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"content": "\u003cp>His name is \u003ca href=\"https://www.instagram.com/gabekatz_music/\">Gabe Katz\u003c/a>. He’s 37 years old and lives in Oakland. And for weeks, punks all over the Bay Area (and beyond) have been sharing his hilarious impersonations of California’s favorite punk bands.\u003c/p>\n\u003cp>Katz, a music teacher by day and \u003ca href=\"https://gabekatz1.bandcamp.com/\">guitarist\u003c/a> and punk rock drummer by night, also co-hosts \u003ca href=\"https://podcasts.apple.com/us/podcast/turd-polisher/id1513288302\">\u003cem>Turd Polisher\u003c/em>\u003c/a>: a podcast that relentlessly (and gloriously) dismantles guests’ least favorite songs of all time. In short, the man understands song structure. And punk rock. And hilarity. Which is how he came up with the now-widely shared, supremely knowing, one-minute takedowns.\u003c/p>\n\u003cp>It all started back in January with the Rancid one. “Every Rancid Song” expertly captures the essence of the East Bay quartet in five easy steps:\u003c/p>\n\u003cp>✓Enunciation that’s just a little bit British\u003cbr>\n✓Talking about walking\u003cbr>\n✓References to drab infrastructural entities\u003cbr>\n✓A vague suggestion of poverty\u003cbr>\n✓Gratuitously mentioning geographic locations (Rancid does this so often, \u003ca href=\"https://i.redd.it/qhjhwdivfnv01.jpg\">someone on Reddit made a map\u003c/a>)\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" cite=\"https://www.tiktok.com/@gabekatz_/video/7194630909063384362\" data-video-id=\"7194630909063384362\" style=\"max-width: 605px;min-width: 325px\">\n\u003csection> \u003ca target=\"_blank\" title=\"@gabekatz_\" href=\"https://www.tiktok.com/@gabekatz_?refer=embed\" rel=\"noopener\">@gabekatz_\u003c/a> Every Rancid Song \u003ca title=\"punk\" target=\"_blank\" href=\"https://www.tiktok.com/tag/punk?refer=embed\" rel=\"noopener\">#punk\u003c/a> \u003ca title=\"punkrock\" target=\"_blank\" href=\"https://www.tiktok.com/tag/punkrock?refer=embed\" rel=\"noopener\">#punkrock\u003c/a> \u003ca title=\"rancid\" target=\"_blank\" href=\"https://www.tiktok.com/tag/rancid?refer=embed\" rel=\"noopener\">#rancid\u003c/a> \u003ca title=\"rancidpunks\" target=\"_blank\" href=\"https://www.tiktok.com/tag/rancidpunks?refer=embed\" rel=\"noopener\">#rancidpunks\u003c/a> \u003ca title=\"funny\" target=\"_blank\" href=\"https://www.tiktok.com/tag/funny?refer=embed\" rel=\"noopener\">#funny\u003c/a> \u003ca title=\"music\" target=\"_blank\" href=\"https://www.tiktok.com/tag/music?refer=embed\" rel=\"noopener\">#music\u003c/a> \u003ca title=\"punkrock\" target=\"_blank\" href=\"https://www.tiktok.com/tag/punkrock?refer=embed\" rel=\"noopener\">#punkrock\u003c/a> \u003ca title=\"oakland\" target=\"_blank\" href=\"https://www.tiktok.com/tag/oakland?refer=embed\" rel=\"noopener\">#oakland\u003c/a> \u003ca title=\"hellcatrecords\" target=\"_blank\" href=\"https://www.tiktok.com/tag/hellcatrecords?refer=embed\" rel=\"noopener\">#hellcatrecords\u003c/a> \u003ca title=\"thisiswhatgetsmecancelled\" target=\"_blank\" href=\"https://www.tiktok.com/tag/thisiswhatgetsmecancelled?refer=embed\" rel=\"noopener\">#thisiswhatgetsmecancelled\u003c/a> \u003ca title=\"comedy\" target=\"_blank\" href=\"https://www.tiktok.com/tag/comedy?refer=embed\" rel=\"noopener\">#comedy\u003c/a> \u003ca target=\"_blank\" title=\"♬ original sound - Gabe Katz\" href=\"https://www.tiktok.com/music/original-sound-7194630908639759150?refer=embed\" rel=\"noopener\">♬ original sound – Gabe Katz\u003c/a> \u003c/section>\n\u003c/blockquote>\n\u003cp> [tiktok]\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>(If you have no idea why this is funny, go and listen to Rancid’s “\u003ca href=\"https://www.youtube.com/watch?v=j5HZ5Bd6DUY\">Olympia, WA\u003c/a>,” “\u003ca href=\"https://www.youtube.com/watch?v=bJy823DXgk4\">Lulu\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=2WOx4U3sCuQ\">Nihilism\u003c/a>.”)\u003c/p>\n\u003cp>Next up is Katz’s “Every NOFX Song,” which perfectly encapsulates the San Francisco pop punks using the following elements:\u003c/p>\n\u003cp>✓A reference to drugs\u003cbr>\n✓At least one person’s full name\u003cbr>\n✓A reference to a bar\u003cbr>\n✓A reference to another band\u003cbr>\n✓A reference to pee\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Boom!\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@gabekatz_/video/7201598891245030698\" data-video-id=\"7201598891245030698\">\n\u003csection>\u003ca title=\"@gabekatz_\" href=\"https://www.tiktok.com/@gabekatz_?refer=embed\" target=\"_blank\" rel=\"noopener\">@gabekatz_\u003c/a> Every NoFX song. \u003ca title=\"nofx\" href=\"https://www.tiktok.com/tag/nofx?refer=embed\" target=\"_blank\" rel=\"noopener\">#nofx\u003c/a> \u003ca title=\"fatmike\" href=\"https://www.tiktok.com/tag/fatmike?refer=embed\" target=\"_blank\" rel=\"noopener\">#fatmike\u003c/a> \u003ca title=\"fatmikeddude\" href=\"https://www.tiktok.com/tag/fatmikeddude?refer=embed\" target=\"_blank\" rel=\"noopener\">#fatmikeddude\u003c/a> \u003ca title=\"punk\" href=\"https://www.tiktok.com/tag/punk?refer=embed\" target=\"_blank\" rel=\"noopener\">#punk\u003c/a> \u003ca title=\"punkrock\" href=\"https://www.tiktok.com/tag/punkrock?refer=embed\" target=\"_blank\" rel=\"noopener\">#punkrock\u003c/a> \u003ca title=\"fatwreckchords\" href=\"https://www.tiktok.com/tag/fatwreckchords?refer=embed\" target=\"_blank\" rel=\"noopener\">#fatwreckchords\u003c/a> \u003ca title=\"sanfrancisco\" href=\"https://www.tiktok.com/tag/sanfrancisco?refer=embed\" target=\"_blank\" rel=\"noopener\">#sanfrancisco\u003c/a> \u003ca title=\"sf\" href=\"https://www.tiktok.com/tag/sf?refer=embed\" target=\"_blank\" rel=\"noopener\">#sf\u003c/a> \u003ca title=\"fishermanswharf\" href=\"https://www.tiktok.com/tag/fishermanswharf?refer=embed\" target=\"_blank\" rel=\"noopener\">#fishermanswharf\u003c/a> \u003ca title=\"vanswarpedtour\" href=\"https://www.tiktok.com/tag/vanswarpedtour?refer=embed\" target=\"_blank\" rel=\"noopener\">#vanswarpedtour\u003c/a> \u003ca title=\"warpedtour\" href=\"https://www.tiktok.com/tag/warpedtour?refer=embed\" target=\"_blank\" rel=\"noopener\">#warpedtour\u003c/a> \u003ca title=\"theeparkside\" href=\"https://www.tiktok.com/tag/theeparkside?refer=embed\" target=\"_blank\" rel=\"noopener\">#theeparkside\u003c/a> \u003ca title=\"funny\" href=\"https://www.tiktok.com/tag/funny?refer=embed\" target=\"_blank\" rel=\"noopener\">#funny\u003c/a> \u003ca title=\"comedyvideo\" href=\"https://www.tiktok.com/tag/comedyvideo?refer=embed\" target=\"_blank\" rel=\"noopener\">#comedyvideo\u003c/a> \u003ca title=\"music\" href=\"https://www.tiktok.com/tag/music?refer=embed\" target=\"_blank\" rel=\"noopener\">#music\u003c/a> \u003ca title=\"thisiswhatgetsmecancelled\" href=\"https://www.tiktok.com/tag/thisiswhatgetsmecancelled?refer=embed\" target=\"_blank\" rel=\"noopener\">#thisiswhatgetsmecancelled\u003c/a> \u003ca title=\"whythefuckwouldtheydothisshit\" href=\"https://www.tiktok.com/tag/whythefuckwouldtheydothisshit?refer=embed\" target=\"_blank\" rel=\"noopener\">#whythefuckwouldtheydothisshit\u003c/a> \u003ca title=\"♬ original sound - Gabe Katz\" href=\"https://www.tiktok.com/music/original-sound-7201598923704929070?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – Gabe Katz\u003c/a>\u003c/section>\n\u003cp>[tiktok]\u003c/p>\n\u003cp>(If you have no idea why this is funny, go and listen to NOFX’s “\u003ca href=\"https://www.youtube.com/watch?v=rEZ2sha5994\">Kids of the K-Hole\u003c/a>,” “\u003ca href=\"https://www.youtube.com/watch?v=LI-Gjg_vi3A\">Seeing Double at the Triple Rock\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=O4IEFLgYAoc\">See Her Pee\u003c/a>.”)\u003c/p>\n\u003cp>Finally, there’s “Every Bad Religion Song,” which captures the So-Cal legends using the following formula:\u003c/p>\n\u003cp>✓A staccato delivery\u003cbr>\n✓References to scientific pursuits\u003cbr>\n✓Rolling your eyes at God\u003cbr>\n✓Relentless assonance\u003cbr>\n✓Throwing shade at mindless mainstream culture\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@gabekatz_/video/7215641460652297518\" data-video-id=\"7215641460652297518\">\n\u003csection>\u003ca title=\"@gabekatz_\" href=\"https://www.tiktok.com/@gabekatz_?refer=embed\" target=\"_blank\" rel=\"noopener\">@gabekatz_\u003c/a> Every Bad Religion song. \u003ca title=\"badreligion\" href=\"https://www.tiktok.com/tag/badreligion?refer=embed\" target=\"_blank\" rel=\"noopener\">#badreligion\u003c/a> \u003ca title=\"epitaphrecords\" href=\"https://www.tiktok.com/tag/epitaphrecords?refer=embed\" target=\"_blank\" rel=\"noopener\">#epitaphrecords\u003c/a> \u003ca title=\"punk\" href=\"https://www.tiktok.com/tag/punk?refer=embed\" target=\"_blank\" rel=\"noopener\">#punk\u003c/a> \u003ca title=\"punkrock\" href=\"https://www.tiktok.com/tag/punkrock?refer=embed\" target=\"_blank\" rel=\"noopener\">#punkrock\u003c/a> \u003ca title=\"comedyvideo\" href=\"https://www.tiktok.com/tag/comedyvideo?refer=embed\" target=\"_blank\" rel=\"noopener\">#comedyvideo\u003c/a> \u003ca title=\"funny\" href=\"https://www.tiktok.com/tag/funny?refer=embed\" target=\"_blank\" rel=\"noopener\">#funny\u003c/a> \u003ca title=\"thisiswhatgetsmecancelled\" href=\"https://www.tiktok.com/tag/thisiswhatgetsmecancelled?refer=embed\" target=\"_blank\" rel=\"noopener\">#thisiswhatgetsmecancelled\u003c/a> \u003ca title=\"gabekatzcomedy\" href=\"https://www.tiktok.com/tag/gabekatzcomedy?refer=embed\" target=\"_blank\" rel=\"noopener\">#gabekatzcomedy\u003c/a> \u003ca title=\"♬ original sound - Gabe Katz\" href=\"https://www.tiktok.com/music/original-sound-7215641415353781035?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – Gabe Katz\u003c/a>\u003c/section>\n\u003cp>[tiktok]\u003c/p>\n\u003cp>(If you have no idea why this is funny, go and listen to Bad Religion’s “\u003ca href=\"https://www.youtube.com/watch?v=12kcpP-8jfM\">American Jesus\u003c/a>,” “\u003ca href=\"https://www.youtube.com/watch?v=AhzhiQA6-Aw\">Atomic Garden\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=JikOUxstTZ4\">Modern Day Catastrophists\u003c/a>.”)\u003c/p>\n\u003cp>Katz says we can definitely expect more videos like these from him in future, but asked which other bands he has in his sights, he says simply: “I cannot divulge that information at this time.”\u003c/p>\n\u003cp>Katz is hoping to move into comedy writing and voice acting full-time soon. Asked why he started making fun of these beloved bands in the first place, he is firm. “They had it coming,” he says.\u003c/p>\n\u003cp>Place your bets now on who’s got it coming next. Lagwagon? Dead Kennedys? Green Day? Pennywise? Black Flag? Fingers crossed for all of the above.\u003c/p>\u003c/blockquote>\n\u003c/blockquote>\n\n",
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"excerpt": "Gabe Katz has so far parodied Rancid, NOFX and Bad Religion on TikTok — and there’s more coming.",
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"title": "Hear Every Rancid and NOFX Song in Under Two Minutes | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>His name is \u003ca href=\"https://www.instagram.com/gabekatz_music/\">Gabe Katz\u003c/a>. He’s 37 years old and lives in Oakland. And for weeks, punks all over the Bay Area (and beyond) have been sharing his hilarious impersonations of California’s favorite punk bands.\u003c/p>\n\u003cp>Katz, a music teacher by day and \u003ca href=\"https://gabekatz1.bandcamp.com/\">guitarist\u003c/a> and punk rock drummer by night, also co-hosts \u003ca href=\"https://podcasts.apple.com/us/podcast/turd-polisher/id1513288302\">\u003cem>Turd Polisher\u003c/em>\u003c/a>: a podcast that relentlessly (and gloriously) dismantles guests’ least favorite songs of all time. In short, the man understands song structure. And punk rock. And hilarity. Which is how he came up with the now-widely shared, supremely knowing, one-minute takedowns.\u003c/p>\n\u003cp>It all started back in January with the Rancid one. “Every Rancid Song” expertly captures the essence of the East Bay quartet in five easy steps:\u003c/p>\n\u003cp>✓Enunciation that’s just a little bit British\u003cbr>\n✓Talking about walking\u003cbr>\n✓References to drab infrastructural entities\u003cbr>\n✓A vague suggestion of poverty\u003cbr>\n✓Gratuitously mentioning geographic locations (Rancid does this so often, \u003ca href=\"https://i.redd.it/qhjhwdivfnv01.jpg\">someone on Reddit made a map\u003c/a>)\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" cite=\"https://www.tiktok.com/@gabekatz_/video/7194630909063384362\" data-video-id=\"7194630909063384362\" style=\"max-width: 605px;min-width: 325px\">\n\u003csection> \u003ca target=\"_blank\" title=\"@gabekatz_\" href=\"https://www.tiktok.com/@gabekatz_?refer=embed\" rel=\"noopener\">@gabekatz_\u003c/a> Every Rancid Song \u003ca title=\"punk\" target=\"_blank\" href=\"https://www.tiktok.com/tag/punk?refer=embed\" rel=\"noopener\">#punk\u003c/a> \u003ca title=\"punkrock\" target=\"_blank\" href=\"https://www.tiktok.com/tag/punkrock?refer=embed\" rel=\"noopener\">#punkrock\u003c/a> \u003ca title=\"rancid\" target=\"_blank\" href=\"https://www.tiktok.com/tag/rancid?refer=embed\" rel=\"noopener\">#rancid\u003c/a> \u003ca title=\"rancidpunks\" target=\"_blank\" href=\"https://www.tiktok.com/tag/rancidpunks?refer=embed\" rel=\"noopener\">#rancidpunks\u003c/a> \u003ca title=\"funny\" target=\"_blank\" href=\"https://www.tiktok.com/tag/funny?refer=embed\" rel=\"noopener\">#funny\u003c/a> \u003ca title=\"music\" target=\"_blank\" href=\"https://www.tiktok.com/tag/music?refer=embed\" rel=\"noopener\">#music\u003c/a> \u003ca title=\"punkrock\" target=\"_blank\" href=\"https://www.tiktok.com/tag/punkrock?refer=embed\" rel=\"noopener\">#punkrock\u003c/a> \u003ca title=\"oakland\" target=\"_blank\" href=\"https://www.tiktok.com/tag/oakland?refer=embed\" rel=\"noopener\">#oakland\u003c/a> \u003ca title=\"hellcatrecords\" target=\"_blank\" href=\"https://www.tiktok.com/tag/hellcatrecords?refer=embed\" rel=\"noopener\">#hellcatrecords\u003c/a> \u003ca title=\"thisiswhatgetsmecancelled\" target=\"_blank\" href=\"https://www.tiktok.com/tag/thisiswhatgetsmecancelled?refer=embed\" rel=\"noopener\">#thisiswhatgetsmecancelled\u003c/a> \u003ca title=\"comedy\" target=\"_blank\" href=\"https://www.tiktok.com/tag/comedy?refer=embed\" rel=\"noopener\">#comedy\u003c/a> \u003ca target=\"_blank\" title=\"♬ original sound - Gabe Katz\" href=\"https://www.tiktok.com/music/original-sound-7194630908639759150?refer=embed\" rel=\"noopener\">♬ original sound – Gabe Katz\u003c/a> \u003c/section>\n\u003c/blockquote>\n\u003cp> \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>(If you have no idea why this is funny, go and listen to Rancid’s “\u003ca href=\"https://www.youtube.com/watch?v=j5HZ5Bd6DUY\">Olympia, WA\u003c/a>,” “\u003ca href=\"https://www.youtube.com/watch?v=bJy823DXgk4\">Lulu\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=2WOx4U3sCuQ\">Nihilism\u003c/a>.”)\u003c/p>\n\u003cp>Next up is Katz’s “Every NOFX Song,” which perfectly encapsulates the San Francisco pop punks using the following elements:\u003c/p>\n\u003cp>✓A reference to drugs\u003cbr>\n✓At least one person’s full name\u003cbr>\n✓A reference to a bar\u003cbr>\n✓A reference to another band\u003cbr>\n✓A reference to pee\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Boom!\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@gabekatz_/video/7201598891245030698\" data-video-id=\"7201598891245030698\">\n\u003csection>\u003ca title=\"@gabekatz_\" href=\"https://www.tiktok.com/@gabekatz_?refer=embed\" target=\"_blank\" rel=\"noopener\">@gabekatz_\u003c/a> Every NoFX song. \u003ca title=\"nofx\" href=\"https://www.tiktok.com/tag/nofx?refer=embed\" target=\"_blank\" rel=\"noopener\">#nofx\u003c/a> \u003ca title=\"fatmike\" href=\"https://www.tiktok.com/tag/fatmike?refer=embed\" target=\"_blank\" rel=\"noopener\">#fatmike\u003c/a> \u003ca title=\"fatmikeddude\" href=\"https://www.tiktok.com/tag/fatmikeddude?refer=embed\" target=\"_blank\" rel=\"noopener\">#fatmikeddude\u003c/a> \u003ca title=\"punk\" href=\"https://www.tiktok.com/tag/punk?refer=embed\" target=\"_blank\" rel=\"noopener\">#punk\u003c/a> \u003ca title=\"punkrock\" href=\"https://www.tiktok.com/tag/punkrock?refer=embed\" target=\"_blank\" rel=\"noopener\">#punkrock\u003c/a> \u003ca title=\"fatwreckchords\" href=\"https://www.tiktok.com/tag/fatwreckchords?refer=embed\" target=\"_blank\" rel=\"noopener\">#fatwreckchords\u003c/a> \u003ca title=\"sanfrancisco\" href=\"https://www.tiktok.com/tag/sanfrancisco?refer=embed\" target=\"_blank\" rel=\"noopener\">#sanfrancisco\u003c/a> \u003ca title=\"sf\" href=\"https://www.tiktok.com/tag/sf?refer=embed\" target=\"_blank\" rel=\"noopener\">#sf\u003c/a> \u003ca title=\"fishermanswharf\" href=\"https://www.tiktok.com/tag/fishermanswharf?refer=embed\" target=\"_blank\" rel=\"noopener\">#fishermanswharf\u003c/a> \u003ca title=\"vanswarpedtour\" href=\"https://www.tiktok.com/tag/vanswarpedtour?refer=embed\" target=\"_blank\" rel=\"noopener\">#vanswarpedtour\u003c/a> \u003ca title=\"warpedtour\" href=\"https://www.tiktok.com/tag/warpedtour?refer=embed\" target=\"_blank\" rel=\"noopener\">#warpedtour\u003c/a> \u003ca title=\"theeparkside\" href=\"https://www.tiktok.com/tag/theeparkside?refer=embed\" target=\"_blank\" rel=\"noopener\">#theeparkside\u003c/a> \u003ca title=\"funny\" href=\"https://www.tiktok.com/tag/funny?refer=embed\" target=\"_blank\" rel=\"noopener\">#funny\u003c/a> \u003ca title=\"comedyvideo\" href=\"https://www.tiktok.com/tag/comedyvideo?refer=embed\" target=\"_blank\" rel=\"noopener\">#comedyvideo\u003c/a> \u003ca title=\"music\" href=\"https://www.tiktok.com/tag/music?refer=embed\" target=\"_blank\" rel=\"noopener\">#music\u003c/a> \u003ca title=\"thisiswhatgetsmecancelled\" href=\"https://www.tiktok.com/tag/thisiswhatgetsmecancelled?refer=embed\" target=\"_blank\" rel=\"noopener\">#thisiswhatgetsmecancelled\u003c/a> \u003ca title=\"whythefuckwouldtheydothisshit\" href=\"https://www.tiktok.com/tag/whythefuckwouldtheydothisshit?refer=embed\" target=\"_blank\" rel=\"noopener\">#whythefuckwouldtheydothisshit\u003c/a> \u003ca title=\"♬ original sound - Gabe Katz\" href=\"https://www.tiktok.com/music/original-sound-7201598923704929070?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – Gabe Katz\u003c/a>\u003c/section>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>(If you have no idea why this is funny, go and listen to NOFX’s “\u003ca href=\"https://www.youtube.com/watch?v=rEZ2sha5994\">Kids of the K-Hole\u003c/a>,” “\u003ca href=\"https://www.youtube.com/watch?v=LI-Gjg_vi3A\">Seeing Double at the Triple Rock\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=O4IEFLgYAoc\">See Her Pee\u003c/a>.”)\u003c/p>\n\u003cp>Finally, there’s “Every Bad Religion Song,” which captures the So-Cal legends using the following formula:\u003c/p>\n\u003cp>✓A staccato delivery\u003cbr>\n✓References to scientific pursuits\u003cbr>\n✓Rolling your eyes at God\u003cbr>\n✓Relentless assonance\u003cbr>\n✓Throwing shade at mindless mainstream culture\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@gabekatz_/video/7215641460652297518\" data-video-id=\"7215641460652297518\">\n\u003csection>\u003ca title=\"@gabekatz_\" href=\"https://www.tiktok.com/@gabekatz_?refer=embed\" target=\"_blank\" rel=\"noopener\">@gabekatz_\u003c/a> Every Bad Religion song. \u003ca title=\"badreligion\" href=\"https://www.tiktok.com/tag/badreligion?refer=embed\" target=\"_blank\" rel=\"noopener\">#badreligion\u003c/a> \u003ca title=\"epitaphrecords\" href=\"https://www.tiktok.com/tag/epitaphrecords?refer=embed\" target=\"_blank\" rel=\"noopener\">#epitaphrecords\u003c/a> \u003ca title=\"punk\" href=\"https://www.tiktok.com/tag/punk?refer=embed\" target=\"_blank\" rel=\"noopener\">#punk\u003c/a> \u003ca title=\"punkrock\" href=\"https://www.tiktok.com/tag/punkrock?refer=embed\" target=\"_blank\" rel=\"noopener\">#punkrock\u003c/a> \u003ca title=\"comedyvideo\" href=\"https://www.tiktok.com/tag/comedyvideo?refer=embed\" target=\"_blank\" rel=\"noopener\">#comedyvideo\u003c/a> \u003ca title=\"funny\" href=\"https://www.tiktok.com/tag/funny?refer=embed\" target=\"_blank\" rel=\"noopener\">#funny\u003c/a> \u003ca title=\"thisiswhatgetsmecancelled\" href=\"https://www.tiktok.com/tag/thisiswhatgetsmecancelled?refer=embed\" target=\"_blank\" rel=\"noopener\">#thisiswhatgetsmecancelled\u003c/a> \u003ca title=\"gabekatzcomedy\" href=\"https://www.tiktok.com/tag/gabekatzcomedy?refer=embed\" target=\"_blank\" rel=\"noopener\">#gabekatzcomedy\u003c/a> \u003ca title=\"♬ original sound - Gabe Katz\" href=\"https://www.tiktok.com/music/original-sound-7215641415353781035?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – Gabe Katz\u003c/a>\u003c/section>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>(If you have no idea why this is funny, go and listen to Bad Religion’s “\u003ca href=\"https://www.youtube.com/watch?v=12kcpP-8jfM\">American Jesus\u003c/a>,” “\u003ca href=\"https://www.youtube.com/watch?v=AhzhiQA6-Aw\">Atomic Garden\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=JikOUxstTZ4\">Modern Day Catastrophists\u003c/a>.”)\u003c/p>\n\u003cp>Katz says we can definitely expect more videos like these from him in future, but asked which other bands he has in his sights, he says simply: “I cannot divulge that information at this time.”\u003c/p>\n\u003cp>Katz is hoping to move into comedy writing and voice acting full-time soon. Asked why he started making fun of these beloved bands in the first place, he is firm. “They had it coming,” he says.\u003c/p>\n\u003cp>Place your bets now on who’s got it coming next. Lagwagon? Dead Kennedys? Green Day? Pennywise? Black Flag? Fingers crossed for all of the above.\u003c/p>\u003c/blockquote>\n\u003c/blockquote>\n\n\u003c/div>\u003c/p>",
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"title": "Now Entering the 143rd Dimension: The Bay Area's Beloved BIPOC Punk Festival Returns",
"headTitle": "Now Entering the 143rd Dimension: The Bay Area’s Beloved BIPOC Punk Festival Returns | KQED",
"content": "\u003cp>From the outside, The Lab doesn’t appear especially vibrant. It’s located within an unassuming brick building in the Mission District. But on Friday evening, the experimental art and performance space will house one of the Bay Area’s most anticipated DIY punk shows of the summer: the 143rd Dimension.\u003c/p>\n\u003cp>The in-person, three-day festival returns Aug. 12–14 following a two-year break—its last iteration was entirely virtual—to center a lineup of queer Black and Brown performers, musicians and DJs. More than two dozen artists are scheduled to screen their films, perform live sets and showcase new work.\u003c/p>\n\u003cp>Previously known as \u003ca href=\"https://www.sfchronicle.com/music/article/The-Universe-Is-Lit-puts-light-on-black-and-brown-11728121.php\" target=\"_blank\" rel=\"noopener noreferrer\">The Universe is Lit\u003c/a>, the festival began in 2017 as a means to provide a safe and affirming environment for Black and Brown DIY artists to commune and celebrate each other’s existence. But Shawna Shawnté, the last remaining organizer from the festival’s original leadership, thinks of the 143rd Dimension as more than a breeding ground for DIY talent. To Shawnté, it’s an evolving entity, moving towards liberation and resisting the flattening of BIPOC identity and artistry.\u003c/p>\n\u003cfigure id=\"attachment_13838586\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2018/08/multivers-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838586\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/08/multivers-1-800x450.jpg\" alt=\"Shawna Shante Scroggins (left) and Jade Ariana Fair envision The Multivers is Illuminated as a way to celebrate black and brown punk and experimental musicians.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/multivers-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/multivers-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/multivers-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/multivers-1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/multivers-1-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/multivers-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/multivers-1-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/multivers-1-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/multivers-1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/multivers-1-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/multivers-1-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Shawna Shawnté (left) and Jade Ariana Fair, two of the festival’s original co-founders, envisioned a multi-day punk festival as a way to celebrate Black and Brown DIY musicians. \u003ccite>(Jeffie Freeman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’re never gonna get liberation by appealing to our oppressors,” says Shawnté. “That seemed like a waste of energy. Like, ‘Let’s feed into each other, let’s build into one another.’”\u003c/p>\n\u003cp>Shawnté says they hope to pass on the feeling of safety and exploration that they were provided when they first moved to the Bay Area in 2005. Through living in queer collective housing, they began exploring their sexual and gender identities. They picked up music from roommates. Years later, after becoming embedded in the DIY punk scene through performing, Shawnté and a group of friends started the Bay Area Booking Collective to organize shows that reflected the diverse communities they were part of.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We started booking shows that were focused on queer bands, Black, Indigenous and people of color across diasporas,” says Shawnté. “And then we thought, how can we make it \u003cem>more\u003c/em> queer and \u003cem>more\u003c/em> Black and Brown?”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=UUrqVXLe2-A\u003c/p>\n\u003cp>Shawnté learned more about organizing events while working at \u003ca href=\"https://www.kqed.org/arts/23032/bay_area_girls_rock_camp_how_to_spend_a_summer_rock_vacation\">Bay Area Girls Rock Camp\u003c/a>, an Oakland nonprofit dedicated to empowering young girls with music. Inspired by other punk festivals but noticing a lack of queer Black and Brown artists on their lineups, Shawnté and three other organizers assembled a free, multi-day experience for local punks to come together, share music, dance, scream and hold one another—literally and metaphorically. In 2018, The Universe is Lit became \u003ca href=\"https://www.kqed.org/arts/13838574/the-multivers-is-illuminated-festival-spotlights-black-and-brown-punks\">The Multivrs is Illuminated\u003c/a>, which organizers say reflected the festival’s shift towards honoring the full lives of each attendant and performer.\u003c/p>\n\u003cp>Many of the festival’s performers say the event has encouraged them to lean into their art. \u003ca href=\"https://www.juiceboxpburton.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Juicebox P. Burton\u003c/a>, a Black trans-fem multidisciplinary artist and the other half of this year’s organizing duo, had just started working with film when they attended The Multivrs is Illuminated in 2018. The piece they decided to screen revolved around sex work, and the reception they received at the festival felt transformative.\u003c/p>\n\u003cp>“That was the first time I had screened my film in front of people of color, Black people. And the way I felt that day, I think, is one of the main reasons why I continue to stay a filmmaker,” says Burton. “I was in tears and people understood it. At that moment, I felt like an artist. I was like, ‘Oh my God, this actually makes sense. I should keep doing this.’”\u003c/p>\n\u003cp>Burton describes herself as a late bloomer to the queer community. In her 30s, she began performing drag before delving into performance art, music and film. Now, working as an organizer, she bubbles with excitement at the prospect of recreating her 2018 experience for this year’s attendees. Recognizing the dearth of punk festivals meant to uplift queer Black and Brown artists, Burton hopes this year’s event will be meaningful for those navigating a world that views unconventionality as disadvantage.\u003c/p>\n\u003cfigure id=\"attachment_13784822\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2017/07/MayaSongbird.JazYossarian.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13784822\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/07/MayaSongbird.JazYossarian-800x587.jpg\" alt=\"a portrait of a black woman with black and blonde braides and blue and red lipstick\" width=\"800\" height=\"587\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MayaSongbird.JazYossarian.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MayaSongbird.JazYossarian-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MayaSongbird.JazYossarian-768x564.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MayaSongbird.JazYossarian-240x176.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MayaSongbird.JazYossarian-375x275.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MayaSongbird.JazYossarian-520x382.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Maya Songbird is among the returning performers at the 143rd Dimension in San Francisco. \u003ccite>(Jaz Yossarian)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://www.mayasongbird.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Maya Songbird\u003c/a>, a returning performer, rebels against the ordinary. A queer Black disco punk singer who grew up in San Francisco’s Castro District, Songbird reflects her persona in her songs: lurid and witchy, haunting and sensual. She begins each of her shows with a magic ritual to set a mood.\u003c/p>\n\u003cp>“We don’t do shyness,” says Songbird. “We’re gonna dance. We’re gonna leave whatever stress, worries we had for the day at the door because we came here to turn up.”\u003c/p>\n\u003cp>The festival has also been a stable source of funding for Songbird. DIY artist spaces in the Bay Area have a long history of being underfunded, an issue that has only been exacerbated by tragedies like the 2016 Ghost Ship fire and the pandemic. So to Songbird, the festival is a necessary fixture of the scene. It provides a chance to be “paid decently” and to connect with fellow artists and new supporters. The 143rd Dimension represents hope and empowerment, says the artist, and is a movement she wants to be part of for a very long time.\u003c/p>\n\u003cp>“I hope I’m like 70 years old, talking about ‘This is my year number 55!’” she says.\u003c/p>\n\u003cp>For newer festival performers, the 143rd Dimension might be a chance to experiment with their most authentic selves. \u003ca href=\"https://lbxx.onuniverse.com/\" target=\"_blank\" rel=\"noopener noreferrer\">LBXX\u003c/a> (pronounced Lunchbox), an emerging queer hip-hop artist, has come a long way since he moved to the Bay in 2018 and began releasing music.\u003c/p>\n\u003cp>His stage name comes from his experience as an educator, a stint where some of his fondest memories were formed when serving food to young students as a “lunch lady.”\u003c/p>\n\u003cp>“That was the only time that every kid in the building was really happy to see you, no matter what,” he says.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BQ0kwrtAEag\u003c/p>\n\u003cp>As he prepares to perform new singles from his sophomore EP \u003ci>Ready to Dine\u003c/i>, LBXX is also looking forward to fostering friendships with fellow queer Black and Brown artists. Most of all, he yearns for the crowds, for the opportunity to command their attention and make sure his name reverberates in their minds long after.\u003c/p>\n\u003cp>“So I hope the girls are ready,” he says. “I’m gonna bring that energy.”\u003c/p>\n\u003cp>\u003ca href=\"https://mirroredfatality.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Mirrored fatality\u003c/a>, an underground Kapampangan and South Asian nonbinary duo, create experimental noise punk music that includes spoken word, film and performance art.\u003c/p>\n\u003cp>Together, Samar and Mango form “cocoon webs,” portals of ambient sound meant to protect and embrace anyone who interacts with them. The duo describe themselves as farmers, educators, musicians and organizers; woven into their music are themes of community, mutual aid, prison abolition and anti-imperialist education. With the 143rd Dimension, they’ve found new ground for planting roots—all part of their mission to create love and security in queer BIPOC communities.\u003c/p>\n\u003cfigure id=\"attachment_13917538\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917538\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Screen-Shot-2022-08-11-at-7.02.19-PM-800x775.png\" alt=\"\" width=\"800\" height=\"775\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-11-at-7.02.19-PM-800x775.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-11-at-7.02.19-PM-1020x988.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-11-at-7.02.19-PM-160x155.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-11-at-7.02.19-PM-768x744.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-11-at-7.02.19-PM-1536x1488.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-11-at-7.02.19-PM.png 1606w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mirrored fatality, an experimental noise punk duo, will perform at the 143rd Dimension festival this weekend. \u003ccite>(Ian Castro )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We live in a world that does not necessarily value our creative labor or our expression or create a space that specifically centers us,” says Samar. So the festival “feels like such a huge gift.”\u003c/p>\n\u003cp>“All of the labor and time that went into bringing all of us together, and being able to bear witness to that, feels really special,” Samar continues.\u003c/p>\n\u003cp>Mirrored fatality says their artistry is defined by the ways they’ve received support from other queer Black and Brown folks, including housing and rehearsal spaces, food and kinship. Describing themselves as mycelium, roots and air—always intertwined and connected—mirrored fatality adapt depending on the needs of their audience: visceral and hardcore in some spaces, tender and intimate in others.\u003c/p>\n\u003cp>“It’s not just about our performance on stage, it’s also about who we’re playing with,” says Mango. “So if we know everyone on the lineup is QTBIPOC, we’re going to come prepared with bottles of water. We’re going to come prepared with three bags of fruit. We’re going to come prepared with snacks and incense and gifts and spoil everyone, because every fucking person on that lineup needs to be spoiled today.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.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>\u003cem>The 143rd Dimension takes place Aug. 12-14, with the first two days being held at \u003ca href=\"https://www.thelab.org/\">The Lab\u003c/a> in San Francisco, and the final day at a secret Oakland location. More information \u003ca href=\"https://www.instagram.com/143rd_dimension/\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>From the outside, The Lab doesn’t appear especially vibrant. It’s located within an unassuming brick building in the Mission District. But on Friday evening, the experimental art and performance space will house one of the Bay Area’s most anticipated DIY punk shows of the summer: the 143rd Dimension.\u003c/p>\n\u003cp>The in-person, three-day festival returns Aug. 12–14 following a two-year break—its last iteration was entirely virtual—to center a lineup of queer Black and Brown performers, musicians and DJs. More than two dozen artists are scheduled to screen their films, perform live sets and showcase new work.\u003c/p>\n\u003cp>Previously known as \u003ca href=\"https://www.sfchronicle.com/music/article/The-Universe-Is-Lit-puts-light-on-black-and-brown-11728121.php\" target=\"_blank\" rel=\"noopener noreferrer\">The Universe is Lit\u003c/a>, the festival began in 2017 as a means to provide a safe and affirming environment for Black and Brown DIY artists to commune and celebrate each other’s existence. But Shawna Shawnté, the last remaining organizer from the festival’s original leadership, thinks of the 143rd Dimension as more than a breeding ground for DIY talent. To Shawnté, it’s an evolving entity, moving towards liberation and resisting the flattening of BIPOC identity and artistry.\u003c/p>\n\u003cfigure id=\"attachment_13838586\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2018/08/multivers-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838586\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/08/multivers-1-800x450.jpg\" alt=\"Shawna Shante Scroggins (left) and Jade Ariana Fair envision The Multivers is Illuminated as a way to celebrate black and brown punk and experimental musicians.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/multivers-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/multivers-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/multivers-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/multivers-1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/multivers-1-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/multivers-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/multivers-1-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/multivers-1-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/multivers-1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/multivers-1-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/multivers-1-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Shawna Shawnté (left) and Jade Ariana Fair, two of the festival’s original co-founders, envisioned a multi-day punk festival as a way to celebrate Black and Brown DIY musicians. \u003ccite>(Jeffie Freeman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’re never gonna get liberation by appealing to our oppressors,” says Shawnté. “That seemed like a waste of energy. Like, ‘Let’s feed into each other, let’s build into one another.’”\u003c/p>\n\u003cp>Shawnté says they hope to pass on the feeling of safety and exploration that they were provided when they first moved to the Bay Area in 2005. Through living in queer collective housing, they began exploring their sexual and gender identities. They picked up music from roommates. Years later, after becoming embedded in the DIY punk scene through performing, Shawnté and a group of friends started the Bay Area Booking Collective to organize shows that reflected the diverse communities they were part of.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We started booking shows that were focused on queer bands, Black, Indigenous and people of color across diasporas,” says Shawnté. “And then we thought, how can we make it \u003cem>more\u003c/em> queer and \u003cem>more\u003c/em> Black and Brown?”\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/UUrqVXLe2-A'\n title='//www.youtube.com/embed/UUrqVXLe2-A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Shawnté learned more about organizing events while working at \u003ca href=\"https://www.kqed.org/arts/23032/bay_area_girls_rock_camp_how_to_spend_a_summer_rock_vacation\">Bay Area Girls Rock Camp\u003c/a>, an Oakland nonprofit dedicated to empowering young girls with music. Inspired by other punk festivals but noticing a lack of queer Black and Brown artists on their lineups, Shawnté and three other organizers assembled a free, multi-day experience for local punks to come together, share music, dance, scream and hold one another—literally and metaphorically. In 2018, The Universe is Lit became \u003ca href=\"https://www.kqed.org/arts/13838574/the-multivers-is-illuminated-festival-spotlights-black-and-brown-punks\">The Multivrs is Illuminated\u003c/a>, which organizers say reflected the festival’s shift towards honoring the full lives of each attendant and performer.\u003c/p>\n\u003cp>Many of the festival’s performers say the event has encouraged them to lean into their art. \u003ca href=\"https://www.juiceboxpburton.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Juicebox P. Burton\u003c/a>, a Black trans-fem multidisciplinary artist and the other half of this year’s organizing duo, had just started working with film when they attended The Multivrs is Illuminated in 2018. The piece they decided to screen revolved around sex work, and the reception they received at the festival felt transformative.\u003c/p>\n\u003cp>“That was the first time I had screened my film in front of people of color, Black people. And the way I felt that day, I think, is one of the main reasons why I continue to stay a filmmaker,” says Burton. “I was in tears and people understood it. At that moment, I felt like an artist. I was like, ‘Oh my God, this actually makes sense. I should keep doing this.’”\u003c/p>\n\u003cp>Burton describes herself as a late bloomer to the queer community. In her 30s, she began performing drag before delving into performance art, music and film. Now, working as an organizer, she bubbles with excitement at the prospect of recreating her 2018 experience for this year’s attendees. Recognizing the dearth of punk festivals meant to uplift queer Black and Brown artists, Burton hopes this year’s event will be meaningful for those navigating a world that views unconventionality as disadvantage.\u003c/p>\n\u003cfigure id=\"attachment_13784822\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2017/07/MayaSongbird.JazYossarian.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13784822\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/07/MayaSongbird.JazYossarian-800x587.jpg\" alt=\"a portrait of a black woman with black and blonde braides and blue and red lipstick\" width=\"800\" height=\"587\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MayaSongbird.JazYossarian.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MayaSongbird.JazYossarian-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MayaSongbird.JazYossarian-768x564.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MayaSongbird.JazYossarian-240x176.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MayaSongbird.JazYossarian-375x275.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MayaSongbird.JazYossarian-520x382.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Maya Songbird is among the returning performers at the 143rd Dimension in San Francisco. \u003ccite>(Jaz Yossarian)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://www.mayasongbird.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Maya Songbird\u003c/a>, a returning performer, rebels against the ordinary. A queer Black disco punk singer who grew up in San Francisco’s Castro District, Songbird reflects her persona in her songs: lurid and witchy, haunting and sensual. She begins each of her shows with a magic ritual to set a mood.\u003c/p>\n\u003cp>“We don’t do shyness,” says Songbird. “We’re gonna dance. We’re gonna leave whatever stress, worries we had for the day at the door because we came here to turn up.”\u003c/p>\n\u003cp>The festival has also been a stable source of funding for Songbird. DIY artist spaces in the Bay Area have a long history of being underfunded, an issue that has only been exacerbated by tragedies like the 2016 Ghost Ship fire and the pandemic. So to Songbird, the festival is a necessary fixture of the scene. It provides a chance to be “paid decently” and to connect with fellow artists and new supporters. The 143rd Dimension represents hope and empowerment, says the artist, and is a movement she wants to be part of for a very long time.\u003c/p>\n\u003cp>“I hope I’m like 70 years old, talking about ‘This is my year number 55!’” she says.\u003c/p>\n\u003cp>For newer festival performers, the 143rd Dimension might be a chance to experiment with their most authentic selves. \u003ca href=\"https://lbxx.onuniverse.com/\" target=\"_blank\" rel=\"noopener noreferrer\">LBXX\u003c/a> (pronounced Lunchbox), an emerging queer hip-hop artist, has come a long way since he moved to the Bay in 2018 and began releasing music.\u003c/p>\n\u003cp>His stage name comes from his experience as an educator, a stint where some of his fondest memories were formed when serving food to young students as a “lunch lady.”\u003c/p>\n\u003cp>“That was the only time that every kid in the building was really happy to see you, no matter what,” he says.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/BQ0kwrtAEag'\n title='//www.youtube.com/embed/BQ0kwrtAEag'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As he prepares to perform new singles from his sophomore EP \u003ci>Ready to Dine\u003c/i>, LBXX is also looking forward to fostering friendships with fellow queer Black and Brown artists. Most of all, he yearns for the crowds, for the opportunity to command their attention and make sure his name reverberates in their minds long after.\u003c/p>\n\u003cp>“So I hope the girls are ready,” he says. “I’m gonna bring that energy.”\u003c/p>\n\u003cp>\u003ca href=\"https://mirroredfatality.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Mirrored fatality\u003c/a>, an underground Kapampangan and South Asian nonbinary duo, create experimental noise punk music that includes spoken word, film and performance art.\u003c/p>\n\u003cp>Together, Samar and Mango form “cocoon webs,” portals of ambient sound meant to protect and embrace anyone who interacts with them. The duo describe themselves as farmers, educators, musicians and organizers; woven into their music are themes of community, mutual aid, prison abolition and anti-imperialist education. With the 143rd Dimension, they’ve found new ground for planting roots—all part of their mission to create love and security in queer BIPOC communities.\u003c/p>\n\u003cfigure id=\"attachment_13917538\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917538\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Screen-Shot-2022-08-11-at-7.02.19-PM-800x775.png\" alt=\"\" width=\"800\" height=\"775\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-11-at-7.02.19-PM-800x775.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-11-at-7.02.19-PM-1020x988.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-11-at-7.02.19-PM-160x155.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-11-at-7.02.19-PM-768x744.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-11-at-7.02.19-PM-1536x1488.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-11-at-7.02.19-PM.png 1606w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mirrored fatality, an experimental noise punk duo, will perform at the 143rd Dimension festival this weekend. \u003ccite>(Ian Castro )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We live in a world that does not necessarily value our creative labor or our expression or create a space that specifically centers us,” says Samar. So the festival “feels like such a huge gift.”\u003c/p>\n\u003cp>“All of the labor and time that went into bringing all of us together, and being able to bear witness to that, feels really special,” Samar continues.\u003c/p>\n\u003cp>Mirrored fatality says their artistry is defined by the ways they’ve received support from other queer Black and Brown folks, including housing and rehearsal spaces, food and kinship. Describing themselves as mycelium, roots and air—always intertwined and connected—mirrored fatality adapt depending on the needs of their audience: visceral and hardcore in some spaces, tender and intimate in others.\u003c/p>\n\u003cp>“It’s not just about our performance on stage, it’s also about who we’re playing with,” says Mango. “So if we know everyone on the lineup is QTBIPOC, we’re going to come prepared with bottles of water. We’re going to come prepared with three bags of fruit. We’re going to come prepared with snacks and incense and gifts and spoil everyone, because every fucking person on that lineup needs to be spoiled today.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.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>\u003cem>The 143rd Dimension takes place Aug. 12-14, with the first two days being held at \u003ca href=\"https://www.thelab.org/\">The Lab\u003c/a> in San Francisco, and the final day at a secret Oakland location. More information \u003ca href=\"https://www.instagram.com/143rd_dimension/\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Punk/Performance in the ’Loin’ is as Chaotic as the Scene it Seeks to Document",
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"headTitle": "‘Punk/Performance in the ’Loin’ is as Chaotic as the Scene it Seeks to Document | KQED",
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"content": "\u003cp>The \u003cem>Punk/Performance in the ’Loin\u003c/em> exhibit carries the unusual trait of being simultaneously far too much and not nearly enough.\u003c/p>\n\u003cp>Not nearly enough, because, aside from a small collection of flyers and three (wonderful as usual) \u003ca href=\"https://www.jeannemhansen.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jeanne Hansen\u003c/a> photos, there’s not much to look at. (Four screens playing experimental clips on a loop are alluring for only a matter of minutes.)\u003c/p>\n\u003cp>[aside postid='arts_13902953']Far too much because the core of the show is 13 hours of uncut video interviews, which would be a challenge to watch even from the comfort of one’s own living room. In the Tenderloin Museum, that task is even more herculean due to the format: small wall-mounted screens attached to very basic headphones with fairly short cords. The couple of chairs made available to viewers are as uninviting as the headwear.\u003c/p>\n\u003cp>That’s not to say that these interviews—all conducted by videographer Dale Hoyt—aren’t worth your time. Subjects include 15 musicians and rabble-rousers from San Francisco’s often overlooked ’80s underground punk scene. Each one is a character. All have anecdotes of the grime and danger and joy and rebellion they witnessed in the city during the period.\u003c/p>\n\u003cp>Interested parties might be tempted to expedite their visit by focusing on only one or two subjects—Ted Falcone from Flipper, say, or Connie Champagne from The Mutants. Winston Tong from Tuxedomoon perhaps. But honestly, some of the most compelling content comes from the lesser-known interviewees.\u003c/p>\n\u003cfigure id=\"attachment_13913219\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913219\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/20220510_154521-scaled-e1652306163659-800x1067.jpg\" alt=\"Three small flat screens mounted on a wall covered haphazardly with old punk flyers. Wires dangle from the screens.\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220510_154521-scaled-e1652306163659-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220510_154521-scaled-e1652306163659-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220510_154521-scaled-e1652306163659-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220510_154521-scaled-e1652306163659-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220510_154521-scaled-e1652306163659-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220510_154521-scaled-e1652306163659-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220510_154521-scaled-e1652306163659.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Top) Ted Falcone of Flipper, (Middle) Connie Champagne of the Mutants, (Bottom) Dave ‘Dog’ Swan of Longshoremen all appear on separate small screens at ‘Punk/Performance in the ‘Loin’ at the Tenderloin Museum. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Record producer John Coon shares tales of filth from the DNA Lounge. Frightwig’s Mia d’Bruzzi talks poignantly about addiction in the punk scene, and how she grappled with her own. Dominique Leslie from Animal Things shares her great love of the Tenderloin—back in the day and now. (Leslie’s anecdotes about lovable oddballs in the neighborhood are a reminder of what still makes the TL special.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the end, the best approach to \u003cem>Punk/Performance in the ’Loin\u003c/em> is to treat the video interviews as you would eavesdropping at a party. You’re never going to understand every element of the conversation you’re dipping into, and not everyone is going to hold your interest. But now and again, you’ll strike gold and pick up a conversational thread at just the right time. Luck out, and you’ll find yourself enthralled.\u003c/p>\n\u003cp>[aside postid='arts_13894169']Does the formatting of these videos sound unfinished? It is. Dale Hoyt—who himself is the subject of one of the videos in the exhibit—fell terminally ill very soon after completing all the interviews for \u003cem>Punk/Performance in the ’Loin\u003c/em>. Not well enough to give them the editing treatment himself, he asked that the interviews be presented in their raw, unedited form. The Tenderloin Museum is honoring that last wish. Hoyt died just three weeks before the exhibit went up, and its opening reception more closely resembled a celebration of life than an art show.\u003c/p>\n\u003cp>If hearing each interview in its entirety feels like a necessity—or the best way to remember Hoyt—sit tight. Each of them will be available after the exhibit, on the Tenderloin Museum’s \u003ca href=\"https://www.youtube.com/channel/UCAXQnYBYED9UxY8A_VMZGmA\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube page\u003c/a>. In the meantime, try and enjoy \u003cem>Punk/Performance in the ’Loin\u003c/em> as a reflection of San Francisco’s ’80s punk scene as it was—chaotic, messy, and a labor of love for everyone involved.\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\">\u003cem>‘Punk/Performance in the ’Loin’ is on display at the Tenderloin Museum through July 2. \u003ca href=\"http://www.tenderloinmuseum.org/tlm-art-gallery-on-view\" target=\"_blank\" rel=\"noopener noreferrer\">Exhibition details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003cem>In collaboration with the exhibit, Flipper, The Mutants and Longshoremen are performing at Great American Music Hall on Thursday, May 26 at 8pm. \u003ca href=\"https://wl.seetickets.us/event/Flipper-withFletcherofTheGarden/471968?afflky=GreatAmericanMusicHall\" target=\"_blank\" rel=\"noopener noreferrer\">Concert details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Tenderloin Museum is also holding a screening of Dale Hoyt’s work, titled ‘Once Upon a Time in the TL: Punk/Performance on Screen’ on Thursday, June 23, starting at 6:30pm. \u003ca href=\"http://www.tenderloinmuseum.org/public-programs-2022-1/2022/6/23/once-upon-a-time-sfcinematheque\" target=\"_blank\" rel=\"noopener noreferrer\">Screening details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Dale Hoyt’s final project—15 long-form interviews with ’80s punk rock characters—is on display at the Tenderloin Museum.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003cem>Punk/Performance in the ’Loin\u003c/em> exhibit carries the unusual trait of being simultaneously far too much and not nearly enough.\u003c/p>\n\u003cp>Not nearly enough, because, aside from a small collection of flyers and three (wonderful as usual) \u003ca href=\"https://www.jeannemhansen.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jeanne Hansen\u003c/a> photos, there’s not much to look at. (Four screens playing experimental clips on a loop are alluring for only a matter of minutes.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Far too much because the core of the show is 13 hours of uncut video interviews, which would be a challenge to watch even from the comfort of one’s own living room. In the Tenderloin Museum, that task is even more herculean due to the format: small wall-mounted screens attached to very basic headphones with fairly short cords. The couple of chairs made available to viewers are as uninviting as the headwear.\u003c/p>\n\u003cp>That’s not to say that these interviews—all conducted by videographer Dale Hoyt—aren’t worth your time. Subjects include 15 musicians and rabble-rousers from San Francisco’s often overlooked ’80s underground punk scene. Each one is a character. All have anecdotes of the grime and danger and joy and rebellion they witnessed in the city during the period.\u003c/p>\n\u003cp>Interested parties might be tempted to expedite their visit by focusing on only one or two subjects—Ted Falcone from Flipper, say, or Connie Champagne from The Mutants. Winston Tong from Tuxedomoon perhaps. But honestly, some of the most compelling content comes from the lesser-known interviewees.\u003c/p>\n\u003cfigure id=\"attachment_13913219\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913219\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/20220510_154521-scaled-e1652306163659-800x1067.jpg\" alt=\"Three small flat screens mounted on a wall covered haphazardly with old punk flyers. Wires dangle from the screens.\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220510_154521-scaled-e1652306163659-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220510_154521-scaled-e1652306163659-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220510_154521-scaled-e1652306163659-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220510_154521-scaled-e1652306163659-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220510_154521-scaled-e1652306163659-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220510_154521-scaled-e1652306163659-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220510_154521-scaled-e1652306163659.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Top) Ted Falcone of Flipper, (Middle) Connie Champagne of the Mutants, (Bottom) Dave ‘Dog’ Swan of Longshoremen all appear on separate small screens at ‘Punk/Performance in the ‘Loin’ at the Tenderloin Museum. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Record producer John Coon shares tales of filth from the DNA Lounge. Frightwig’s Mia d’Bruzzi talks poignantly about addiction in the punk scene, and how she grappled with her own. Dominique Leslie from Animal Things shares her great love of the Tenderloin—back in the day and now. (Leslie’s anecdotes about lovable oddballs in the neighborhood are a reminder of what still makes the TL special.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the end, the best approach to \u003cem>Punk/Performance in the ’Loin\u003c/em> is to treat the video interviews as you would eavesdropping at a party. You’re never going to understand every element of the conversation you’re dipping into, and not everyone is going to hold your interest. But now and again, you’ll strike gold and pick up a conversational thread at just the right time. Luck out, and you’ll find yourself enthralled.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Does the formatting of these videos sound unfinished? It is. Dale Hoyt—who himself is the subject of one of the videos in the exhibit—fell terminally ill very soon after completing all the interviews for \u003cem>Punk/Performance in the ’Loin\u003c/em>. Not well enough to give them the editing treatment himself, he asked that the interviews be presented in their raw, unedited form. The Tenderloin Museum is honoring that last wish. Hoyt died just three weeks before the exhibit went up, and its opening reception more closely resembled a celebration of life than an art show.\u003c/p>\n\u003cp>If hearing each interview in its entirety feels like a necessity—or the best way to remember Hoyt—sit tight. Each of them will be available after the exhibit, on the Tenderloin Museum’s \u003ca href=\"https://www.youtube.com/channel/UCAXQnYBYED9UxY8A_VMZGmA\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube page\u003c/a>. In the meantime, try and enjoy \u003cem>Punk/Performance in the ’Loin\u003c/em> as a reflection of San Francisco’s ’80s punk scene as it was—chaotic, messy, and a labor of love for everyone involved.\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\">\u003cem>‘Punk/Performance in the ’Loin’ is on display at the Tenderloin Museum through July 2. \u003ca href=\"http://www.tenderloinmuseum.org/tlm-art-gallery-on-view\" target=\"_blank\" rel=\"noopener noreferrer\">Exhibition details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003cem>In collaboration with the exhibit, Flipper, The Mutants and Longshoremen are performing at Great American Music Hall on Thursday, May 26 at 8pm. \u003ca href=\"https://wl.seetickets.us/event/Flipper-withFletcherofTheGarden/471968?afflky=GreatAmericanMusicHall\" target=\"_blank\" rel=\"noopener noreferrer\">Concert details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Tenderloin Museum is also holding a screening of Dale Hoyt’s work, titled ‘Once Upon a Time in the TL: Punk/Performance on Screen’ on Thursday, June 23, starting at 6:30pm. \u003ca href=\"http://www.tenderloinmuseum.org/public-programs-2022-1/2022/6/23/once-upon-a-time-sfcinematheque\" target=\"_blank\" rel=\"noopener noreferrer\">Screening details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Welcome to Pass the Aux, where KQED Arts & Culture brings you our favorite new tracks by Bay Area artists. Check out past entries and submit a song for future coverage \u003ca href=\"https://www.kqed.org/arts/tag/pass-the-aux\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>The last two years have been colored by loss and grief for so many—whether the literal loss of loved ones, or the profound reckoning the pandemic has forced on so many people’s careers, health, living spaces or social communities.\u003c/p>\n\u003cp>Bean Tupou, guitarist and vocalist of the Bay Area indie punk outfit \u003ca href=\"https://trythepie.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Try the Pie\u003c/a>, is no different. “I lost some family members and friends in 2020, so connecting with my family was a big part of my life during the pandemic,” says Tupou, who grew up in San Jose and moved to San Francisco in 2016. “Those losses took me a while to work through.”\u003c/p>\n\u003cp>“New Dust,” Try the Pie’s first new release since their excellent 2015 full-length \u003cem>Domestication\u003c/em>, approaches the topic with a deceptive sweetness. An uptempo, melodic grunge track with heavy guitars, harmonies and an earworm of a hook, it culminates in a cacophony of reverb before Tupou delivers the final refrain: “And it scares me to know that I’m like dust / and it scares me to know that I’m exactly what you want.” It all calls to mind the sweet-salty pull of ’90s indie titans like Juliana Hatfield or the Breeders.\u003c/p>\n\u003cp>“It’s based on fleeting thoughts someone might have specifically after a loved one dies,” says Tupou. “I think it’s more of a reflection of how beautiful it can be to be close to someone and how finite that is.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/track=2970449998/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Recorded with \u003ca href=\"https://www.kqed.org/arts/13900577/interns-turned-engineers-take-the-reins-at-sfs-historic-different-fur-studios\" target=\"_blank\" rel=\"noopener noreferrer\">Different Fur’s Grace Coleman\u003c/a> at El Studio in San Francisco, the track shows off the new full-band sound after a few years as mostly a solo act: Bailey Lupo joined the band on bass in 2015, and second guitarist Laine Barriga joined in 2018; drummer Nick Lopez and Tupou are original members.\u003c/p>\n\u003cp>“New Dust” is also Try the Pie’s first release since signing to the Philadelphia-based, queer-run label \u003ca href=\"https://getbetterrecords.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Get Better Records\u003c/a>, a move that Tupou says has opened up new possibilities for the group, adding that they have plans to release more music within the year. So no, fans won’t have to wait until 2029 for the next record. [aside postid='arts_11884077']\u003c/p>\n\u003cp>“The last seven years, personally, were a huge period of both growth and change for me, and I was definitely focused on other aspects of my life (aside from music), and I honestly felt out of practice and out of touch in some ways,” says Tupou. “Signing with them has helped me get back on the horse.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Welcome to Pass the Aux, where KQED Arts & Culture brings you our favorite new tracks by Bay Area artists. Check out past entries and submit a song for future coverage \u003ca href=\"https://www.kqed.org/arts/tag/pass-the-aux\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>The last two years have been colored by loss and grief for so many—whether the literal loss of loved ones, or the profound reckoning the pandemic has forced on so many people’s careers, health, living spaces or social communities.\u003c/p>\n\u003cp>Bean Tupou, guitarist and vocalist of the Bay Area indie punk outfit \u003ca href=\"https://trythepie.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Try the Pie\u003c/a>, is no different. “I lost some family members and friends in 2020, so connecting with my family was a big part of my life during the pandemic,” says Tupou, who grew up in San Jose and moved to San Francisco in 2016. “Those losses took me a while to work through.”\u003c/p>\n\u003cp>“New Dust,” Try the Pie’s first new release since their excellent 2015 full-length \u003cem>Domestication\u003c/em>, approaches the topic with a deceptive sweetness. An uptempo, melodic grunge track with heavy guitars, harmonies and an earworm of a hook, it culminates in a cacophony of reverb before Tupou delivers the final refrain: “And it scares me to know that I’m like dust / and it scares me to know that I’m exactly what you want.” It all calls to mind the sweet-salty pull of ’90s indie titans like Juliana Hatfield or the Breeders.\u003c/p>\n\u003cp>“It’s based on fleeting thoughts someone might have specifically after a loved one dies,” says Tupou. “I think it’s more of a reflection of how beautiful it can be to be close to someone and how finite that is.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/track=2970449998/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Recorded with \u003ca href=\"https://www.kqed.org/arts/13900577/interns-turned-engineers-take-the-reins-at-sfs-historic-different-fur-studios\" target=\"_blank\" rel=\"noopener noreferrer\">Different Fur’s Grace Coleman\u003c/a> at El Studio in San Francisco, the track shows off the new full-band sound after a few years as mostly a solo act: Bailey Lupo joined the band on bass in 2015, and second guitarist Laine Barriga joined in 2018; drummer Nick Lopez and Tupou are original members.\u003c/p>\n\u003cp>“New Dust” is also Try the Pie’s first release since signing to the Philadelphia-based, queer-run label \u003ca href=\"https://getbetterrecords.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Get Better Records\u003c/a>, a move that Tupou says has opened up new possibilities for the group, adding that they have plans to release more music within the year. So no, fans won’t have to wait until 2029 for the next record. \u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cem>This post has been updated.\u003c/em>\u003c/p>\n\u003cp>Oakland rock festival \u003ca href=\"https://mosswoodmeltdown.com/\">Mosswood Meltdown\u003c/a> has announced the full lineup for its 2023 event.\u003c/p>\n\u003cp>Set for 4th of July weekend, the festival will feature feminist electronic punk band Le Tigre, the first show in 20 years of groundbreaking riot grrrl group Bratmobile, “Supersonic” hitmakers J.J. Fad, proto-hip-hop New York group ESG, a reunion of the Oakland queercore group Gravy Train!!!!, Tina & the Total Babes, the Avengers, the Rondelles, Mika Miko, Quintron & Miss Pussycat and more.\u003c/p>\n\u003cp>Formerly known as Burger Boogaloo, \u003ca href=\"https://www.kqed.org/arts/13883674/burger-boogaloo-festival-cuts-ties-with-record-label-after-sex-abuse-allegations\">the festival underwent a rebranding\u003c/a> during the pandemic and emerged this past summer for the first time since 2019. In July, the festival bridged together generations of rock musicians, allowing newcomers like the Linda Lindas to share a stage with \u003ca href=\"https://www.kqed.org/arts/13915779/mosswood-meltdown-2022-bikini-kill-kim-gordon\">longtime performers like Bikini Kill\u003c/a>.\u003c/p>\n\u003cp>[aside label=\"Related Stories\" postID=\"arts_13915779,arts_13883674\"]For its upcoming festival, Mosswood will see the renaissance of musical acts that made splashes in the early 2000s punk scene, including the angsty bubblegum power-pop group Tina & The Total Babes. And a certain generation of local punks will be \u003cem>very\u003c/em> excited about the return of Gravy Train!!!! Featuring Bay Area multi-hyphenate \u003ca href=\"https://www.kqed.org/arts/tag/brontez-purnell\">Brontez Purnell\u003c/a>, the band made a name in the aughts with funny, raunchy, overtly queer lyrics and wildly entertaining live shows.\u003c/p>\n\u003cp>In a sea of corporate music festivals, Mosswood remains a refuge for punk and rockabilly lovers who prefer a DIY spirit and in-your-face music and expression. Once again, the festival will be hosted by filmmaking icon John Waters at Mosswood Park. \u003c/p>\n\u003cp>\u003cstrong>Full lineup:\u003c/strong>\u003c/p>\n\u003cp>Le Tigre\u003cbr>\nBratmobile\u003cbr>\nGravy Train!!!!\u003cbr>\nMika Miko\u003cbr>\nESG\u003cbr>\nTina & The Total Babes\u003cbr>\nThe Rondelles\u003cbr>\nJ.J. Fad\u003cbr>\nQuintron & Ms. Pussycat\u003cbr>\nThe Avengers\u003cbr>\nSnooper\u003cbr>\nBrower\u003cbr>\nMorgan & the Organ Donors\u003cbr>\nMemo P.S.T\u003cbr>\nCumgirl8\u003cbr>\nWarp\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.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>\u003cem>Mosswood Meltdown takes place Saturday, July 1 to Sunday, July 2, 2023 at Mosswood Park in Oakland. \u003ca href=\"https://wl.seetickets.us/event/Mosswood-Meltdown-2023/521062?afflky=MosswoodMeltdown\">More information here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"excerpt": "The beloved Oakland music festival will bring reunited punk and electroclash favorites to Mosswood Park July 1 and 2, 2023. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This post has been updated.\u003c/em>\u003c/p>\n\u003cp>Oakland rock festival \u003ca href=\"https://mosswoodmeltdown.com/\">Mosswood Meltdown\u003c/a> has announced the full lineup for its 2023 event.\u003c/p>\n\u003cp>Set for 4th of July weekend, the festival will feature feminist electronic punk band Le Tigre, the first show in 20 years of groundbreaking riot grrrl group Bratmobile, “Supersonic” hitmakers J.J. Fad, proto-hip-hop New York group ESG, a reunion of the Oakland queercore group Gravy Train!!!!, Tina & the Total Babes, the Avengers, the Rondelles, Mika Miko, Quintron & Miss Pussycat and more.\u003c/p>\n\u003cp>Formerly known as Burger Boogaloo, \u003ca href=\"https://www.kqed.org/arts/13883674/burger-boogaloo-festival-cuts-ties-with-record-label-after-sex-abuse-allegations\">the festival underwent a rebranding\u003c/a> during the pandemic and emerged this past summer for the first time since 2019. In July, the festival bridged together generations of rock musicians, allowing newcomers like the Linda Lindas to share a stage with \u003ca href=\"https://www.kqed.org/arts/13915779/mosswood-meltdown-2022-bikini-kill-kim-gordon\">longtime performers like Bikini Kill\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>For its upcoming festival, Mosswood will see the renaissance of musical acts that made splashes in the early 2000s punk scene, including the angsty bubblegum power-pop group Tina & The Total Babes. And a certain generation of local punks will be \u003cem>very\u003c/em> excited about the return of Gravy Train!!!! Featuring Bay Area multi-hyphenate \u003ca href=\"https://www.kqed.org/arts/tag/brontez-purnell\">Brontez Purnell\u003c/a>, the band made a name in the aughts with funny, raunchy, overtly queer lyrics and wildly entertaining live shows.\u003c/p>\n\u003cp>In a sea of corporate music festivals, Mosswood remains a refuge for punk and rockabilly lovers who prefer a DIY spirit and in-your-face music and expression. Once again, the festival will be hosted by filmmaking icon John Waters at Mosswood Park. \u003c/p>\n\u003cp>\u003cstrong>Full lineup:\u003c/strong>\u003c/p>\n\u003cp>Le Tigre\u003cbr>\nBratmobile\u003cbr>\nGravy Train!!!!\u003cbr>\nMika Miko\u003cbr>\nESG\u003cbr>\nTina & The Total Babes\u003cbr>\nThe Rondelles\u003cbr>\nJ.J. Fad\u003cbr>\nQuintron & Ms. Pussycat\u003cbr>\nThe Avengers\u003cbr>\nSnooper\u003cbr>\nBrower\u003cbr>\nMorgan & the Organ Donors\u003cbr>\nMemo P.S.T\u003cbr>\nCumgirl8\u003cbr>\nWarp\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.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>\u003cem>Mosswood Meltdown takes place Saturday, July 1 to Sunday, July 2, 2023 at Mosswood Park in Oakland. \u003ca href=\"https://wl.seetickets.us/event/Mosswood-Meltdown-2023/521062?afflky=MosswoodMeltdown\">More information here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "A Portal to San Francisco’s Punk Rock Past",
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"content": "\u003cp>A topless bride entering a nightclub, bouquet in one hand, cigarette in the other. Performance art presented in a literal pit on Valencia Street. A band meeting held in the sliver of space between two houses. All are moments from \u003cem>Alternative Voices—\u003c/em>an exhibit featuring black-and-white photos by \u003ca href=\"https://www.jeannemhansen.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jeanne Hansen\u003c/a>, taken in and around San Francisco’s underground 1980s punk scene.\u003c/p>\n\u003cp>Displayed on the lower level of the San Francisco Public Library and accompanied by interviews by \u003ca href=\"http://jonahraskinwriter.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jonah Raskin\u003c/a> with 16 scene regulars from the era, \u003cem>Alternative Voices\u003c/em> offers snippets from \u003ca href=\"https://www.jeannemhansen.com/books/alternative-voices\" target=\"_blank\" rel=\"noopener noreferrer\">Hansen and Raskin’s new book\u003c/a> of the same name, alongside zines, flyers and other ephemera. The exhibit works as a time machine back to a San Francisco long since vanished, and a window into the shows, protests, punk houses and venues of the period.\u003c/p>\n\u003cfigure id=\"attachment_13904502\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13904502\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Screen-Shot-2021-10-12-at-11.59.30-AM-800x532.png\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-12-at-11.59.30-AM-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-12-at-11.59.30-AM-1020x678.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-12-at-11.59.30-AM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-12-at-11.59.30-AM-768x510.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-12-at-11.59.30-AM-1536x1021.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-12-at-11.59.30-AM.png 1890w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A protest incorporating street theater by The Urban Rats, Valencia and 16th, 1983. \u003ccite>(Jeanne Hansen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[aside postid='arts_13871151']The venues, in particular, offer vivid context for where all the action used to be. Before The Stud became a beloved landmark, it was Club Nine, punk rock venue. Where Amado’s now stands at 998 Valencia, there was The Offensive—a venue perfectly in line with its next-door neighbor, the (still standing) \u003ca href=\"http://www.atasite.org/about/\" target=\"_blank\" rel=\"noopener noreferrer\">Artists’ Television Access\u003c/a> performance space. There was Club Foot in the Bayview, which spawned a house band called the \u003ca href=\"https://en.wikipedia.org/wiki/Club_Foot_Orchestra\" target=\"_blank\" rel=\"noopener noreferrer\">Club Foot Orchestra\u003c/a> that still performs today. What was once The Sound of Music at 162 Turk Street is now just another \u003ca href=\"https://www.loopnet.com/property/162-Turk-St-San-Francisco-CA-94102/06075-0339%20009/\" target=\"_blank\" rel=\"noopener noreferrer\">nondescript building\u003c/a> in the Tenderloin. And one has to wonder which apartment block on 15th and Ramona once housed a club named Attitude.\u003c/p>\n\u003cp>Most fascinating of all was The Deaf Club, upstairs at 530 Valencia (now \u003ca href=\"https://www.yelp.com/biz/los-amigos-s-f-cuisine-san-francisco\" target=\"_blank\" rel=\"noopener noreferrer\">Los Amigos\u003c/a> restaurant). By day, the venue was a community center for the deaf. By night, Daphne Hanrahan, then-manager of The Offs, would rent the club to put on punk shows. Deaf patrons quickly discovered that they loved the genre, and became regular attendees. \u003ca href=\"https://dangerousminds.net/comments/the_roots_of_san_francisco_punk_the_deaf_club_1978-1980\" target=\"_blank\" rel=\"noopener noreferrer\">Penelope Houston of The Avengers\u003c/a> (not featured in \u003cem>Alternative Voices\u003c/em>) once said of the club: “It was kind of amazing. I think they were dancing to the vibrations. The deaf people were amused that all these punks wanted to come in and rent their room and have these shows.” \u003cem>Alternative Voices\u003c/em> features footage of a 1979 show at the club, borrowed from BAMPFA.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cuteRr0eq5s&t=65s\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Where this exhibit gets stymied, however, is in its presentation of the interviews from the book. The photos lose some of their immediacy and impact because of the sheer length—and number—of interview texts also on the walls. \u003cem>Alternative Voices\u003c/em> would have greatly benefited by using select quotes from these conversations under each of the photos to contextualize them. Instead, attendees are met with scores of paragraphs from people they’ve likely never heard of.\u003c/p>\n\u003cp>The issue is exacerbated by the narrow demographics of the interview pool. Eleven of the subjects are men, five are women (two of whom come from the same band, Frightwig), and all of them appear to be white, undercutting many of their mid-interview assertions about diversity within the scene.\u003c/p>\n\u003cfigure id=\"attachment_13902959\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902959\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/Screen-Shot-2021-09-13-at-2.47.13-PM-800x526.png\" alt=\"A woman with very short, cropped hair sits behind a radio mic and audio equipment, including an old fashioned switchboard telephone. Two men stand in front of her, also with radio microphones.\" width=\"800\" height=\"526\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-13-at-2.47.13-PM-800x526.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-13-at-2.47.13-PM-1020x671.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-13-at-2.47.13-PM-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-13-at-2.47.13-PM-768x505.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-13-at-2.47.13-PM-1536x1010.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-13-at-2.47.13-PM.png 1894w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Maximumrocknroll on KPFA. (L–R) Ruth Schwartz, Jeff Bale and Tim Yohannan in Berkeley, 1983. Yohannan founded the now legendary punk fanzine in 1982. MRR Radio still puts out weekly episodes. \u003ccite>(Courtesy of San Francisco Public Library/ Jeanne M. Hansen )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When the punk scene first started, it meant everything from three-chord hardcore bands to the most experimental performance art and everything in between,” says Robin Balliger from The Appliances in her displayed interview. “There was a lot of crossover with Black music and hip-hop. That’s missing from the history.”\u003c/p>\n\u003cp>It’s also missing from this exhibition.\u003c/p>\n\u003cp>In his interview, Matt Callahan from \u003ca href=\"https://www.youtube.com/watch?v=Uv1MGqznwjA\" target=\"_blank\" rel=\"noopener noreferrer\">The Looters\u003c/a> says, “We did our best to break the music industry’s rules and undermine white supremacy, which Reagan helped to boost.” It would have been significantly more meaningful to hear more about this—and about operating in a white-dominated scene—from one of Callahan’s Black bandmates. Drummer Ahaguna Sun, for example, who currently resides in Sacramento.\u003c/p>\n\u003cfigure id=\"attachment_13904478\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13904478\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Screen-Shot-2021-10-11-at-4.50.37-PM-800x546.png\" alt=\"\" width=\"800\" height=\"546\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-11-at-4.50.37-PM-800x546.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-11-at-4.50.37-PM-1020x696.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-11-at-4.50.37-PM-160x109.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-11-at-4.50.37-PM-768x524.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-11-at-4.50.37-PM-1536x1049.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-11-at-4.50.37-PM.png 1778w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stannous Flouride attracts attention on a BART escalator, sometime in the early 1980s. \u003ccite>(Jeanne Hansen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If you’re patient enough to wade through information about people’s hometowns and schools—details best left in the book—some of the stories in \u003cem>Alternative Voices\u003c/em>‘ interviews are very entertaining.\u003c/p>\n\u003cp>Tony Labat, a local artist, shares a tale about one of the most terrifying nights of his life. “When Club Nine was about to open, I decided to do a kind of stunt, and bring attention to the event,” he says. “I climbed a flagpole about twelve feet high with the help of a ladder, and sat on a little platform for about six hours. I’m super afraid of heights and was shaking the whole time.”\u003c/p>\n\u003cp>One of Hansen’s photos captures Labat perched precariously on the top of the flagpole.\u003c/p>\n\u003cp>[aside postid='arts_13894169']\u003cem>Damage\u003c/em> writer and Deaf Club door guy Stannous Flouride offers some colorful notes about squatting. “I was part of the Suicide Club,” Flouride explains, “an early expression of urban spelunkers, who went on outings at the abandoned National Guard Armory at 15th and Mission and at the Hamm’s Brewery on 16th and Potrero. Someone got a hold of a jackhammer, which we used to take out the doors and open holes in the giant tanks, and make living spaces. Punks moved in and squatted. It became known as The Vats.” \u003cem>[Editor’s note: Punk rock memories are famously fallible. The Hamm’s brewery, and The Vats squat, was not at 16th and Potrero; it was at 1550 Bryant. The Armory was not 15th and Mission, but was and still stands at 14th and Mission.] \u003c/em>\u003c/p>\n\u003cp>Ultimately, \u003cem>Alternative Voices\u003c/em> does do a very good job at encapsulating a very specific underground moment in San Francisco history—and it benefits from staying focused on the periphery. Though Dead Kennedys and Flipper get passing mentions, the better-known San Francisco punk artists of the era are decidedly not the focus here. Hansen’s lens was, instead, trained on the scrappers and rabble-rousers at the back of the room. Because of that, the scene she presents here still feels fresh, even after 40 years.\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>\u003cem>‘Alternative Voices’ is on display at the Central Library’s Jewett Gallery through Jan. 23, 2022. \u003ca href=\"https://sfpl.org/exhibits/alternative-voices\" target=\"_blank\" rel=\"noopener noreferrer\">Exhibition details here\u003c/a>. The \u003ca href=\"https://www.jeannemhansen.com/books/alternative-voices\" target=\"_blank\" rel=\"noopener noreferrer\">‘Alternative Voices’ book\u003c/a> is out now.\u003c/em>\u003c/p>\n\n",
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"title": "Punk Rock Photos from 1980s San Francisco on View | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A topless bride entering a nightclub, bouquet in one hand, cigarette in the other. Performance art presented in a literal pit on Valencia Street. A band meeting held in the sliver of space between two houses. All are moments from \u003cem>Alternative Voices—\u003c/em>an exhibit featuring black-and-white photos by \u003ca href=\"https://www.jeannemhansen.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jeanne Hansen\u003c/a>, taken in and around San Francisco’s underground 1980s punk scene.\u003c/p>\n\u003cp>Displayed on the lower level of the San Francisco Public Library and accompanied by interviews by \u003ca href=\"http://jonahraskinwriter.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jonah Raskin\u003c/a> with 16 scene regulars from the era, \u003cem>Alternative Voices\u003c/em> offers snippets from \u003ca href=\"https://www.jeannemhansen.com/books/alternative-voices\" target=\"_blank\" rel=\"noopener noreferrer\">Hansen and Raskin’s new book\u003c/a> of the same name, alongside zines, flyers and other ephemera. The exhibit works as a time machine back to a San Francisco long since vanished, and a window into the shows, protests, punk houses and venues of the period.\u003c/p>\n\u003cfigure id=\"attachment_13904502\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13904502\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Screen-Shot-2021-10-12-at-11.59.30-AM-800x532.png\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-12-at-11.59.30-AM-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-12-at-11.59.30-AM-1020x678.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-12-at-11.59.30-AM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-12-at-11.59.30-AM-768x510.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-12-at-11.59.30-AM-1536x1021.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-12-at-11.59.30-AM.png 1890w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A protest incorporating street theater by The Urban Rats, Valencia and 16th, 1983. \u003ccite>(Jeanne Hansen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The venues, in particular, offer vivid context for where all the action used to be. Before The Stud became a beloved landmark, it was Club Nine, punk rock venue. Where Amado’s now stands at 998 Valencia, there was The Offensive—a venue perfectly in line with its next-door neighbor, the (still standing) \u003ca href=\"http://www.atasite.org/about/\" target=\"_blank\" rel=\"noopener noreferrer\">Artists’ Television Access\u003c/a> performance space. There was Club Foot in the Bayview, which spawned a house band called the \u003ca href=\"https://en.wikipedia.org/wiki/Club_Foot_Orchestra\" target=\"_blank\" rel=\"noopener noreferrer\">Club Foot Orchestra\u003c/a> that still performs today. What was once The Sound of Music at 162 Turk Street is now just another \u003ca href=\"https://www.loopnet.com/property/162-Turk-St-San-Francisco-CA-94102/06075-0339%20009/\" target=\"_blank\" rel=\"noopener noreferrer\">nondescript building\u003c/a> in the Tenderloin. And one has to wonder which apartment block on 15th and Ramona once housed a club named Attitude.\u003c/p>\n\u003cp>Most fascinating of all was The Deaf Club, upstairs at 530 Valencia (now \u003ca href=\"https://www.yelp.com/biz/los-amigos-s-f-cuisine-san-francisco\" target=\"_blank\" rel=\"noopener noreferrer\">Los Amigos\u003c/a> restaurant). By day, the venue was a community center for the deaf. By night, Daphne Hanrahan, then-manager of The Offs, would rent the club to put on punk shows. Deaf patrons quickly discovered that they loved the genre, and became regular attendees. \u003ca href=\"https://dangerousminds.net/comments/the_roots_of_san_francisco_punk_the_deaf_club_1978-1980\" target=\"_blank\" rel=\"noopener noreferrer\">Penelope Houston of The Avengers\u003c/a> (not featured in \u003cem>Alternative Voices\u003c/em>) once said of the club: “It was kind of amazing. I think they were dancing to the vibrations. The deaf people were amused that all these punks wanted to come in and rent their room and have these shows.” \u003cem>Alternative Voices\u003c/em> features footage of a 1979 show at the club, borrowed from BAMPFA.\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/cuteRr0eq5s'\n title='//www.youtube.com/embed/cuteRr0eq5s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Where this exhibit gets stymied, however, is in its presentation of the interviews from the book. The photos lose some of their immediacy and impact because of the sheer length—and number—of interview texts also on the walls. \u003cem>Alternative Voices\u003c/em> would have greatly benefited by using select quotes from these conversations under each of the photos to contextualize them. Instead, attendees are met with scores of paragraphs from people they’ve likely never heard of.\u003c/p>\n\u003cp>The issue is exacerbated by the narrow demographics of the interview pool. Eleven of the subjects are men, five are women (two of whom come from the same band, Frightwig), and all of them appear to be white, undercutting many of their mid-interview assertions about diversity within the scene.\u003c/p>\n\u003cfigure id=\"attachment_13902959\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902959\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/Screen-Shot-2021-09-13-at-2.47.13-PM-800x526.png\" alt=\"A woman with very short, cropped hair sits behind a radio mic and audio equipment, including an old fashioned switchboard telephone. Two men stand in front of her, also with radio microphones.\" width=\"800\" height=\"526\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-13-at-2.47.13-PM-800x526.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-13-at-2.47.13-PM-1020x671.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-13-at-2.47.13-PM-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-13-at-2.47.13-PM-768x505.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-13-at-2.47.13-PM-1536x1010.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/Screen-Shot-2021-09-13-at-2.47.13-PM.png 1894w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Maximumrocknroll on KPFA. (L–R) Ruth Schwartz, Jeff Bale and Tim Yohannan in Berkeley, 1983. Yohannan founded the now legendary punk fanzine in 1982. MRR Radio still puts out weekly episodes. \u003ccite>(Courtesy of San Francisco Public Library/ Jeanne M. Hansen )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When the punk scene first started, it meant everything from three-chord hardcore bands to the most experimental performance art and everything in between,” says Robin Balliger from The Appliances in her displayed interview. “There was a lot of crossover with Black music and hip-hop. That’s missing from the history.”\u003c/p>\n\u003cp>It’s also missing from this exhibition.\u003c/p>\n\u003cp>In his interview, Matt Callahan from \u003ca href=\"https://www.youtube.com/watch?v=Uv1MGqznwjA\" target=\"_blank\" rel=\"noopener noreferrer\">The Looters\u003c/a> says, “We did our best to break the music industry’s rules and undermine white supremacy, which Reagan helped to boost.” It would have been significantly more meaningful to hear more about this—and about operating in a white-dominated scene—from one of Callahan’s Black bandmates. Drummer Ahaguna Sun, for example, who currently resides in Sacramento.\u003c/p>\n\u003cfigure id=\"attachment_13904478\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13904478\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/Screen-Shot-2021-10-11-at-4.50.37-PM-800x546.png\" alt=\"\" width=\"800\" height=\"546\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-11-at-4.50.37-PM-800x546.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-11-at-4.50.37-PM-1020x696.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-11-at-4.50.37-PM-160x109.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-11-at-4.50.37-PM-768x524.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-11-at-4.50.37-PM-1536x1049.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/Screen-Shot-2021-10-11-at-4.50.37-PM.png 1778w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stannous Flouride attracts attention on a BART escalator, sometime in the early 1980s. \u003ccite>(Jeanne Hansen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If you’re patient enough to wade through information about people’s hometowns and schools—details best left in the book—some of the stories in \u003cem>Alternative Voices\u003c/em>‘ interviews are very entertaining.\u003c/p>\n\u003cp>Tony Labat, a local artist, shares a tale about one of the most terrifying nights of his life. “When Club Nine was about to open, I decided to do a kind of stunt, and bring attention to the event,” he says. “I climbed a flagpole about twelve feet high with the help of a ladder, and sat on a little platform for about six hours. I’m super afraid of heights and was shaking the whole time.”\u003c/p>\n\u003cp>One of Hansen’s photos captures Labat perched precariously on the top of the flagpole.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Damage\u003c/em> writer and Deaf Club door guy Stannous Flouride offers some colorful notes about squatting. “I was part of the Suicide Club,” Flouride explains, “an early expression of urban spelunkers, who went on outings at the abandoned National Guard Armory at 15th and Mission and at the Hamm’s Brewery on 16th and Potrero. Someone got a hold of a jackhammer, which we used to take out the doors and open holes in the giant tanks, and make living spaces. Punks moved in and squatted. It became known as The Vats.” \u003cem>[Editor’s note: Punk rock memories are famously fallible. The Hamm’s brewery, and The Vats squat, was not at 16th and Potrero; it was at 1550 Bryant. The Armory was not 15th and Mission, but was and still stands at 14th and Mission.] \u003c/em>\u003c/p>\n\u003cp>Ultimately, \u003cem>Alternative Voices\u003c/em> does do a very good job at encapsulating a very specific underground moment in San Francisco history—and it benefits from staying focused on the periphery. Though Dead Kennedys and Flipper get passing mentions, the better-known San Francisco punk artists of the era are decidedly not the focus here. Hansen’s lens was, instead, trained on the scrappers and rabble-rousers at the back of the room. Because of that, the scene she presents here still feels fresh, even after 40 years.\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>\u003cem>‘Alternative Voices’ is on display at the Central Library’s Jewett Gallery through Jan. 23, 2022. \u003ca href=\"https://sfpl.org/exhibits/alternative-voices\" target=\"_blank\" rel=\"noopener noreferrer\">Exhibition details here\u003c/a>. The \u003ca href=\"https://www.jeannemhansen.com/books/alternative-voices\" target=\"_blank\" rel=\"noopener noreferrer\">‘Alternative Voices’ book\u003c/a> is out now.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Destroy Boys' 'Locker Room Bully' is a Riot Grrrl Outburst Tailor-Made for Gen Z",
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"content": "\u003cp>\u003cem>Welcome to Pass the Aux, where every week we feature new music by Bay Area artists. Check out past entries and submit a song for future coverage \u003ca href=\"https://www.kqed.org/arts/tag/pass-the-aux\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>In July, \u003ca href=\"https://www.destroydestroyboys.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Destroy Boys\u003c/a> released “\u003ca href=\"https://www.youtube.com/watch?v=o_jFJDMTWFc\" target=\"_blank\" rel=\"noopener noreferrer\">Drink\u003c/a>“—a single that seamlessly combined sparkling guitar pop with an undercurrent of impending doom. The track was about the struggle of breaking alcoholic cycles, but its incumbent anxiety was the perfect soundtrack for anyone suffering from reopening jitters.\u003c/p>\n\u003cp>The trio—vocalist/guitarist Alexia Roditis, guitarist Violet Mayugba and drummer Narsai Malik—has been excellent at reading the zeitgeist and reflecting it right back, ever since they came together in Sacramento back in 2015. And these three college-aged kids—now based in Oakland and San Francisco—have never been shy about venting. That much has been apparent since their 2017 debut album, \u003cem>Sorry Mom\u003c/em>. (Check out “\u003ca href=\"https://www.youtube.com/watch?v=TbngYdFIxTc\" target=\"_blank\" rel=\"noopener noreferrer\">I Threw Glass at My Friend’s Eyes and Now I’m on Probation\u003c/a>” for evidence. The song, about dealing with romantic attention from an older man, was written when Roditis was still in high school.)\u003c/p>\n\u003cp>Now, Destroy Boys is back with their second single in less than two months. “Locker Room Bully” is a defiant, riot grrrl-inspired, proverbial middle finger that offers a swift takedown to petty-minded interlopers. The accompanying video takes the song’s themes about social media toxicity and transforms them into a literal witch hunt, unfolding against a gloomy San Francisco backdrop.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DgXuGzWPgOM\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The single is another taste of what’s to come from Destroy Boys’ third album, \u003ca href=\"https://hopelessrecords.myshopify.com/collections/destroy-boys/products/deboohomgb-lp\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Open Mouth, Open Heart\u003c/em>\u003c/a>—out on Oct. 8, via \u003ca href=\"https://www.hopelessrecords.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hopeless Records\u003c/a>. The band is \u003ca href=\"https://www.destroydestroyboys.com/tour\" target=\"_blank\" rel=\"noopener noreferrer\">touring\u003c/a> across the US throughout August and September.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Welcome to Pass the Aux, where every week we feature new music by Bay Area artists. Check out past entries and submit a song for future coverage \u003ca href=\"https://www.kqed.org/arts/tag/pass-the-aux\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>In July, \u003ca href=\"https://www.destroydestroyboys.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Destroy Boys\u003c/a> released “\u003ca href=\"https://www.youtube.com/watch?v=o_jFJDMTWFc\" target=\"_blank\" rel=\"noopener noreferrer\">Drink\u003c/a>“—a single that seamlessly combined sparkling guitar pop with an undercurrent of impending doom. The track was about the struggle of breaking alcoholic cycles, but its incumbent anxiety was the perfect soundtrack for anyone suffering from reopening jitters.\u003c/p>\n\u003cp>The trio—vocalist/guitarist Alexia Roditis, guitarist Violet Mayugba and drummer Narsai Malik—has been excellent at reading the zeitgeist and reflecting it right back, ever since they came together in Sacramento back in 2015. And these three college-aged kids—now based in Oakland and San Francisco—have never been shy about venting. That much has been apparent since their 2017 debut album, \u003cem>Sorry Mom\u003c/em>. (Check out “\u003ca href=\"https://www.youtube.com/watch?v=TbngYdFIxTc\" target=\"_blank\" rel=\"noopener noreferrer\">I Threw Glass at My Friend’s Eyes and Now I’m on Probation\u003c/a>” for evidence. The song, about dealing with romantic attention from an older man, was written when Roditis was still in high school.)\u003c/p>\n\u003cp>Now, Destroy Boys is back with their second single in less than two months. “Locker Room Bully” is a defiant, riot grrrl-inspired, proverbial middle finger that offers a swift takedown to petty-minded interlopers. The accompanying video takes the song’s themes about social media toxicity and transforms them into a literal witch hunt, unfolding against a gloomy San Francisco backdrop.\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/DgXuGzWPgOM'\n title='//www.youtube.com/embed/DgXuGzWPgOM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>In the world of George Orwell’s \u003cem>1984\u003c/em>, citizens are monitored around the clock, eavesdropped upon by machines, and subjected to confusing political spin.\u003c/p>\n\u003cp>Sound familiar?\u003c/p>\n\u003cp>Destroy Art Inc., the curators of \u003ca href=\"https://19842020.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Welcome to 1984//2020: Punk on the Western Front\u003c/a>, noticed parallels between the 1949 novel and contemporary reality, too. And they’ve put together a huge exhibit of punk-related art to reflect that.\u003c/p>\n\u003cp>Featuring work by a multi-generational mix of punk rock creatives, \u003cem>1984//2020\u003c/em> promises to be a thought-provoking exploration of the zeitgeist, filtered through a lens that’s both historical and musical.\u003c/p>\n\u003cp>Art by established punk icons like photographer Edward Colver, Dead Kennedys legend Jello Biafra, and (appropriately named) collage specialist Winston Smith will be featured alongside a new generation of artists, including Karoline Collins, Shannon Deathless and Jason Ruggles.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Winston Smith’s recent exhibit at the Haight Street Art Center hinted at a 1984-2020 theme that promises to be expanded further here. In addition, the work of recently deceased Bay Area photographer \u003ca href=\"https://www.kqed.org/arts/13871151/murray-bowles-legendary-bay-area-punk-photographer-dies-at-68\" target=\"_blank\" rel=\"noopener noreferrer\">Murray Bowles\u003c/a> will also be on view.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As well as Feb. 29’s opening night party (7pm-midnight), an accompanying discussion follows the next day at 2pm by key artists from the exhibition, as well as a women-focused event at the gallery on Mar. 21. The WXMXN, Punk & Community discussion panel includes the likes of Alice Bag, Michelle Cruz and Kamala Parks, and will precede a screening of Amanda Silberling’s documentary \u003cem>Women in Punk\u003c/em>. —\u003cem>Rae Alexandra\u003c/em>\u003c/p>\n\n",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
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},
"science-friday": {
"id": "science-friday",
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