21-s1500-c85-1020x679.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0501_edit_custom-e0f9a9edb27b4816e5666a0c1bed0a101b3a7d21-s1500-c85-1180x786.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0501_edit_custom-e0f9a9edb27b4816e5666a0c1bed0a101b3a7d21-s1500-c85-960x639.jpg 960w, https://ww2.kqed.org/app/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0501_edit_custom-e0f9a9edb27b4816e5666a0c1bed0a101b3a7d21-s1500-c85-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0501_edit_custom-e0f9a9edb27b4816e5666a0c1bed0a101b3a7d21-s1500-c85-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0501_edit_custom-e0f9a9edb27b4816e5666a0c1bed0a101b3a7d21-s1500-c85-520x346.jpg 520w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Naoko leads the crowd in a clapping beat at D.C.'s Black Cat, where the band played to a packed room. \u003ccite>(Ariel Zambelich/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Unlike Nirvana, Shonen Knife never made it huge. But over the decades, the band has remained a cult favorite. A couple of hours after our ramen dinner, they took the stage at D.C.'s Black Cat. And they kicked things off with a song called \"Banana Chips\" ... of course.\u003c/p>\n\u003cp>Shonen Knife's latest U.S. tour wraps up this weekend. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5H8J_A13AMw\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2017 \u003ca href=\"http://www.npr.org/\" target=\"_blank\">NPR\u003c/a>.\u003c/em> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_117769\" class=\"wp-caption aligncenter\" style=\"max-width: 3500px\">\u003cimg src=\"https://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0560_edit_custom-aa496e0250b1ac89c98accd81d9b1fd562626f1f.jpg\" alt=\"Shonen Knife performs at the Black Cat in Washington, D.C., on April 30. For over 35 years, the all-female trio has been serving up catchy punk songs with a delicious twist: Many are about a love of food.\" width=\"3500\" height=\"2273\" class=\"size-full wp-image-117769\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0560_edit_custom-aa496e0250b1ac89c98accd81d9b1fd562626f1f.jpg 3500w, https://ww2.kqed.org/app/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0560_edit_custom-aa496e0250b1ac89c98accd81d9b1fd562626f1f-160x104.jpg 160w, https://ww2.kqed.org/app/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0560_edit_custom-aa496e0250b1ac89c98accd81d9b1fd562626f1f-800x520.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0560_edit_custom-aa496e0250b1ac89c98accd81d9b1fd562626f1f-768x499.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0560_edit_custom-aa496e0250b1ac89c98accd81d9b1fd562626f1f-1020x662.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0560_edit_custom-aa496e0250b1ac89c98accd81d9b1fd562626f1f-1180x766.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0560_edit_custom-aa496e0250b1ac89c98accd81d9b1fd562626f1f-960x623.jpg 960w, https://ww2.kqed.org/app/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0560_edit_custom-aa496e0250b1ac89c98accd81d9b1fd562626f1f-240x156.jpg 240w, https://ww2.kqed.org/app/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0560_edit_custom-aa496e0250b1ac89c98accd81d9b1fd562626f1f-375x244.jpg 375w, https://ww2.kqed.org/app/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0560_edit_custom-aa496e0250b1ac89c98accd81d9b1fd562626f1f-520x338.jpg 520w\" sizes=\"(max-width: 3500px) 100vw, 3500px\">\u003cfigcaption class=\"wp-caption-text\">Shonen Knife performs at the Black Cat in Washington, D.C., on April 30. For over 35 years, the all-female trio has been serving up catchy punk songs with a delicious twist: Many are about a love of food. \u003ccite>(Ariel Zambelich/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Listen to the story on All Things Considered:\u003c/strong>\u003cbr>\n\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>By night, they play gigs. By day, they sample ramen in cities across America.\u003c/p>\n\u003cp>They're the three women of Shonen Knife, a legendary rock band from Japan. For over 35 years, the band has been serving up infectious punk songs with a delicious twist: Many of them are about food. Think song titles like \"Wasabi,\" \"Hot Chocolate\" and \"Sushi Bar.\" But don't dismiss them as bubblegum pop: Over the years, some of their biggest fans have included giants of alt-rock music.\u003c/p>\n\u003cp>This spring, Shonen Knife embarked on its latest adventure – a ramen rock tour of the U.S.\u003c/p>\n\u003cp>Why ramen? Well, ramen is really like Japanese soul food, says Daisuke Utagawa, a ramen restaurateur in Washington, D.C., and unofficial ambassador of Japanese food culture. \"It's probably as important as your pizza here.\"\u003c/p>\n\u003cfigure id=\"attachment_117779\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg src=\"https://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0166_edit_custom-76374b2c1940b8132a90049019b4e64632c92406-s1500-c85.jpg\" alt='(Left to right) Risa, Naoko and Atsuko of the band Shonen Knife eat ramen at Haikan in Washington, D.C., before playing a show. D.C. was one of their stops on a self-titled \"Ramen Adventure Tour\" of the U.S. By night, they play gigs. By day, they sample ramen in cities across the country.' width=\"1500\" height=\"999\" class=\"size-full wp-image-117779\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0166_edit_custom-76374b2c1940b8132a90049019b4e64632c92406-s1500-c85.jpg 1500w, https://ww2.kqed.org/app/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0166_edit_custom-76374b2c1940b8132a90049019b4e64632c92406-s1500-c85-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0166_edit_custom-76374b2c1940b8132a90049019b4e64632c92406-s1500-c85-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0166_edit_custom-76374b2c1940b8132a90049019b4e64632c92406-s1500-c85-768x511.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0166_edit_custom-76374b2c1940b8132a90049019b4e64632c92406-s1500-c85-1020x679.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0166_edit_custom-76374b2c1940b8132a90049019b4e64632c92406-s1500-c85-1180x786.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0166_edit_custom-76374b2c1940b8132a90049019b4e64632c92406-s1500-c85-960x639.jpg 960w, https://ww2.kqed.org/app/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0166_edit_custom-76374b2c1940b8132a90049019b4e64632c92406-s1500-c85-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0166_edit_custom-76374b2c1940b8132a90049019b4e64632c92406-s1500-c85-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0166_edit_custom-76374b2c1940b8132a90049019b4e64632c92406-s1500-c85-520x346.jpg 520w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">(Left to right) Risa, Naoko and Atsuko of the band Shonen Knife eat ramen at Haikan in Washington, D.C., before playing a show. D.C. was one of their stops on a self-titled \"Ramen Adventure Tour\" of the U.S. By night, they play gigs. By day, they sample ramen in cities across the country. \u003ccite>(Ariel Zambelich/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And the noodles are becoming all the rage in America. So, to promote its latest album, called \u003cem>Adventure\u003c/em>, Shonen Knife is on what it calls the \"\u003ca href=\"http://us13.campaign-archive2.com/?u=f67b4587af2b2ef9aa80ed984&id=6814383c28\">Ramen Adventure Tour\u003c/a>\" of the U.S. I met up with the band at \u003ca href=\"https://www.haikandc.com/\">Haikan\u003c/a>, one of Utagawa's hip ramen restaurants.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The band's line up has changed over the years, but these days, it consists of drummer Risa Kawano and its two founding members — guitarist Naoko Yamano and her sister, Atsuko Yamano, who plays bass guitar. Like Cher or Beyonce, all three ladies prefer to go by first names only.\u003c/p>\n\u003cfigure id=\"attachment_117768\" class=\"wp-caption aligncenter\" style=\"max-width: 3457px\">\u003cimg src=\"https://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0079_edit_custom-1f7a5a096ecf6bfd53b8e72c72b582c35981831d.jpg\" alt=\"For our interview, Risa, Naoko and Atsuko changed into their signature outfits: geometric-patterned dresses, designed by Atsuko, reminiscent of a Mondrian painting.\" width=\"3457\" height=\"2333\" class=\"size-full wp-image-117768\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0079_edit_custom-1f7a5a096ecf6bfd53b8e72c72b582c35981831d.jpg 3457w, https://ww2.kqed.org/app/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0079_edit_custom-1f7a5a096ecf6bfd53b8e72c72b582c35981831d-160x108.jpg 160w, https://ww2.kqed.org/app/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0079_edit_custom-1f7a5a096ecf6bfd53b8e72c72b582c35981831d-800x540.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0079_edit_custom-1f7a5a096ecf6bfd53b8e72c72b582c35981831d-768x518.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0079_edit_custom-1f7a5a096ecf6bfd53b8e72c72b582c35981831d-1020x688.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0079_edit_custom-1f7a5a096ecf6bfd53b8e72c72b582c35981831d-1180x796.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0079_edit_custom-1f7a5a096ecf6bfd53b8e72c72b582c35981831d-960x648.jpg 960w, https://ww2.kqed.org/app/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0079_edit_custom-1f7a5a096ecf6bfd53b8e72c72b582c35981831d-240x162.jpg 240w, https://ww2.kqed.org/app/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0079_edit_custom-1f7a5a096ecf6bfd53b8e72c72b582c35981831d-375x253.jpg 375w, https://ww2.kqed.org/app/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0079_edit_custom-1f7a5a096ecf6bfd53b8e72c72b582c35981831d-520x351.jpg 520w\" sizes=\"(max-width: 3457px) 100vw, 3457px\">\u003cfigcaption class=\"wp-caption-text\">For our interview, Risa, Naoko and Atsuko changed into their signature outfits: geometric-patterned dresses, designed by Atsuko, reminiscent of a Mondrian painting. \u003ccite>(Ariel Zambelich/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Naoko is the most fluent in English and does most of the talking. I kick off by asking the obvious: Why go on a ramen tour?\u003c/p>\n\u003cp>\"Sushi is already very popular, but ramen is now happening in America,\" Naoko says.\u003c/p>\n\u003cp>And — oh yeah — they happen to have a hard-rock anthem called \"\u003ca href=\"https://www.youtube.com/watch?v=jA09J5aPXdk\">Ramen Rock\u003c/a>,\" written for a former band mate who had a habit of dining out on the noodles after playing shows. (Ramen is also a traditional hangover food in Japan.)\u003c/p>\n\u003cfigure id=\"attachment_117778\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg src=\"https://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0196_edit_custom-7cec0213937881254a4860f466af79efffe2f26a-s600-c85.jpg\" alt=\"Atsuko tucks into a bowl of ramen at Haikan.\" width=\"600\" height=\"810\" class=\"size-full wp-image-117778\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0196_edit_custom-7cec0213937881254a4860f466af79efffe2f26a-s600-c85.jpg 600w, https://ww2.kqed.org/app/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0196_edit_custom-7cec0213937881254a4860f466af79efffe2f26a-s600-c85-160x216.jpg 160w, https://ww2.kqed.org/app/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0196_edit_custom-7cec0213937881254a4860f466af79efffe2f26a-s600-c85-240x324.jpg 240w, https://ww2.kqed.org/app/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0196_edit_custom-7cec0213937881254a4860f466af79efffe2f26a-s600-c85-375x506.jpg 375w, https://ww2.kqed.org/app/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0196_edit_custom-7cec0213937881254a4860f466af79efffe2f26a-s600-c85-520x702.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Atsuko tucks into a bowl of ramen at Haikan. \u003ccite>(Ariel Zambelich/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Naoko and Atsuko formed Shonen Knife in 1981 in Osaka, Japan. They were inspired by pop punk bands like the Ramones. (In 2011, the band released a tribute album called \u003cem>Osaka Ramones\u003c/em>.) These days, Naoko says, she's more into \"'70s hard rock music, like Judas Priest or Black Sabbath or sometimes KISS.\"\u003c/p>\n\u003cp>Naoko has always been the front-woman. And from the very beginning, many of their songs have been about food. \"When I started Shonen Knife, I was ashamed to write about love,\" she explains.\u003c/p>\n\u003cp>Naoko says romantic love, the standard stuff of music lyrics, was just too embarrassing to sing about. But love of food was another story.\u003c/p>\n\u003cp>\"I found that eating delicious food is the most important thing for people,\" she says. \"It's a kind of universal topic.\"\u003c/p>\n\u003cp>So is dieting. Naoko — who is quite petite — says the need to curb her love of cookies inspired the song, \"\u003ca href=\"https://www.youtube.com/watch?v=45CNX6e3d2E\">I Wanna Eat Cookies\u003c/a>,\" which features a memorable refrain that many listeners can identify with: \"I wanna eat delicious cookies .... as much as I want to eat!\"\u003c/p>\n\u003cp>By 1989, Shonen Knife's catchy, playful songs had attracted some pretty big-name fans – including influential alternative-rock bands like Sonic Youth, Red Kross and L7, all of whom sang on a tribute album to the group called \u003cem>Every Band Has A Shonen Knife Who Loves Them.\u003c/em>\u003c/p>\n\u003cp>In 1991, Nirvana asked Shonen Knife to join them on tour. At the time, Naoko says, she'd never heard of Kurt Cobain and company, but their grunge look gave her pause. \"I was so scared because their looking was very wild,\" Naoko recalls.\u003c/p>\n\u003cp>That was just as Nirvana's seminal album \u003cem>Nevermind\u003c/em> was blowing up. But as Cobain told MTV News a couple of years later, \u003cem>he\u003c/em> was the one in awe of Shonen Knife, watching them perform night after night from the side of the stage. \"I was an emotional sap the whole time. I cried every night,\" said Cobain, who frequently shared his love of the band with interviewers.\u003c/p>\n\u003cfigure id=\"attachment_117780\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg src=\"https://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0501_edit_custom-e0f9a9edb27b4816e5666a0c1bed0a101b3a7d21-s1500-c85.jpg\" alt=\"Naoko leads the crowd in a clapping beat at D.C.'s Black Cat, where the band played to a packed room.\" width=\"1500\" height=\"999\" class=\"size-full wp-image-117780\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0501_edit_custom-e0f9a9edb27b4816e5666a0c1bed0a101b3a7d21-s1500-c85.jpg 1500w, https://ww2.kqed.org/app/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0501_edit_custom-e0f9a9edb27b4816e5666a0c1bed0a101b3a7d21-s1500-c85-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0501_edit_custom-e0f9a9edb27b4816e5666a0c1bed0a101b3a7d21-s1500-c85-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0501_edit_custom-e0f9a9edb27b4816e5666a0c1bed0a101b3a7d21-s1500-c85-768x511.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0501_edit_custom-e0f9a9edb27b4816e5666a0c1bed0a101b3a7d21-s1500-c85-1020x679.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0501_edit_custom-e0f9a9edb27b4816e5666a0c1bed0a101b3a7d21-s1500-c85-1180x786.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0501_edit_custom-e0f9a9edb27b4816e5666a0c1bed0a101b3a7d21-s1500-c85-960x639.jpg 960w, https://ww2.kqed.org/app/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0501_edit_custom-e0f9a9edb27b4816e5666a0c1bed0a101b3a7d21-s1500-c85-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0501_edit_custom-e0f9a9edb27b4816e5666a0c1bed0a101b3a7d21-s1500-c85-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/24/2017/05/2017-04-30-shonen-knife-0501_edit_custom-e0f9a9edb27b4816e5666a0c1bed0a101b3a7d21-s1500-c85-520x346.jpg 520w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Naoko leads the crowd in a clapping beat at D.C.'s Black Cat, where the band played to a packed room. \u003ccite>(Ariel Zambelich/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Unlike Nirvana, Shonen Knife never made it huge. But over the decades, the band has remained a cult favorite. A couple of hours after our ramen dinner, they took the stage at D.C.'s Black Cat. And they kicked things off with a song called \"Banana Chips\" ... of course.\u003c/p>\n\u003cp>Shonen Knife's latest U.S. tour wraps up this weekend. \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/5H8J_A13AMw'\n title='//www.youtube.com/embed/5H8J_A13AMw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2017 \u003ca href=\"http://www.npr.org/\" target=\"_blank\">NPR\u003c/a>.\u003c/em> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "How the U.S. Military Used Guns N' Roses to Make a Dictator Give Up",
"headTitle": "How the U.S. Military Used Guns N’ Roses to Make a Dictator Give Up | KQED",
"content": "\u003cp>The U.S. military invaded Panama in hot pursuit of the country’s dictator, Manuel Noriega, in December 1989. As he rapidly ran out of options, Noriega took refuge at the Vatican Embassy in Panama City.\u003c/p>\n\u003cp>In deference to diplomatic protocol, U.S. forces did not enter the embassy. But they did concoct a plan to smoke out Noriega, who \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/05/30/530666952/former-panamanian-dictator-manuel-noriega-dies-at-83\" target=\"_blank\" rel=\"noopener\">died Monday\u003c/a> at the age of 83. The plan involved music, mostly heavy metal and rock, with a few ballads thrown in. It was blasted on loud speakers, at deafening volumes, around the clock.\u003c/p>\n\u003cp>Here’s a small sampling of \u003ca href=\"http://www.rsvlts.com/2015/01/02/noriega-playlist/\" target=\"_blank\" rel=\"noopener\">the playlist\u003c/a> designed to send Noriega a musical message:\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=IeqtAB1WgEw\" target=\"_blank\" rel=\"noopener\">“Give It Up,”\u003c/a> by K.C. And The Sunshine Band, \u003ca href=\"https://www.youtube.com/watch?v=QM5_T0eNPrQ\" target=\"_blank\" rel=\"noopener\">“No More Mister Nice Guy,”\u003c/a> by Alice Cooper, and \u003ca href=\"https://www.youtube.com/watch?v=hkXHsK4AQPs\" target=\"_blank\" rel=\"noopener\">“Paranoid”\u003c/a> by Black Sabbath.\u003c/p>\n\u003cp>You get the drift.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=IeqtAB1WgEw\u003c/p>\n\u003cp>The U.S. military launched the operation on Dec. 20, 1989, to seize Noriega, who had once been a U.S. ally but was by this point wanted on drug trafficking charges. The U.S. military radio for Central America, known as the Southern Command Network, initially did what it always did — play requests from the troops.\u003c/p>\n\u003cp>Many of those requests were directed at Noriega. As U.S. Southern Command later noted in an \u003ca href=\"http://nsarchive.gwu.edu/nsa/DOCUMENT/950206.htm\" target=\"_blank\" rel=\"noopener\">after-action report\u003c/a>:\u003c/p>\n\u003cp>“When the troops started coming in from the field, the requests became quite imaginative,” \u003ca href=\"http://nsarchive.gwu.edu/nsa/DOCUMENT/DOC-PIC/950206_4.gif\" target=\"_blank\" rel=\"noopener\">it said in dry, military-speak\u003c/a>.\u003c/p>\n\u003cp>The favorites included \u003ca href=\"https://www.youtube.com/watch?v=o1tj2zJ2Wvg\" target=\"_blank\" rel=\"noopener\">“Welcome to the Jungle,”\u003c/a> by Guns N’ Roses, \u003ca href=\"bon%20jovi%20wanted%20dead%20or%20alive\" target=\"_blank\" rel=\"noopener\">“Wanted Dead Or Alive,”\u003c/a> by Bon Jovi, and \u003ca href=\"https://www.youtube.com/watch?v=JSUIQgEVDM4\" target=\"_blank\" rel=\"noopener\">“The End”\u003c/a> by The Doors.\u003c/p>\n\u003cp>After several days on the run, Noriega was allowed to enter the Vatican Embassy on Christmas Eve. And on Christmas Day, the radio station broadcast only Christmas music.\u003c/p>\n\u003cp>But with requests streaming in, the U.S. effort ramped up after the holiday.\u003c/p>\n\u003cp>On Dec. 27, “someone who identified himself as a member of the PSYOPS [Psychological Operations] team from Fort Bragg [N.C.] called to tell us what they were doing with their loud speakers,” \u003ca href=\"http://nsarchive.gwu.edu/nsa/DOCUMENT/DOC-PIC/950206_4.gif\" target=\"_blank\" rel=\"noopener\">the military report said\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.theguardian.com/world/shortcuts/2017/may/30/noriega-panama-music-playlist\" target=\"_blank\" rel=\"noopener\">U.S. Gen. Maxwell “Mad Max” Thurman\u003c/a> had ordered speakers placed as a “musical barrier” around the perimeter of the Vatican Embassy and turned to full volume.\u003c/p>\n\u003cp>Noriega was reportedly partial to opera. What he got was \u003ca href=\"https://www.youtube.com/watch?v=w-NshzYK9y0\" target=\"_blank\" rel=\"noopener\">“Panama,”\u003c/a> from Van Halen, \u003ca href=\"https://www.youtube.com/watch?v=siwpn14IE7E\" target=\"_blank\" rel=\"noopener\">“Danger Zone,”\u003c/a> from Kenny Loggins, and \u003ca href=\"https://www.youtube.com/watch?v=fFnOfpIJL0M\" target=\"_blank\" rel=\"noopener\">“Refugee,”\u003c/a> courtesy of Tom Petty.\u003c/p>\n\u003cp>And remember, this was the ’80s. So the strongman also got an earful of Rick Astley’s \u003ca href=\"https://www.youtube.com/watch?v=dQw4w9WgXcQ\" target=\"_blank\" rel=\"noopener\">“Never Gonna Give You Up,”\u003c/a> though that may have been intended more for Noriega’s hosts at the embassy.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dQw4w9WgXcQ\u003c/p>\n\u003cp>As the standoff dragged on for days, the playlist became part of the story.\u003c/p>\n\u003cp>Not everyone was happy with the military’s approach, including the White House, and the \u003ca href=\"http://www.bbc.com/news/world-latin-america-40090809\" target=\"_blank\" rel=\"noopener\">music was stopped after several days.\u003c/a> President George H.W. Bush’s national security adviser, Brent Scowcroft, said afterward that he thought the use of high-volume music was “undignified.”\u003c/p>\n\u003cp>On Jan. 3, 1990, Noriega surrendered to the U.S. forces, though not until after he’d been treated to a version of “\u003ca href=\"https://www.youtube.com/watch?v=AL8chWFuM-s\" target=\"_blank\" rel=\"noopener\">I Fought The Law\u003c/a>.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Noriega was flown to Miami, tried and convicted of drug trafficking, and spent nearly two decades in U.S. prisons. \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=How+The+U.S.+Military+Used+Guns+N%27+Roses+To+Make+A+Dictator+Give+Up&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The U.S. military invaded Panama in hot pursuit of the country’s dictator, Manuel Noriega, in December 1989. As he rapidly ran out of options, Noriega took refuge at the Vatican Embassy in Panama City.\u003c/p>\n\u003cp>In deference to diplomatic protocol, U.S. forces did not enter the embassy. But they did concoct a plan to smoke out Noriega, who \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/05/30/530666952/former-panamanian-dictator-manuel-noriega-dies-at-83\" target=\"_blank\" rel=\"noopener\">died Monday\u003c/a> at the age of 83. The plan involved music, mostly heavy metal and rock, with a few ballads thrown in. It was blasted on loud speakers, at deafening volumes, around the clock.\u003c/p>\n\u003cp>Here’s a small sampling of \u003ca href=\"http://www.rsvlts.com/2015/01/02/noriega-playlist/\" target=\"_blank\" rel=\"noopener\">the playlist\u003c/a> designed to send Noriega a musical message:\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=IeqtAB1WgEw\" target=\"_blank\" rel=\"noopener\">“Give It Up,”\u003c/a> by K.C. And The Sunshine Band, \u003ca href=\"https://www.youtube.com/watch?v=QM5_T0eNPrQ\" target=\"_blank\" rel=\"noopener\">“No More Mister Nice Guy,”\u003c/a> by Alice Cooper, and \u003ca href=\"https://www.youtube.com/watch?v=hkXHsK4AQPs\" target=\"_blank\" rel=\"noopener\">“Paranoid”\u003c/a> by Black Sabbath.\u003c/p>\n\u003cp>You get the drift.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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/IeqtAB1WgEw'\n title='//www.youtube.com/embed/IeqtAB1WgEw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The U.S. military launched the operation on Dec. 20, 1989, to seize Noriega, who had once been a U.S. ally but was by this point wanted on drug trafficking charges. The U.S. military radio for Central America, known as the Southern Command Network, initially did what it always did — play requests from the troops.\u003c/p>\n\u003cp>Many of those requests were directed at Noriega. As U.S. Southern Command later noted in an \u003ca href=\"http://nsarchive.gwu.edu/nsa/DOCUMENT/950206.htm\" target=\"_blank\" rel=\"noopener\">after-action report\u003c/a>:\u003c/p>\n\u003cp>“When the troops started coming in from the field, the requests became quite imaginative,” \u003ca href=\"http://nsarchive.gwu.edu/nsa/DOCUMENT/DOC-PIC/950206_4.gif\" target=\"_blank\" rel=\"noopener\">it said in dry, military-speak\u003c/a>.\u003c/p>\n\u003cp>The favorites included \u003ca href=\"https://www.youtube.com/watch?v=o1tj2zJ2Wvg\" target=\"_blank\" rel=\"noopener\">“Welcome to the Jungle,”\u003c/a> by Guns N’ Roses, \u003ca href=\"bon%20jovi%20wanted%20dead%20or%20alive\" target=\"_blank\" rel=\"noopener\">“Wanted Dead Or Alive,”\u003c/a> by Bon Jovi, and \u003ca href=\"https://www.youtube.com/watch?v=JSUIQgEVDM4\" target=\"_blank\" rel=\"noopener\">“The End”\u003c/a> by The Doors.\u003c/p>\n\u003cp>After several days on the run, Noriega was allowed to enter the Vatican Embassy on Christmas Eve. And on Christmas Day, the radio station broadcast only Christmas music.\u003c/p>\n\u003cp>But with requests streaming in, the U.S. effort ramped up after the holiday.\u003c/p>\n\u003cp>On Dec. 27, “someone who identified himself as a member of the PSYOPS [Psychological Operations] team from Fort Bragg [N.C.] called to tell us what they were doing with their loud speakers,” \u003ca href=\"http://nsarchive.gwu.edu/nsa/DOCUMENT/DOC-PIC/950206_4.gif\" target=\"_blank\" rel=\"noopener\">the military report said\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.theguardian.com/world/shortcuts/2017/may/30/noriega-panama-music-playlist\" target=\"_blank\" rel=\"noopener\">U.S. Gen. Maxwell “Mad Max” Thurman\u003c/a> had ordered speakers placed as a “musical barrier” around the perimeter of the Vatican Embassy and turned to full volume.\u003c/p>\n\u003cp>Noriega was reportedly partial to opera. What he got was \u003ca href=\"https://www.youtube.com/watch?v=w-NshzYK9y0\" target=\"_blank\" rel=\"noopener\">“Panama,”\u003c/a> from Van Halen, \u003ca href=\"https://www.youtube.com/watch?v=siwpn14IE7E\" target=\"_blank\" rel=\"noopener\">“Danger Zone,”\u003c/a> from Kenny Loggins, and \u003ca href=\"https://www.youtube.com/watch?v=fFnOfpIJL0M\" target=\"_blank\" rel=\"noopener\">“Refugee,”\u003c/a> courtesy of Tom Petty.\u003c/p>\n\u003cp>And remember, this was the ’80s. So the strongman also got an earful of Rick Astley’s \u003ca href=\"https://www.youtube.com/watch?v=dQw4w9WgXcQ\" target=\"_blank\" rel=\"noopener\">“Never Gonna Give You Up,”\u003c/a> though that may have been intended more for Noriega’s hosts at the embassy.\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/dQw4w9WgXcQ'\n title='//www.youtube.com/embed/dQw4w9WgXcQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As the standoff dragged on for days, the playlist became part of the story.\u003c/p>\n\u003cp>Not everyone was happy with the military’s approach, including the White House, and the \u003ca href=\"http://www.bbc.com/news/world-latin-america-40090809\" target=\"_blank\" rel=\"noopener\">music was stopped after several days.\u003c/a> President George H.W. Bush’s national security adviser, Brent Scowcroft, said afterward that he thought the use of high-volume music was “undignified.”\u003c/p>\n\u003cp>On Jan. 3, 1990, Noriega surrendered to the U.S. forces, though not until after he’d been treated to a version of “\u003ca href=\"https://www.youtube.com/watch?v=AL8chWFuM-s\" target=\"_blank\" rel=\"noopener\">I Fought The Law\u003c/a>.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Noriega was flown to Miami, tried and convicted of drug trafficking, and spent nearly two decades in U.S. prisons. \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=How+The+U.S.+Military+Used+Guns+N%27+Roses+To+Make+A+Dictator+Give+Up&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Do you love Coachella? Have you achieved expert camper level at Bonnaroo? Do you thrive on the act of snaking your way through a crowd 200,000 strong to find your friends at \u003ca href=\"https://ww2.kqed.org/arts/2017/04/04/outside-lands-2017-lineup-metallica-lorde-gorillaz-and-more/\" target=\"_blank\" rel=\"noopener noreferrer\">Outside Lands\u003c/a>?\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/series/hot-days-and-summer-nights-guide-2017/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px.jpg\" alt=\"\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-13376303\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>If that’s a hard no, no and \u003cem>no, thank you, \u003c/em>you’re not alone. Upwards of \u003ca href=\"https://www.washingtonpost.com/posteverything/wp/2017/04/17/are-there-too-many-music-festivals/?utm_term=.4a001793e3c0\" target=\"_blank\" rel=\"noopener noreferrer\">32 million people now attend music festivals in the U.S.\u003c/a> — and if you’re currently recovering from \u003ca href=\"https://ww2.kqed.org/arts/2017/01/03/bottlerock-2017-lineup-foo-fighters-tom-petty-maroon-5-and-more/\" target=\"_blank\" rel=\"noopener noreferrer\">this year’s BottleRock\u003c/a>, more power to you! But not everyone loves a massive festival. For example: people who can’t afford to spend \u003ca href=\"https://sfbay.craigslist.org/sfc/tix/6146126687.html\" target=\"_blank\" rel=\"noopener noreferrer\">half their month’s rent\u003c/a> on a wristband that gets you access to slightly nicer than usual Port-a-Pottys.\u003c/p>\n\u003cp>Luckily, if you don’t have the dough or can’t stomach the crowds, that doesn’t mean you need to skip out on music festivals entirely. Here are a handful of fests that won’t break the bank (these all clock in at $50 or under for a single-day ticket) or lead to large crowd-induced panic attacks (I am not a doctor).\u003c/p>\n\u003ch4>\u003ca href=\"http://www.huichica.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Huichica Music Festival\u003c/a>\u003c/h4>\n\u003cp>\u003cstrong>June 9–10 at Gundlach Bundschu Winery, Sonoma\u003c/strong>\u003cbr>\nSet among a picturesque 300-acre vineyard in the foothills of the Mayacamas Mountains, this festival would be a charmer even without a great lineup — but it has that too. Booked by (((folkYEAH!))), this fest’s bill is an annual who’s-who in sun-baked West Coast indie music: The Allah-La’s bring psychedelic desert twang up from L.A.; the Mattson 2 reinterpret Coltrane’s \u003cem>A Love Supreme\u003c/em> through a beachy 2017 filter; Christopher Owens’ new band Curls brings, well, Christopher Owens being inscrutably Christopher Owens-like. Others to check out: Tara Jane O’Neil, San Francisco’s own Heron Oblivion and Cool Ghouls, and Marty O’Reilly, from Santa Cruz. \u003ca href=\"https://www.ticketfly.com/purchase/event/1438216/tfly?__utma=1.491395843.1494892688.1495687989.1495749301.3&__utmb=1.1.10.1495749301&__utmc=1&__utmx=-&__utmz=1.1495749301.3.3.utmcsr=huichica.com%7Cutmccn=(referral)%7Cutmcmd=referral%7Cutmcct=/new-page-5-1-1/&__utmv=-&__utmk=72502803\" target=\"_blank\" rel=\"noopener noreferrer\">Tickets ($40 and up) here. \u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2bBoBsUx5fs\u003c/p>\n\u003ch4>\u003ca href=\"http://hickeyfest.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hickey Fest\u003c/a>\u003c/h4>\n\u003cp>\u003cstrong>June 16–18 at the Peg House, Leggett\u003c/strong>\u003cbr>\nI almost feel bad writing about this festival in Standish Hickey State Park, about 200 miles north of San Francisco, because its charm lies in how small, laid-back and idyllic it feels — the last thing I’d want, as the kids say, is to blow up its spot. But that’s what Oakland indie-pop singer Ash Reiter gets for organizing a fest around a single wooden stage, with yoga every morning, a trippy liquid light show every night, a general store with great breakfast burritos, and a campground and a swimming hole on the Eel River a stone’s throw away. The sounds of Oakland dominate this bill, including punky doo-wop staples Shannon and the Clams, electro-soul from the Seshen, dreamy psych jams from Meerna, and more. \u003ca href=\"http://hickeyfest.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Tickets ($50 and up) here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cJalyeHLzjg\u003c/p>\n\u003ch4>\u003ca href=\"http://www.phonodelsol.com\" target=\"_blank\" rel=\"noopener noreferrer\">Phono del Sol\u003c/a>\u003c/h4>\n\u003cp>\u003cstrong>June 17 at Potrero del Sol Park, San Francisco\u003c/strong>\u003cbr>\nNow in its seventh year, this one-day food, beer and music party thrown by \u003ca href=\"https://ww2.kqed.org/arts/affiliates/the-bay-bridged/\" target=\"_blank\" rel=\"noopener noreferrer\">The Bay Bridged\u003c/a> packs a lot into roughly seven hours — and this year’s lineup is maybe the best yet, in large part thanks to a strong showing from women: The Coathangers bring cathartic yet danceable punk rock from Atlanta, while a trio of locals — R&B singer Rayana Jay, indie-pop buzz machine Jay Som, and dreamy shoegaze purveyor Madeline Kenney — make the lineup’s finer print the cool place to be. Oh yeah, and Thee Oh Sees are playing too. Pro tip: This festival’s food truck lineup is nearly as hotly anticipated each year as the music. Come hungry. \u003ca href=\"http://www.phonodelsol.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Tickets ($29 and up) here. \u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fx7UDfiNqg4\u003c/p>\n\u003ch4>\u003ca href=\"https://summerfest.sanjosejazz.org\" target=\"_blank\" rel=\"noopener noreferrer\">San Jose Jazz Summer Fest\u003c/a>\u003c/h4>\n\u003cp>\u003cstrong>Aug. 11–13, Downtown San Jose\u003c/strong>\u003cbr>\nWith 10 stages throughout downtown San Jose, this annual celebration handily reflects the diversity of the genre, with blues, R&B, funk, salsa and other Latin music represented alongside jazz from all corners of the globe. Big names like saxoponist Maceo Parker, Parliament Funkadelic and Hammond B-3 organ legend Dr. Lonnie Smith appear at this smorgasbord of a fest alongside emerging local talent, like the fast-rising Oakland singer Kalil Wilson. With more than 100 performances — both indoor and outdoor — over the course of three days, this is one of those elusive musical situations where there might actually be something for everyone. \u003ca href=\"https://summerfest.sanjosejazz.org\" target=\"_blank\" rel=\"noopener noreferrer\">Tickets ($20 and up) here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=y233msRwcck\u003c/p>\n\u003ch4>\u003ca href=\"https://www.hieroday.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hiero Day\u003c/a>\u003c/h4>\n\u003cp>\u003cstrong>Sept. 4, around 3rd and Chestnut Streets, Oakland\u003c/strong>\u003cbr>\nThe only festival I feel comfortable recommending before the lineup’s even announced, Hiero Day is an annual Labor Day weekend gift to the community from Hieroglyphics, the hip-hop collective that defined the sound of East Bay hip-hop in the ’90s. What began as a free, feel-good block party in Oakland’s oft-overlooked Acorn neighborhood in 2012 has grown in the past couple years into a legitimate festival, with \u003ca href=\"https://ww2.kqed.org/arts/2016/08/19/heiro-day-2016-lineup-too-short-juvenile-invisibl-skratch-piklz-just-blaze-many-more/\" target=\"_blank\" rel=\"noopener noreferrer\">ever-better lineups\u003c/a> (featuring both rap veterans and up-and-comers), increased ticket prices and, yes, the infrastructure problems that come with a party everyone wants to attend. (\u003ca href=\"http://www.eastbaytimes.com/2016/09/05/hiero-day-woman-falls-through-skylight-at-oakland-music-festival/\" target=\"_blank\" rel=\"noopener noreferrer\">Last year’s festival saw at least one major safety issue from overcrowding.\u003c/a>) Still, by the time the sun starts to set and Souls of Mischief emerge to perform their classic “93 ’til Infinity,” it’s hard to beat the mood here. It’s a Town party through and through. \u003ca href=\"https://www.hieroday.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Tickets ($19.93 and up last year) here. \u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rRfRmPqAkBo\u003c/p>\n\u003cp>(Video by \u003ca href=\"https://ww2.kqed.org/arts/2016/12/06/alex-ghassan/\">our friend and colleague Alex Ghassan\u003c/a>, whom we miss very much.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Do you love Coachella? Have you achieved expert camper level at Bonnaroo? Do you thrive on the act of snaking your way through a crowd 200,000 strong to find your friends at \u003ca href=\"https://ww2.kqed.org/arts/2017/04/04/outside-lands-2017-lineup-metallica-lorde-gorillaz-and-more/\" target=\"_blank\" rel=\"noopener noreferrer\">Outside Lands\u003c/a>?\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/series/hot-days-and-summer-nights-guide-2017/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px.jpg\" alt=\"\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-13376303\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>If that’s a hard no, no and \u003cem>no, thank you, \u003c/em>you’re not alone. Upwards of \u003ca href=\"https://www.washingtonpost.com/posteverything/wp/2017/04/17/are-there-too-many-music-festivals/?utm_term=.4a001793e3c0\" target=\"_blank\" rel=\"noopener noreferrer\">32 million people now attend music festivals in the U.S.\u003c/a> — and if you’re currently recovering from \u003ca href=\"https://ww2.kqed.org/arts/2017/01/03/bottlerock-2017-lineup-foo-fighters-tom-petty-maroon-5-and-more/\" target=\"_blank\" rel=\"noopener noreferrer\">this year’s BottleRock\u003c/a>, more power to you! But not everyone loves a massive festival. For example: people who can’t afford to spend \u003ca href=\"https://sfbay.craigslist.org/sfc/tix/6146126687.html\" target=\"_blank\" rel=\"noopener noreferrer\">half their month’s rent\u003c/a> on a wristband that gets you access to slightly nicer than usual Port-a-Pottys.\u003c/p>\n\u003cp>Luckily, if you don’t have the dough or can’t stomach the crowds, that doesn’t mean you need to skip out on music festivals entirely. Here are a handful of fests that won’t break the bank (these all clock in at $50 or under for a single-day ticket) or lead to large crowd-induced panic attacks (I am not a doctor).\u003c/p>\n\u003ch4>\u003ca href=\"http://www.huichica.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Huichica Music Festival\u003c/a>\u003c/h4>\n\u003cp>\u003cstrong>June 9–10 at Gundlach Bundschu Winery, Sonoma\u003c/strong>\u003cbr>\nSet among a picturesque 300-acre vineyard in the foothills of the Mayacamas Mountains, this festival would be a charmer even without a great lineup — but it has that too. Booked by (((folkYEAH!))), this fest’s bill is an annual who’s-who in sun-baked West Coast indie music: The Allah-La’s bring psychedelic desert twang up from L.A.; the Mattson 2 reinterpret Coltrane’s \u003cem>A Love Supreme\u003c/em> through a beachy 2017 filter; Christopher Owens’ new band Curls brings, well, Christopher Owens being inscrutably Christopher Owens-like. Others to check out: Tara Jane O’Neil, San Francisco’s own Heron Oblivion and Cool Ghouls, and Marty O’Reilly, from Santa Cruz. \u003ca href=\"https://www.ticketfly.com/purchase/event/1438216/tfly?__utma=1.491395843.1494892688.1495687989.1495749301.3&__utmb=1.1.10.1495749301&__utmc=1&__utmx=-&__utmz=1.1495749301.3.3.utmcsr=huichica.com%7Cutmccn=(referral)%7Cutmcmd=referral%7Cutmcct=/new-page-5-1-1/&__utmv=-&__utmk=72502803\" target=\"_blank\" rel=\"noopener noreferrer\">Tickets ($40 and up) here. \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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/2bBoBsUx5fs'\n title='//www.youtube.com/embed/2bBoBsUx5fs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch4>\u003ca href=\"http://hickeyfest.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hickey Fest\u003c/a>\u003c/h4>\n\u003cp>\u003cstrong>June 16–18 at the Peg House, Leggett\u003c/strong>\u003cbr>\nI almost feel bad writing about this festival in Standish Hickey State Park, about 200 miles north of San Francisco, because its charm lies in how small, laid-back and idyllic it feels — the last thing I’d want, as the kids say, is to blow up its spot. But that’s what Oakland indie-pop singer Ash Reiter gets for organizing a fest around a single wooden stage, with yoga every morning, a trippy liquid light show every night, a general store with great breakfast burritos, and a campground and a swimming hole on the Eel River a stone’s throw away. The sounds of Oakland dominate this bill, including punky doo-wop staples Shannon and the Clams, electro-soul from the Seshen, dreamy psych jams from Meerna, and more. \u003ca href=\"http://hickeyfest.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Tickets ($50 and up) here.\u003c/a>\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/cJalyeHLzjg'\n title='//www.youtube.com/embed/cJalyeHLzjg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch4>\u003ca href=\"http://www.phonodelsol.com\" target=\"_blank\" rel=\"noopener noreferrer\">Phono del Sol\u003c/a>\u003c/h4>\n\u003cp>\u003cstrong>June 17 at Potrero del Sol Park, San Francisco\u003c/strong>\u003cbr>\nNow in its seventh year, this one-day food, beer and music party thrown by \u003ca href=\"https://ww2.kqed.org/arts/affiliates/the-bay-bridged/\" target=\"_blank\" rel=\"noopener noreferrer\">The Bay Bridged\u003c/a> packs a lot into roughly seven hours — and this year’s lineup is maybe the best yet, in large part thanks to a strong showing from women: The Coathangers bring cathartic yet danceable punk rock from Atlanta, while a trio of locals — R&B singer Rayana Jay, indie-pop buzz machine Jay Som, and dreamy shoegaze purveyor Madeline Kenney — make the lineup’s finer print the cool place to be. Oh yeah, and Thee Oh Sees are playing too. Pro tip: This festival’s food truck lineup is nearly as hotly anticipated each year as the music. Come hungry. \u003ca href=\"http://www.phonodelsol.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Tickets ($29 and up) here. \u003c/a>\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/fx7UDfiNqg4'\n title='//www.youtube.com/embed/fx7UDfiNqg4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch4>\u003ca href=\"https://summerfest.sanjosejazz.org\" target=\"_blank\" rel=\"noopener noreferrer\">San Jose Jazz Summer Fest\u003c/a>\u003c/h4>\n\u003cp>\u003cstrong>Aug. 11–13, Downtown San Jose\u003c/strong>\u003cbr>\nWith 10 stages throughout downtown San Jose, this annual celebration handily reflects the diversity of the genre, with blues, R&B, funk, salsa and other Latin music represented alongside jazz from all corners of the globe. Big names like saxoponist Maceo Parker, Parliament Funkadelic and Hammond B-3 organ legend Dr. Lonnie Smith appear at this smorgasbord of a fest alongside emerging local talent, like the fast-rising Oakland singer Kalil Wilson. With more than 100 performances — both indoor and outdoor — over the course of three days, this is one of those elusive musical situations where there might actually be something for everyone. \u003ca href=\"https://summerfest.sanjosejazz.org\" target=\"_blank\" rel=\"noopener noreferrer\">Tickets ($20 and up) here\u003c/a>.\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/y233msRwcck'\n title='//www.youtube.com/embed/y233msRwcck'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch4>\u003ca href=\"https://www.hieroday.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hiero Day\u003c/a>\u003c/h4>\n\u003cp>\u003cstrong>Sept. 4, around 3rd and Chestnut Streets, Oakland\u003c/strong>\u003cbr>\nThe only festival I feel comfortable recommending before the lineup’s even announced, Hiero Day is an annual Labor Day weekend gift to the community from Hieroglyphics, the hip-hop collective that defined the sound of East Bay hip-hop in the ’90s. What began as a free, feel-good block party in Oakland’s oft-overlooked Acorn neighborhood in 2012 has grown in the past couple years into a legitimate festival, with \u003ca href=\"https://ww2.kqed.org/arts/2016/08/19/heiro-day-2016-lineup-too-short-juvenile-invisibl-skratch-piklz-just-blaze-many-more/\" target=\"_blank\" rel=\"noopener noreferrer\">ever-better lineups\u003c/a> (featuring both rap veterans and up-and-comers), increased ticket prices and, yes, the infrastructure problems that come with a party everyone wants to attend. (\u003ca href=\"http://www.eastbaytimes.com/2016/09/05/hiero-day-woman-falls-through-skylight-at-oakland-music-festival/\" target=\"_blank\" rel=\"noopener noreferrer\">Last year’s festival saw at least one major safety issue from overcrowding.\u003c/a>) Still, by the time the sun starts to set and Souls of Mischief emerge to perform their classic “93 ’til Infinity,” it’s hard to beat the mood here. It’s a Town party through and through. \u003ca href=\"https://www.hieroday.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Tickets ($19.93 and up last year) here. \u003c/a>\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/rRfRmPqAkBo'\n title='//www.youtube.com/embed/rRfRmPqAkBo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>(Video by \u003ca href=\"https://ww2.kqed.org/arts/2016/12/06/alex-ghassan/\">our friend and colleague Alex Ghassan\u003c/a>, whom we miss very much.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Music legend Gregg Allman, whose bluesy vocals and soulful touch on the Hammond B-3 organ helped propel the Allman Brothers Band to superstardom and spawn Southern rock, died Saturday, a publicist said. He was 69.\u003c/p>\n\u003cp>Allman died Saturday at his home in Savannah, Georgia, publicist Ken Weinstein said.\u003c/p>\n\u003cp>Allman had cancelled some 2016 tour dates, announcing on Aug. 5 that he was “under his doctor’s care at the Mayo Clinic” due to “serious health issues.” Later that year, he canceled more dates citing a throat injury. And in March 2017, he canceled performances for the rest of the year.\u003c/p>\n\u003cp>Born in Nashville, Tennessee, the rock star known for his long blond hair was raised in Florida by a single mother after his father was shot to death. Allman idolized his older brother, Duane, eventually joining a series of bands with him. Together they formed the nucleus of The Allman Brothers Band.\u003c/p>\n\u003cp>The original band featured extended jams, tight guitar harmonies by Duane Allman and Dickey Betts, rhythms from a pair of drummers and the smoky blues inflected voice of Gregg Allman. Songs such as “Whipping Post,” “Ramblin’ Man” and “Midnight Rider,” helped define what came to be known as Southern rock and opened the doors for such stars as Lynyrd Skynyrd and the Marshall Tucker Band.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FUvxRjYqjEQ\u003c/p>\n\u003cp>In his 2012 memoir, \u003cem>My Cross to Bear\u003c/em>, Allman described how Duane was a central figure in his life in the years after their father was murdered by a man he met in a bar. The two boys endured a spell in a military school before being swept up in rock music in their teens. Although Gregg was the first to pick up a guitar, it was Duane who excelled at it. \u003c/p>\n\u003cp>So Gregg later switched to the organ.\u003c/p>\n\u003cp>They failed to crack success until they formed The Allman Brothers Band in 1969. Based in Macon, Georgia, the group featured Betts, drummers Jai Johanny “Jaimoe” Johanson and Butch Trucks and bassist Berry Oakley. They partied to excess while defining a sound that still excites millions.\u003c/p>\n\u003cp>Their self-titled debut album came out in 1969, but it was their seminal live album “At Fillmore East” in 1971 that catapulted the band to stardom.\u003c/p>\n\u003cp>Duane Allman had quickly ascended to the pantheon of guitar heroes, not just from his contributions to the Allman band, but from his session work with Aretha Franklin, Wilson Pickett and with Eric Clapton on the classic \u003cem>Layla and Other Assorted Love Songs\u003c/em> album. But he was killed in a motorcycle accident in October 1971, just months after recording the Fillmore shows. Another motorcycle accident the following year claimed Oakley’s life. \u003c/p>\n\u003cp>In a 2012 interview with The Associated Press, Gregg Allman said Duane remained on his mind every day. Once in a while, he could even feel his presence.\u003c/p>\n\u003cp>“I can tell when he’s there, man,” Allman said. “I’m not going to get all cosmic on you. But listen, he’s there.”\u003c/p>\n\u003cp>The 1970s brought more highly publicized turmoil: Allman was compelled to testify in a drug case against a former road manager for the band and his marriage to the actress and singer Cher was short-lived even by show business standards.\u003c/p>\n\u003cp>In 1975, Cher and Allman married three days after she divorced her husband and singing partner, Sonny Bono. Their marriage was tumultuous from the start; Cher requested a divorce just nine days after their Las Vegas wedding, although she dismissed the suit a month later.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=TZ0hUgSynFg\u003c/p>\n\u003cp>Together they released a widely panned duets album under the name \u003cem>Allman and Woman\u003c/em>. They had one child together, Elijah Blue, and Cher filed for legal separation in 1977.\u003c/p>\n\u003cp>The Allman Brothers Band likewise split up in the 1980s and then re-formed several times over the years. A changing cast of players has included Derek Trucks, nephew of original drummer Butch Trucks, as well as guitarist Warren Haynes.\u003c/p>\n\u003cp>Starting in 1990, more than 20 years after its founding, the reunited band began releasing new music and found a new audience. In 1995 the band was inducted into the Rock and Roll Hall of Fame and won a Grammy Award for best rock instrumental performance for “Jessica” the following year.\u003c/p>\n\u003cp>In 2000, Betts was ousted from the band via fax for alleged substance abuse and poor performance and he hasn’t played with the band since.\u003c/p>\n\u003cp>Butch Trucks died in January 2017. Authorities said he shot himself in front of his wife at their Florida home.\u003c/p>\n\u003cp>In his memoir, Allman said he spent years overindulging in women, drugs and alcohol before getting sober in the mid-1990s. He said that after getting sober, he felt “brand new” at the age of 50.\u003c/p>\n\u003cp>“I never believed in God until this,” he said in an interview with The Associated Press in 1998. “I asked him to bring me out of this or let me die before all the innings have been played. Now I have started taking on some spiritualism.”\u003c/p>\n\u003cp>However, after all the years of unhealthy living he ended up with hepatitis C which severely damaged his liver. He underwent a liver transplant in 2010.\u003c/p>\n\u003cp>After the surgery, he turned music to help him recover and released his first solo album in 14 years \u003cem>Low Country Blues \u003c/em>in 2011.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9CgRbQOBbl0\u003c/p>\n\u003cp>“I think it’s because you’re doing something you love,” Allman said in a 2011 interview with The Associated Press. “I think it just creates a diversion from the pain itself. You’ve been swallowed up by something you love, you know, and you’re just totally engulfed.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The band was honored with a lifetime achievement Grammy in 2012.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Music legend Gregg Allman, whose bluesy vocals and soulful touch on the Hammond B-3 organ helped propel the Allman Brothers Band to superstardom and spawn Southern rock, died Saturday, a publicist said. He was 69.\u003c/p>\n\u003cp>Allman died Saturday at his home in Savannah, Georgia, publicist Ken Weinstein said.\u003c/p>\n\u003cp>Allman had cancelled some 2016 tour dates, announcing on Aug. 5 that he was “under his doctor’s care at the Mayo Clinic” due to “serious health issues.” Later that year, he canceled more dates citing a throat injury. And in March 2017, he canceled performances for the rest of the year.\u003c/p>\n\u003cp>Born in Nashville, Tennessee, the rock star known for his long blond hair was raised in Florida by a single mother after his father was shot to death. Allman idolized his older brother, Duane, eventually joining a series of bands with him. Together they formed the nucleus of The Allman Brothers Band.\u003c/p>\n\u003cp>The original band featured extended jams, tight guitar harmonies by Duane Allman and Dickey Betts, rhythms from a pair of drummers and the smoky blues inflected voice of Gregg Allman. Songs such as “Whipping Post,” “Ramblin’ Man” and “Midnight Rider,” helped define what came to be known as Southern rock and opened the doors for such stars as Lynyrd Skynyrd and the Marshall Tucker Band.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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/FUvxRjYqjEQ'\n title='//www.youtube.com/embed/FUvxRjYqjEQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In his 2012 memoir, \u003cem>My Cross to Bear\u003c/em>, Allman described how Duane was a central figure in his life in the years after their father was murdered by a man he met in a bar. The two boys endured a spell in a military school before being swept up in rock music in their teens. Although Gregg was the first to pick up a guitar, it was Duane who excelled at it. \u003c/p>\n\u003cp>So Gregg later switched to the organ.\u003c/p>\n\u003cp>They failed to crack success until they formed The Allman Brothers Band in 1969. Based in Macon, Georgia, the group featured Betts, drummers Jai Johanny “Jaimoe” Johanson and Butch Trucks and bassist Berry Oakley. They partied to excess while defining a sound that still excites millions.\u003c/p>\n\u003cp>Their self-titled debut album came out in 1969, but it was their seminal live album “At Fillmore East” in 1971 that catapulted the band to stardom.\u003c/p>\n\u003cp>Duane Allman had quickly ascended to the pantheon of guitar heroes, not just from his contributions to the Allman band, but from his session work with Aretha Franklin, Wilson Pickett and with Eric Clapton on the classic \u003cem>Layla and Other Assorted Love Songs\u003c/em> album. But he was killed in a motorcycle accident in October 1971, just months after recording the Fillmore shows. Another motorcycle accident the following year claimed Oakley’s life. \u003c/p>\n\u003cp>In a 2012 interview with The Associated Press, Gregg Allman said Duane remained on his mind every day. Once in a while, he could even feel his presence.\u003c/p>\n\u003cp>“I can tell when he’s there, man,” Allman said. “I’m not going to get all cosmic on you. But listen, he’s there.”\u003c/p>\n\u003cp>The 1970s brought more highly publicized turmoil: Allman was compelled to testify in a drug case against a former road manager for the band and his marriage to the actress and singer Cher was short-lived even by show business standards.\u003c/p>\n\u003cp>In 1975, Cher and Allman married three days after she divorced her husband and singing partner, Sonny Bono. Their marriage was tumultuous from the start; Cher requested a divorce just nine days after their Las Vegas wedding, although she dismissed the suit a month later.\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/TZ0hUgSynFg'\n title='//www.youtube.com/embed/TZ0hUgSynFg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Together they released a widely panned duets album under the name \u003cem>Allman and Woman\u003c/em>. They had one child together, Elijah Blue, and Cher filed for legal separation in 1977.\u003c/p>\n\u003cp>The Allman Brothers Band likewise split up in the 1980s and then re-formed several times over the years. A changing cast of players has included Derek Trucks, nephew of original drummer Butch Trucks, as well as guitarist Warren Haynes.\u003c/p>\n\u003cp>Starting in 1990, more than 20 years after its founding, the reunited band began releasing new music and found a new audience. In 1995 the band was inducted into the Rock and Roll Hall of Fame and won a Grammy Award for best rock instrumental performance for “Jessica” the following year.\u003c/p>\n\u003cp>In 2000, Betts was ousted from the band via fax for alleged substance abuse and poor performance and he hasn’t played with the band since.\u003c/p>\n\u003cp>Butch Trucks died in January 2017. Authorities said he shot himself in front of his wife at their Florida home.\u003c/p>\n\u003cp>In his memoir, Allman said he spent years overindulging in women, drugs and alcohol before getting sober in the mid-1990s. He said that after getting sober, he felt “brand new” at the age of 50.\u003c/p>\n\u003cp>“I never believed in God until this,” he said in an interview with The Associated Press in 1998. “I asked him to bring me out of this or let me die before all the innings have been played. Now I have started taking on some spiritualism.”\u003c/p>\n\u003cp>However, after all the years of unhealthy living he ended up with hepatitis C which severely damaged his liver. He underwent a liver transplant in 2010.\u003c/p>\n\u003cp>After the surgery, he turned music to help him recover and released his first solo album in 14 years \u003cem>Low Country Blues \u003c/em>in 2011.\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/9CgRbQOBbl0'\n title='//www.youtube.com/embed/9CgRbQOBbl0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I think it’s because you’re doing something you love,” Allman said in a 2011 interview with The Associated Press. “I think it just creates a diversion from the pain itself. You’ve been swallowed up by something you love, you know, and you’re just totally engulfed.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The band was honored with a lifetime achievement Grammy in 2012.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cstrong>Correction: The tribute to ‘Sgt. Peppers’ now takes place one night only, on Saturday, June 3. (Not Thursday and Friday as stated.) \u003ca href=\"http://www.undercoverpresents.com/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>Festival season is heating up, with an upcoming deluge of bands playing in the hot sun for thousands of dehydrated teenagers; Cy gets back next week and he’ll give us the rundown. Meanwhile, we’ve got a couple comedy festivals in this week’s show: \u003ca href=\"https://www.clusterfest.com/?utm_source=ASG-AdWords&utm_medium=Search&utm_term=General&utm_content=Branded&utm_campaign=Clusterfest\" target=\"_blank\" rel=\"noopener\">Comedy Clusterfest\u003c/a>, running June 2–4 at the Civic Center, and Chris Hardwick’s \u003ca href=\"https://www.facebook.com/id10tfest/\" target=\"_blank\" rel=\"noopener\">IdIOtfest\u003c/a> running June 24 and 25 at the Shoreline Amphitheater. Also, a quick mention for an exhibit of work from the late San Francisco artist Rex Ray, which runs through June 30 at Gallery 16; \u003ca href=\"https://www.gallery16.com/rex-ray-we-are-all-made-of-light\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>. And now on with the show.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Ux5ogOeD3Uc\u003c/p>\n\u003cp>\u003cstrong>May 28\u003c/strong>: Before he basically won the World Series for the Giants in 2012 and finally earned his obscenely high salary, Barry Zito was used to being booed. Like, for years. Which is why, when the pitcher retired from the game, he said it had helped him “develop the thick skin” he’d need for songwriting, and added: “If you hear a song of mine, I hope you’ll be honest about what you think.” Well, Barry, honestly, it’s not bad at all. The lefty takes the stage with his guitar for his homespun songs — and maybe a few curveballs — on May 28; \u003ca href=\"http://www.slimspresents.com/event/an-evening-with-barry-zito-gamh/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13301142\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/LET-video-shoot-RachelSchut-800x500.jpg\" alt=\"Rachel Schutz, who plays Elisabeth in 'Les Enfants Terribles' for Opera Parallele.\" width=\"800\" height=\"500\" class=\"size-medium wp-image-13301142\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LET-video-shoot-RachelSchut-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LET-video-shoot-RachelSchut-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LET-video-shoot-RachelSchut-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LET-video-shoot-RachelSchut-1020x637.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LET-video-shoot-RachelSchut-1180x737.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LET-video-shoot-RachelSchut-960x600.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LET-video-shoot-RachelSchut-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LET-video-shoot-RachelSchut-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LET-video-shoot-RachelSchut-520x325.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LET-video-shoot-RachelSchut.jpg 1391w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rachel Schutz, who plays Elisabeth in ‘Les Enfants Terribles’ for Opera Parallele. \u003ccite>(Opera Parallele)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>May 26–28\u003c/strong>: Opera Parallele presents a new production of Philip Glass’ \u003cstrong>\u003cem>Les Enfants Terribles\u003c/em>\u003c/strong>, hot on the heels of Glass’ 80th birthday. This is a company that presents contemporary opera that doesn’t often get performed — they brought us Terence Blanchard’s ‘Champion’ last year, and recently Jake Heggie’s ‘Dead Man Walking.’ \u003cem>Les Enfants Terribles\u003c/em> is from 1996, and though this production has a multidimensional film aspect to the set design, it keeps the original accompaniment of just three pianos — ‘cause that’s \u003cem>so\u003c/em> Philip Glass. \u003cem>Les Enfants Terribles\u003c/em> is at the San Francisco Conservatory of Music; \u003ca href=\"https://operaparallele.org/les-enfants-terribles/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13301143\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Mina-800x500.jpg\" alt=\"Mina Momeni.\" width=\"800\" height=\"500\" class=\"size-medium wp-image-13301143\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Mina.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Mina-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Mina-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Mina-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Mina-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Mina-520x325.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mina Momeni.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>June 2–3\u003c/strong>: It was 50 years ago that \u003cem>\u003cstrong>Sgt. Pepper’s Lonely Hearts Club Band\u003c/strong>\u003c/em> was released, and to mark the milestone, Undercover Presents hosts two nights of the entire album played front-to-band, wildly reimagined by 15 different bands. As an example: the vocalist for “When I’m Sixty Four” is Mina Momeni (above), from Tehran — who, since women in Iran are forbidden from pursuing singing careers due to religious restrictions, will be singing through a pre-recorded track accompanied by a string quartet from the Awesöme Orchestra Collective. I spoke with Musical Director Joe Bagale about his drastic reinterpretations — including jazz, hip-hop, Indiana ragas and more — and he told me there was one famous moment on the album he didn’t want to mess with: the long, final piano chord, which lasts for almost 45 seconds. “I tried strings, and I tried a synthesizer treatment,” he told me, “but in the end, I couldn’t do anything better than a bunch of pianos.” \u003ca href=\"http://www.undercoverpresents.com/\" target=\"_blank\" rel=\"noopener\">Details on the shows here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13113829\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Swinger_COVER-800x450.jpg\" alt=\"Henry Dreyfuss and James Conner, 'The Swinger,' Land Camera Model 20 for Polaroid, 1965.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13113829\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Swinger_COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Swinger_COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Swinger_COVER-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Swinger_COVER-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Swinger_COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Swinger_COVER-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Swinger_COVER-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Swinger_COVER-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Swinger_COVER-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Swinger_COVER-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Henry Dreyfuss and James Conner, ‘The Swinger,’ Land Camera Model 20 for Polaroid, 1965. \u003ccite>(Courtesy of the Cantor Arts Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Through Aug. 21\u003c/strong>: In the South Bay, there’s an interesting exhibit at the Cantor Arts Center called \u003cem>\u003cstrong>Creativity on the Line: Design for the Corporate World\u003c/strong>\u003c/em>. And if you’re a fan of mid-century modern, it’ll make you look at things like airport seating and classroom furniture in a whole different way. Focusing on products and pamphlets, it includes designers such as Paul Rand, Charles and Ray Eames, and Dieter Rams. As explored in \u003ca href=\"https://ww2.kqed.org/arts/2017/04/26/creativity-on-the-line-mines-the-cracks-in-sleek-mid-century-surfaces/\">KQED Arts’ review by Sarah Hotchkiss\u003c/a>, the show really gets to the tense relationship between corporations and artists, where designers were told to be creative but not \u003cem>too\u003c/em> creative. In Silicon Valley, where we know Apple’s design was heavily influenced by Dieter Rams, it has an extra resonance. \u003ca href=\"http://events.stanford.edu/events/646/64601/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=P465Y7M0YjQ\u003c/p>\n\u003cp>\u003cstrong>May 31–June 25\u003c/strong>: A new play premieres this week, centered around a meeting between a young journalist and the brilliant musician Gil Scott-Heron. \u003cem>\u003cstrong>Grandeur\u003c/strong>\u003c/em> is a world premiere from the Magic Theatre, the work of playwright Han Ong. It’s hard to think of Gil Scott Heron without thinking of \u003ca href=\"http://www.newyorker.com/magazine/2010/08/09/new-york-is-killing-me\" target=\"_blank\" rel=\"noopener\">this heartbreaking \u003cem>New Yorker\u003c/em> profile on him in 2010\u003c/a>, so a play about his relationship with journalists has plenty to draw upon. I \u003ca href=\"http://citysound.bohemian.com/2010/03/18/live-review-gil-scott-heron-at-yoshis-2/\" target=\"_blank\" rel=\"noopener\">saw Gil Scott-Heron\u003c/a> at his last appearance in San Francisco, and \u003ca href=\"http://citysound.bohemian.com/2010/03/18/live-review-gil-scott-heron-at-yoshis-2/\" target=\"_blank\" rel=\"noopener\">he was remarkably good\u003c/a> — and with a huge adoring crowd, so there should be plenty of interest in this play. It’s directed by the Magic’s Artistic Director Loretta Greco, and has a cast led by the great Carl Lumbly. \u003ca href=\"http://magictheatre.org/season/season\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"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\n",
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"excerpt": "This week's picks for The Do List include Barry Zito (singing!), Philip Glass’ 'Les Enfants Terribles,' a Beatles Tribute, a world-premiere play about Gil Scott-Heron and more.",
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"description": "This week's picks for The Do List include Barry Zito (singing!), Philip Glass’ 'Les Enfants Terribles,' a Beatles Tribute, a world-premiere play about Gil Scott-Heron and more.",
"title": "Suzie & Gabe’s Picks: A World Series Singer, Mid-Century Design, and 50 Years of 'Sgt. Peppers' | KQED",
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"headline": "Suzie & Gabe’s Picks: A World Series Singer, Mid-Century Design, and 50 Years of 'Sgt. Peppers'",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Correction: The tribute to ‘Sgt. Peppers’ now takes place one night only, on Saturday, June 3. (Not Thursday and Friday as stated.) \u003ca href=\"http://www.undercoverpresents.com/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>Festival season is heating up, with an upcoming deluge of bands playing in the hot sun for thousands of dehydrated teenagers; Cy gets back next week and he’ll give us the rundown. Meanwhile, we’ve got a couple comedy festivals in this week’s show: \u003ca href=\"https://www.clusterfest.com/?utm_source=ASG-AdWords&utm_medium=Search&utm_term=General&utm_content=Branded&utm_campaign=Clusterfest\" target=\"_blank\" rel=\"noopener\">Comedy Clusterfest\u003c/a>, running June 2–4 at the Civic Center, and Chris Hardwick’s \u003ca href=\"https://www.facebook.com/id10tfest/\" target=\"_blank\" rel=\"noopener\">IdIOtfest\u003c/a> running June 24 and 25 at the Shoreline Amphitheater. Also, a quick mention for an exhibit of work from the late San Francisco artist Rex Ray, which runs through June 30 at Gallery 16; \u003ca href=\"https://www.gallery16.com/rex-ray-we-are-all-made-of-light\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>. And now on with the show.\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/Ux5ogOeD3Uc'\n title='//www.youtube.com/embed/Ux5ogOeD3Uc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>May 28\u003c/strong>: Before he basically won the World Series for the Giants in 2012 and finally earned his obscenely high salary, Barry Zito was used to being booed. Like, for years. Which is why, when the pitcher retired from the game, he said it had helped him “develop the thick skin” he’d need for songwriting, and added: “If you hear a song of mine, I hope you’ll be honest about what you think.” Well, Barry, honestly, it’s not bad at all. The lefty takes the stage with his guitar for his homespun songs — and maybe a few curveballs — on May 28; \u003ca href=\"http://www.slimspresents.com/event/an-evening-with-barry-zito-gamh/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13301142\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/LET-video-shoot-RachelSchut-800x500.jpg\" alt=\"Rachel Schutz, who plays Elisabeth in 'Les Enfants Terribles' for Opera Parallele.\" width=\"800\" height=\"500\" class=\"size-medium wp-image-13301142\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LET-video-shoot-RachelSchut-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LET-video-shoot-RachelSchut-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LET-video-shoot-RachelSchut-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LET-video-shoot-RachelSchut-1020x637.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LET-video-shoot-RachelSchut-1180x737.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LET-video-shoot-RachelSchut-960x600.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LET-video-shoot-RachelSchut-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LET-video-shoot-RachelSchut-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LET-video-shoot-RachelSchut-520x325.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LET-video-shoot-RachelSchut.jpg 1391w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rachel Schutz, who plays Elisabeth in ‘Les Enfants Terribles’ for Opera Parallele. \u003ccite>(Opera Parallele)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>May 26–28\u003c/strong>: Opera Parallele presents a new production of Philip Glass’ \u003cstrong>\u003cem>Les Enfants Terribles\u003c/em>\u003c/strong>, hot on the heels of Glass’ 80th birthday. This is a company that presents contemporary opera that doesn’t often get performed — they brought us Terence Blanchard’s ‘Champion’ last year, and recently Jake Heggie’s ‘Dead Man Walking.’ \u003cem>Les Enfants Terribles\u003c/em> is from 1996, and though this production has a multidimensional film aspect to the set design, it keeps the original accompaniment of just three pianos — ‘cause that’s \u003cem>so\u003c/em> Philip Glass. \u003cem>Les Enfants Terribles\u003c/em> is at the San Francisco Conservatory of Music; \u003ca href=\"https://operaparallele.org/les-enfants-terribles/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13301143\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Mina-800x500.jpg\" alt=\"Mina Momeni.\" width=\"800\" height=\"500\" class=\"size-medium wp-image-13301143\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Mina.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Mina-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Mina-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Mina-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Mina-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Mina-520x325.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mina Momeni.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>June 2–3\u003c/strong>: It was 50 years ago that \u003cem>\u003cstrong>Sgt. Pepper’s Lonely Hearts Club Band\u003c/strong>\u003c/em> was released, and to mark the milestone, Undercover Presents hosts two nights of the entire album played front-to-band, wildly reimagined by 15 different bands. As an example: the vocalist for “When I’m Sixty Four” is Mina Momeni (above), from Tehran — who, since women in Iran are forbidden from pursuing singing careers due to religious restrictions, will be singing through a pre-recorded track accompanied by a string quartet from the Awesöme Orchestra Collective. I spoke with Musical Director Joe Bagale about his drastic reinterpretations — including jazz, hip-hop, Indiana ragas and more — and he told me there was one famous moment on the album he didn’t want to mess with: the long, final piano chord, which lasts for almost 45 seconds. “I tried strings, and I tried a synthesizer treatment,” he told me, “but in the end, I couldn’t do anything better than a bunch of pianos.” \u003ca href=\"http://www.undercoverpresents.com/\" target=\"_blank\" rel=\"noopener\">Details on the shows here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13113829\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Swinger_COVER-800x450.jpg\" alt=\"Henry Dreyfuss and James Conner, 'The Swinger,' Land Camera Model 20 for Polaroid, 1965.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13113829\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Swinger_COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Swinger_COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Swinger_COVER-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Swinger_COVER-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Swinger_COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Swinger_COVER-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Swinger_COVER-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Swinger_COVER-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Swinger_COVER-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Swinger_COVER-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Henry Dreyfuss and James Conner, ‘The Swinger,’ Land Camera Model 20 for Polaroid, 1965. \u003ccite>(Courtesy of the Cantor Arts Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Through Aug. 21\u003c/strong>: In the South Bay, there’s an interesting exhibit at the Cantor Arts Center called \u003cem>\u003cstrong>Creativity on the Line: Design for the Corporate World\u003c/strong>\u003c/em>. And if you’re a fan of mid-century modern, it’ll make you look at things like airport seating and classroom furniture in a whole different way. Focusing on products and pamphlets, it includes designers such as Paul Rand, Charles and Ray Eames, and Dieter Rams. As explored in \u003ca href=\"https://ww2.kqed.org/arts/2017/04/26/creativity-on-the-line-mines-the-cracks-in-sleek-mid-century-surfaces/\">KQED Arts’ review by Sarah Hotchkiss\u003c/a>, the show really gets to the tense relationship between corporations and artists, where designers were told to be creative but not \u003cem>too\u003c/em> creative. In Silicon Valley, where we know Apple’s design was heavily influenced by Dieter Rams, it has an extra resonance. \u003ca href=\"http://events.stanford.edu/events/646/64601/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"tagline": "Art is where you find it",
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"soldout": {
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