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"content": "\u003cp>The hippies had the \u003ca href=\"https://www.kqed.org/arts/program/summer-of-love\" target=\"_blank\" rel=\"noopener\">Summer of Love\u003c/a> in ’69, the punks had the \u003ca href=\"https://www.theguardian.com/music/2017/feb/23/punk-rock-san-francisco-jim-jocoy-order-of-appearance\" target=\"_blank\" rel=\"noopener\">“Summer of Hate”\u003c/a> in ’79, and in the early-1980s, the metalheads crashed in and took over. Of all the music scenes the Bay Area spawned over the past half-century, thrash metal has proven to be simultaneously one of the most prominent and one of the most publicly unsung. The new documentary \u003ca href=\"https://mitfr.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Murder in the Front Row\u003c/em>\u003c/a> is here to change that.\u003c/p>\n\u003cp>Having premiered to screaming, sold-out audiences at \u003ca href=\"https://prod3.agileticketing.net/websales/pages/list.aspx?epguid=c38c6c79-7580-4652-a103-3e55898dcc8b&view=tiles3&page=2&\">SF Doc Fest\u003c/a>, this love letter to Metallica, Megadeth, Slayer and many more—based on a \u003ca href=\"https://www.amazon.com/Murder-Front-Row-Thrash-Epicenter/dp/1935950037/ref=sr_1_1?crid=G2AG0X0C3AH5&keywords=murder+in+the+front+row+book&qid=1566119469&s=gateway&sprefix=murder+in+the+front+row%2Caps%2C242&sr=8-1\" target=\"_blank\" rel=\"noopener\">2012 book\u003c/a> of the same name by Harald Oimoen and Brian Lew—is returning for three September screenings: at San Francisco’s Alamo Drafthouse and Roxie Theater, as well as Oakland’s Regal Jack London.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LiEQF2aXoY4\u003c/p>\n\u003cp>Filmmaker and director Adam Dubin—previously responsible for the Beastie Boys music video “\u003ca href=\"https://www.youtube.com/watch?v=eBShN8qT4lk\" target=\"_blank\" rel=\"noopener\">(You Gotta) Fight for Your Right (to Party!)\u003c/a>” and the Metallica documentary \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/A_Year_and_a_Half_in_the_Life_of_Metallica\" target=\"_blank\" rel=\"noopener\">A Year and a Half in the Life of Metallica\u003c/a>\u003c/em>—spent three years putting the film together, and was stunned by the degree of emotion present in the final product. “This music … it’s very harsh, very fast music,” \u003ca href=\"https://www.youtube.com/watch?v=W2JLdznlIOM\" target=\"_blank\" rel=\"noopener\">Dubin told KPIX\u003c/a> before the premiere, “but what was surprising and what I think comes through in the film is that there’s actually a warm, fuzzy, beating heart in the scene. The fans [and] musicians all kind of took care of each other.”\u003c/p>\n\u003cp>The movie, which takes its name from the 1985 Exodus track “\u003ca href=\"https://www.youtube.com/watch?v=tTdGnKB8j7U\" target=\"_blank\" rel=\"noopener\">Bonded By Blood\u003c/a>,” combines rare footage, extensive interviews, vintage photos and new animation to tell the expansive story.\u003c/p>\n\u003cfigure id=\"attachment_13864423\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864423\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/maxresdefault-800x450.jpg\" alt=\"Art by M. Wartella, based on "classic hand-drawn metal posters," as featured in the documentary, 'Murder in the Front Row.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Art by M. Wartella, based on “classic hand-drawn metal posters,” as featured in the documentary, ‘Murder in the Front Row.’ \u003ccite>(YouTube/'Murder in the Front Row')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There were so many personal stories from Bay Area legends here, that Adam needed a way to bring all these tales to life,” animation director \u003ca href=\"https://ackxhpaez.com/animation.html\" target=\"_blank\" rel=\"noopener\">M. Wartella\u003c/a> told KQED Arts. “To give you one example, there were people like this guy Ron “Skitchie” Burch, who was kind of a metal Pied Piper in the ’80s on Telegraph Avenue. He introduced all the key players to each other—they’d hang out listening to the Scorpions and Motörhead on Strawberry Hill in Golden Gate Park—but there weren’t a lot of photos of him. So animating a drawing of him coming to life was kind of magical and a pure honor.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Murder in the Front Row\u003c/em> promises to capture the complexities of this underground scene as it scrabbled its way together, expanded and exploded, and eventually found its way to an international audience, changing heavy metal forever. “You’ll laugh, you’ll cry, you’ll definitely become an Exodus fan,” M. Wartella smiles. “This is one of those films that is in a super-limited run too. So if it’s playing anywhere within a 120-mile radius of you? You have to be there.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>—\u003cem>Rae Alexandra\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The hippies had the \u003ca href=\"https://www.kqed.org/arts/program/summer-of-love\" target=\"_blank\" rel=\"noopener\">Summer of Love\u003c/a> in ’69, the punks had the \u003ca href=\"https://www.theguardian.com/music/2017/feb/23/punk-rock-san-francisco-jim-jocoy-order-of-appearance\" target=\"_blank\" rel=\"noopener\">“Summer of Hate”\u003c/a> in ’79, and in the early-1980s, the metalheads crashed in and took over. Of all the music scenes the Bay Area spawned over the past half-century, thrash metal has proven to be simultaneously one of the most prominent and one of the most publicly unsung. The new documentary \u003ca href=\"https://mitfr.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Murder in the Front Row\u003c/em>\u003c/a> is here to change that.\u003c/p>\n\u003cp>Having premiered to screaming, sold-out audiences at \u003ca href=\"https://prod3.agileticketing.net/websales/pages/list.aspx?epguid=c38c6c79-7580-4652-a103-3e55898dcc8b&view=tiles3&page=2&\">SF Doc Fest\u003c/a>, this love letter to Metallica, Megadeth, Slayer and many more—based on a \u003ca href=\"https://www.amazon.com/Murder-Front-Row-Thrash-Epicenter/dp/1935950037/ref=sr_1_1?crid=G2AG0X0C3AH5&keywords=murder+in+the+front+row+book&qid=1566119469&s=gateway&sprefix=murder+in+the+front+row%2Caps%2C242&sr=8-1\" target=\"_blank\" rel=\"noopener\">2012 book\u003c/a> of the same name by Harald Oimoen and Brian Lew—is returning for three September screenings: at San Francisco’s Alamo Drafthouse and Roxie Theater, as well as Oakland’s Regal Jack London.\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/LiEQF2aXoY4'\n title='//www.youtube.com/embed/LiEQF2aXoY4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Filmmaker and director Adam Dubin—previously responsible for the Beastie Boys music video “\u003ca href=\"https://www.youtube.com/watch?v=eBShN8qT4lk\" target=\"_blank\" rel=\"noopener\">(You Gotta) Fight for Your Right (to Party!)\u003c/a>” and the Metallica documentary \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/A_Year_and_a_Half_in_the_Life_of_Metallica\" target=\"_blank\" rel=\"noopener\">A Year and a Half in the Life of Metallica\u003c/a>\u003c/em>—spent three years putting the film together, and was stunned by the degree of emotion present in the final product. “This music … it’s very harsh, very fast music,” \u003ca href=\"https://www.youtube.com/watch?v=W2JLdznlIOM\" target=\"_blank\" rel=\"noopener\">Dubin told KPIX\u003c/a> before the premiere, “but what was surprising and what I think comes through in the film is that there’s actually a warm, fuzzy, beating heart in the scene. The fans [and] musicians all kind of took care of each other.”\u003c/p>\n\u003cp>The movie, which takes its name from the 1985 Exodus track “\u003ca href=\"https://www.youtube.com/watch?v=tTdGnKB8j7U\" target=\"_blank\" rel=\"noopener\">Bonded By Blood\u003c/a>,” combines rare footage, extensive interviews, vintage photos and new animation to tell the expansive story.\u003c/p>\n\u003cfigure id=\"attachment_13864423\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864423\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/maxresdefault-800x450.jpg\" alt=\"Art by M. Wartella, based on "classic hand-drawn metal posters," as featured in the documentary, 'Murder in the Front Row.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Art by M. Wartella, based on “classic hand-drawn metal posters,” as featured in the documentary, ‘Murder in the Front Row.’ \u003ccite>(YouTube/'Murder in the Front Row')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There were so many personal stories from Bay Area legends here, that Adam needed a way to bring all these tales to life,” animation director \u003ca href=\"https://ackxhpaez.com/animation.html\" target=\"_blank\" rel=\"noopener\">M. Wartella\u003c/a> told KQED Arts. “To give you one example, there were people like this guy Ron “Skitchie” Burch, who was kind of a metal Pied Piper in the ’80s on Telegraph Avenue. He introduced all the key players to each other—they’d hang out listening to the Scorpions and Motörhead on Strawberry Hill in Golden Gate Park—but there weren’t a lot of photos of him. So animating a drawing of him coming to life was kind of magical and a pure honor.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Metallica's Secret Deal with Live Nation Reveals How Artists Scalp Their Own Tickets",
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"content": "\u003cp>You know that frustration when concert tickets you want finally go on sale, but they immediately sell out and are already on StubHub a split second later due to scalpers?\u003c/p>\n\u003cp>New evidence shows you might want to blame the band for scalping their own tickets.\u003c/p>\n\u003cp>A leaked recording of a phone call between a consultant who works with Metallica and a Live Nation executive reveals what’s long been talked about behind closed doors: that the promotions giant Live Nation—which also owns Ticketmaster—teams up with artists to resell their own tickets for a higher price on the secondary market through backdoor deals.\u003c/p>\n\u003cp>As \u003ca href=\"https://www.billboard.com/articles/business/8521538/live-nation-resale-market-secretly-recorded-phone-calls-concert-tickets?fbclid=IwAR0_I5VA8hTTjBnWm3uTbFDy9wRUF5hgKq1xoP5G1-dyxEYcbo38if6SI18\" target=\"_blank\" rel=\"noopener\">Billboard’s Dave Brooks and Hannah Karp\u003c/a> first reported today, Tony DiCioccio coordinated with Live Nation to place 88,000 tickets from Metallica’s WorldWired North American tour on StubHub and other resale sites instead of giving fans a chance to buy them directly.\u003c/p>\n\u003cp>The hush-hush deal was conducted through surreptitious accounts, set up similarly to those of fan clubs and sponsors that receive large ticket quantities in exchange for helping promote tours. When Billboard reporters confronted Live Nation with the leaked phone tape, which was recorded by Vaughn Millette of Live Nation competitor Outback Presents, the company copped to the practice, stating that in 2016 and 2017, “about a dozen artists out of the thousands we work with asked us to do this.” (Live Nation representatives contend that the practice has dwindled as artists have found new ways to recover lost revenue, such as tiered pricing for premium seats and expensive VIP packages.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Live Nation’s admission runs contrary to Ticketmaster’s previous statement: as Brooks and Karp pointed out, Ticketmaster executives denied funneling tickets to resale sites as recently as 2018.\u003c/p>\n\u003cp>Industry experts quoted in Billboard’s report say the situation illustrates a catch-22 that major artists face amid the rise of ticket resale sites. When artists keep prices low for fans, it’s easier for scalpers to scoop tickets up and resell them for profit. Raise prices, and the artists risk looking greedy and turning off their base.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But are secret deals that inflate prices and make shows less accessible to the average fan really the answer? Read the \u003ca href=\"https://www.billboard.com/articles/business/8521538/live-nation-resale-market-secretly-recorded-phone-calls-concert-tickets?fbclid=IwAR0_I5VA8hTTjBnWm3uTbFDy9wRUF5hgKq1xoP5G1-dyxEYcbo38if6SI18\" target=\"_blank\" rel=\"noopener\">Billboard story here\u003c/a> to learn more.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You know that frustration when concert tickets you want finally go on sale, but they immediately sell out and are already on StubHub a split second later due to scalpers?\u003c/p>\n\u003cp>New evidence shows you might want to blame the band for scalping their own tickets.\u003c/p>\n\u003cp>A leaked recording of a phone call between a consultant who works with Metallica and a Live Nation executive reveals what’s long been talked about behind closed doors: that the promotions giant Live Nation—which also owns Ticketmaster—teams up with artists to resell their own tickets for a higher price on the secondary market through backdoor deals.\u003c/p>\n\u003cp>As \u003ca href=\"https://www.billboard.com/articles/business/8521538/live-nation-resale-market-secretly-recorded-phone-calls-concert-tickets?fbclid=IwAR0_I5VA8hTTjBnWm3uTbFDy9wRUF5hgKq1xoP5G1-dyxEYcbo38if6SI18\" target=\"_blank\" rel=\"noopener\">Billboard’s Dave Brooks and Hannah Karp\u003c/a> first reported today, Tony DiCioccio coordinated with Live Nation to place 88,000 tickets from Metallica’s WorldWired North American tour on StubHub and other resale sites instead of giving fans a chance to buy them directly.\u003c/p>\n\u003cp>The hush-hush deal was conducted through surreptitious accounts, set up similarly to those of fan clubs and sponsors that receive large ticket quantities in exchange for helping promote tours. When Billboard reporters confronted Live Nation with the leaked phone tape, which was recorded by Vaughn Millette of Live Nation competitor Outback Presents, the company copped to the practice, stating that in 2016 and 2017, “about a dozen artists out of the thousands we work with asked us to do this.” (Live Nation representatives contend that the practice has dwindled as artists have found new ways to recover lost revenue, such as tiered pricing for premium seats and expensive VIP packages.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Live Nation’s admission runs contrary to Ticketmaster’s previous statement: as Brooks and Karp pointed out, Ticketmaster executives denied funneling tickets to resale sites as recently as 2018.\u003c/p>\n\u003cp>Industry experts quoted in Billboard’s report say the situation illustrates a catch-22 that major artists face amid the rise of ticket resale sites. When artists keep prices low for fans, it’s easier for scalpers to scoop tickets up and resell them for profit. Raise prices, and the artists risk looking greedy and turning off their base.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But are secret deals that inflate prices and make shows less accessible to the average fan really the answer? Read the \u003ca href=\"https://www.billboard.com/articles/business/8521538/live-nation-resale-market-secretly-recorded-phone-calls-concert-tickets?fbclid=IwAR0_I5VA8hTTjBnWm3uTbFDy9wRUF5hgKq1xoP5G1-dyxEYcbo38if6SI18\" target=\"_blank\" rel=\"noopener\">Billboard story here\u003c/a> to learn more.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In 1999, the San Francisco Symphony and Metallica made history with \u003cem>S&M\u003c/em>, a series of concerts at the Berkeley Community Theatre that become a Grammy-winning live album.\u003c/p>\n\u003cp>On Sept. 6, the two Bay Area music giants will join forces once again for \u003cem>S&M2\u003c/em>, the inaugural event at San Francisco’s new Chase Center, which will soon become the home of the Golden State Warriors. The one-off concert celebrates the live album’s 20th anniversary, with Edwin Outwater as conductor and a specially appearance from San Francisco Symphony music director Michael Tilson Thomas.\u003c/p>\n\u003cp>The collaboration was announced today as part of Reveal Week, the first look at the events coming to the 18,064-capacity arena.\u003c/p>\n\u003cp>Presale tickets for \u003cem>S&M2\u003c/em> go on sale for Metallica \u003ca href=\"https://www.metallica.com/metclub/\" target=\"_blank\" rel=\"noopener\">fan club members\u003c/a> on March 19 at 9am, and for \u003ca href=\"http://chasecenter.com/event/1\" target=\"_blank\" rel=\"noopener\">Chase cardholders\u003c/a> at noon. They’ll become available to the \u003ca href=\"http://chasecenter.com\" target=\"_blank\" rel=\"noopener\">general public\u003c/a> on March 22 at 10am.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BJt1rdFZXlY\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "Ticket Alert: Metallica Benefit Concert at the Masonic",
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"content": "\u003cp>Bay Area rock titans Metallica know the importance of giving back to the community.\u003c/p>\n\u003cp>On Nov. 3, the band is playing a benefit concert for their foundation, All Within My Hands, at the Masonic in San Francisco. Founded in 2017, All Within My Hands aims to fight hunger and support workforce education. Through Metallica shows and releases, they’ve donated to victims of 2017’s destructive North Bay wildfires and food banks around the globe, as well as organizations like World Childhood Foundation and Afghanistan National Institute of Music.\u003c/p>\n\u003cp>A limited number of floor and balcony seats go on sale on Sept. 21 on \u003ca href=\"https://www1.ticketmaster.com/event/1C00552BCAEFBCB4?f_klarna_flex_pay=true&ab=m_efeat5852v1\" target=\"_blank\" rel=\"noopener\">Ticketmaster\u003c/a>, and the band is also hosting a giveaway on \u003ca href=\"https://www.crowdrise.com/o/en/campaign/awmh-helpinghands\" target=\"_blank\" rel=\"noopener\">Crowdrise.com\u003c/a>. To support Metallica’s philanthropy, on \u003ca href=\"https://www.ebay.com/itm/263943163103?ssPageName=STRK:MESCX:IT&_trksid=p3984.m1554.l2649\" target=\"_blank\" rel=\"noopener\">eBay\u003c/a>, there’s also an auction for prime floor seating.\u003c/p>\n\u003cp>Learn more about the All Within My Hands Foundation \u003ca href=\"https://www.allwithinmyhands.org\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bay Area rock titans Metallica know the importance of giving back to the community.\u003c/p>\n\u003cp>On Nov. 3, the band is playing a benefit concert for their foundation, All Within My Hands, at the Masonic in San Francisco. Founded in 2017, All Within My Hands aims to fight hunger and support workforce education. Through Metallica shows and releases, they’ve donated to victims of 2017’s destructive North Bay wildfires and food banks around the globe, as well as organizations like World Childhood Foundation and Afghanistan National Institute of Music.\u003c/p>\n\u003cp>A limited number of floor and balcony seats go on sale on Sept. 21 on \u003ca href=\"https://www1.ticketmaster.com/event/1C00552BCAEFBCB4?f_klarna_flex_pay=true&ab=m_efeat5852v1\" target=\"_blank\" rel=\"noopener\">Ticketmaster\u003c/a>, and the band is also hosting a giveaway on \u003ca href=\"https://www.crowdrise.com/o/en/campaign/awmh-helpinghands\" target=\"_blank\" rel=\"noopener\">Crowdrise.com\u003c/a>. To support Metallica’s philanthropy, on \u003ca href=\"https://www.ebay.com/itm/263943163103?ssPageName=STRK:MESCX:IT&_trksid=p3984.m1554.l2649\" target=\"_blank\" rel=\"noopener\">eBay\u003c/a>, there’s also an auction for prime floor seating.\u003c/p>\n\u003cp>Learn more about the All Within My Hands Foundation \u003ca href=\"https://www.allwithinmyhands.org\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Most of James Hetfield's Lucas Valley Ranch Protected from Development",
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"content": "\u003cp>Over 1,000 acres of a ranch in Lucas Valley owned by the family of Metallica singer James Hetfield is one step away from being designated permanent farmland, protecting it from ever being developed.\u003c/p>\n\u003cp>On Tuesday, the Marin County Board of Supervisors approved a deal to place almost all of Hetfield’s land under the stewardship of the \u003ca href=\"http://malt.org/news/press-release-luiz-ranch\" rel=\"noopener\" target=\"_blank\">Marin Agricultural Land Trust\u003c/a> (MALT). Under the arrangement, the Hetfields will retain ownership of the land, with three large parcels going into an agricultural conservation easement to preserve them as ranching land, even if sold. Once the deal is completed between the family, the Marin County Open Space District (MCOSD) and the trust, MALT will ensure that the land is never developed, in perpetuity.\u003c/p>\n\u003cp>“Our family is very happy to work with MCOSD and MALT on re-establishing agriculture and maintaining the scenic corridor of the ranch. We believe this is a huge community benefit, and one of our goals is to keep agriculture on the ranch for a very long time,” the Hetfields said in a statement \u003ca href=\"http://www.marinij.com/general-news/20171111/metallicas-hetfield-offers-more-lucas-valley-land-building-plans-uncertain#disqus_thread\" rel=\"noopener\" target=\"_blank\">released in November\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13826117\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Luiz-Ranch-800x600.jpg\" alt=\"A view from Luiz Ranch, owned by James Hetfield and family\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13826117\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Luiz-Ranch-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Luiz-Ranch-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Luiz-Ranch-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Luiz-Ranch-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Luiz-Ranch.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Luiz-Ranch-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Luiz-Ranch-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Luiz-Ranch-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Luiz-Ranch-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Luiz-Ranch-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A view from Luiz Ranch, owned by James Hetfield and family. \u003ccite>(Robin Livingston/MALT)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hetfield, whose band Metallica has reportedly sold \u003ca href=\"http://loudwire.com/metallica-land-in-guinness-world-records-2015-edition/\" rel=\"noopener\" target=\"_blank\">over 120 million albums\u003c/a> worldwide, bought the 1,150-acre parcel known as Luiz Ranch in 1999. Over the years, he and his wife Francesca have placed large chunks of it into the agricultural conservation easement, starting with 440 acres in 2005 and adding another 320 acres in 2009. In November, the family offered another 240 acres to the easement.\u003c/p>\n\u003cp>By transferring stewardship to MALT, both the Hetfields and the county minimize costs for maintaining the property. To assist MALT in their work, the county and the Hetfields also set up a $175,000 endowment, according to MALT director of conservation Jeff Stump.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Hetfields lease their property to an independent cattle rancher, which Stump says is good for the land: the area was once full of herd animals such as elk, and the ecosystem benefits from grazing.\u003c/p>\n\u003cp>“Ranching controls evasive plants and really does help the land,” Stump said. “You’re going to have grazing consistent with cultural and natural resource values, and it will maintain the beautiful property and possibly improve.” \u003c/p>\n\u003cp>Stump says that about half of the 51,000 total acres under MALT’s stewardship are leased for agricultural use, the other half are run by families. But none are none on an industrial scale. \u003c/p>\n\u003cp>“These families have to be compatible with the land, because it’s all the land they have,” Stump said. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fWnKdoJlH8Q\u003c/p>\n\u003ch2>A Tense Relationship\u003c/h2>\n\u003cp>The Hetfields relationship with the county hasn’t always been so cordial. For example, in 2008, the Hetfields built a 300-ft. fence on the edge of their property that cut off a fire road popular with local hikers.\u003c/p>\n\u003cp>“I was mountain biking next to a barbed-wire fence, high on a beautiful Marin hillside, when all of a sudden the old barbed-wire fence stopped and there was a tall, shiny and very unwelcoming gate, complete with closed circuit cameras and multiple ‘Keep Out’ signs,” KQED cartoonist Mark Fiore said last year about his run-in with Hetfield’s fence. “It was the kind of thing you might see at a military base or prison.”\u003c/p>\n\u003cp>The fence forced Marin County to \u003ca href=\"http://www.rollingstone.com/music/news/metallica-singer-forces-county-to-build-expensive-hiking-trail-20110719\" rel=\"noopener\" target=\"_blank\">build a three-mile nature trail\u003c/a> around Hetfield’s property at a cost of $650,000. \u003c/p>\n\u003cp>Then, in 2011, the family submitted a pre-application to build between 27 and 34 homes on the property. This met opposition from neighbors, who bristled at the idea of such a large construction project.\u003c/p>\n\u003cp>“A lot more construction, a lot more homes over a greater area,” local homeowner and activist Liz Dale \u003ca href=\"http://sanfrancisco.cbslocal.com/2016/08/22/new-development-plan-from-metallicas-hetfield-gets-local-approval/\" rel=\"noopener\" target=\"_blank\">told KPIX in 2016\u003c/a>. “And that was not very well received.” \u003c/p>\n\u003cp>Hetfield never followed up on that application. Instead, he filed another pre-application that same year to build just four single-family homes on his property, while adding more of his land to the agricultural conservation easement. The plan was well-received, especially in contrast to the affordable housing project proposed by Hetfield’s Lucas Valley neighbor, George Lucas, after the \u003cem>Star Wars\u003c/em> director’s plans for \u003ca href=\"http://sanfrancisco.cbslocal.com/2015/04/15/george-lucas-planning-payback-with-massive-affordable-housing-project-on-his-marin-county-land/\" rel=\"noopener\" target=\"_blank\">an expanded Skywalker Ranch were opposed\u003c/a>. \u003c/p>\n\u003cp>Hetfield’s family has yet to move forward on their plans to build the four homes on 40 acres outside of the easement, but representatives of the family say it’s still possibility. Until then, they will enjoy \u003ca href=\"https://www.landtrustalliance.org/topics/taxes/income-tax-incentives-land-conservation\" rel=\"noopener\" target=\"_blank\">considerable tax deductions\u003c/a> from having the land in the easement.\u003c/p>\n\u003cp>The Hetfields now live in Vail, Colorado. Last year, the Metallica singer admitted on the \u003ca href=\"https://ww2.kqed.org/arts/2016/12/20/metallicas-james-hetfield-says-he-left-marin-because-of-bay-area-attitude/\" rel=\"noopener\" target=\"_blank\">Joe Rogan Experience\u003c/a> podcast that he moved his family because he “got sick” of Bay Area attitudes.\u003c/p>\n\u003cp>“They talk about how diverse they are, and things like that, and it’s fine if you’re diverse like them,” Hetfield said. “But showing up with a deer on the bumper doesn’t fly in Marin County.” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Over 1,000 acres of a ranch in Lucas Valley owned by the family of Metallica singer James Hetfield is one step away from being designated permanent farmland, protecting it from ever being developed.\u003c/p>\n\u003cp>On Tuesday, the Marin County Board of Supervisors approved a deal to place almost all of Hetfield’s land under the stewardship of the \u003ca href=\"http://malt.org/news/press-release-luiz-ranch\" rel=\"noopener\" target=\"_blank\">Marin Agricultural Land Trust\u003c/a> (MALT). Under the arrangement, the Hetfields will retain ownership of the land, with three large parcels going into an agricultural conservation easement to preserve them as ranching land, even if sold. Once the deal is completed between the family, the Marin County Open Space District (MCOSD) and the trust, MALT will ensure that the land is never developed, in perpetuity.\u003c/p>\n\u003cp>“Our family is very happy to work with MCOSD and MALT on re-establishing agriculture and maintaining the scenic corridor of the ranch. We believe this is a huge community benefit, and one of our goals is to keep agriculture on the ranch for a very long time,” the Hetfields said in a statement \u003ca href=\"http://www.marinij.com/general-news/20171111/metallicas-hetfield-offers-more-lucas-valley-land-building-plans-uncertain#disqus_thread\" rel=\"noopener\" target=\"_blank\">released in November\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13826117\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Luiz-Ranch-800x600.jpg\" alt=\"A view from Luiz Ranch, owned by James Hetfield and family\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13826117\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Luiz-Ranch-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Luiz-Ranch-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Luiz-Ranch-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Luiz-Ranch-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Luiz-Ranch.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Luiz-Ranch-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Luiz-Ranch-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Luiz-Ranch-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Luiz-Ranch-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Luiz-Ranch-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A view from Luiz Ranch, owned by James Hetfield and family. \u003ccite>(Robin Livingston/MALT)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hetfield, whose band Metallica has reportedly sold \u003ca href=\"http://loudwire.com/metallica-land-in-guinness-world-records-2015-edition/\" rel=\"noopener\" target=\"_blank\">over 120 million albums\u003c/a> worldwide, bought the 1,150-acre parcel known as Luiz Ranch in 1999. Over the years, he and his wife Francesca have placed large chunks of it into the agricultural conservation easement, starting with 440 acres in 2005 and adding another 320 acres in 2009. In November, the family offered another 240 acres to the easement.\u003c/p>\n\u003cp>By transferring stewardship to MALT, both the Hetfields and the county minimize costs for maintaining the property. To assist MALT in their work, the county and the Hetfields also set up a $175,000 endowment, according to MALT director of conservation Jeff Stump.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Hetfields lease their property to an independent cattle rancher, which Stump says is good for the land: the area was once full of herd animals such as elk, and the ecosystem benefits from grazing.\u003c/p>\n\u003cp>“Ranching controls evasive plants and really does help the land,” Stump said. “You’re going to have grazing consistent with cultural and natural resource values, and it will maintain the beautiful property and possibly improve.” \u003c/p>\n\u003cp>Stump says that about half of the 51,000 total acres under MALT’s stewardship are leased for agricultural use, the other half are run by families. But none are none on an industrial scale. \u003c/p>\n\u003cp>“These families have to be compatible with the land, because it’s all the land they have,” Stump said. \u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/fWnKdoJlH8Q'\n title='//www.youtube.com/embed/fWnKdoJlH8Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>A Tense Relationship\u003c/h2>\n\u003cp>The Hetfields relationship with the county hasn’t always been so cordial. For example, in 2008, the Hetfields built a 300-ft. fence on the edge of their property that cut off a fire road popular with local hikers.\u003c/p>\n\u003cp>“I was mountain biking next to a barbed-wire fence, high on a beautiful Marin hillside, when all of a sudden the old barbed-wire fence stopped and there was a tall, shiny and very unwelcoming gate, complete with closed circuit cameras and multiple ‘Keep Out’ signs,” KQED cartoonist Mark Fiore said last year about his run-in with Hetfield’s fence. “It was the kind of thing you might see at a military base or prison.”\u003c/p>\n\u003cp>The fence forced Marin County to \u003ca href=\"http://www.rollingstone.com/music/news/metallica-singer-forces-county-to-build-expensive-hiking-trail-20110719\" rel=\"noopener\" target=\"_blank\">build a three-mile nature trail\u003c/a> around Hetfield’s property at a cost of $650,000. \u003c/p>\n\u003cp>Then, in 2011, the family submitted a pre-application to build between 27 and 34 homes on the property. This met opposition from neighbors, who bristled at the idea of such a large construction project.\u003c/p>\n\u003cp>“A lot more construction, a lot more homes over a greater area,” local homeowner and activist Liz Dale \u003ca href=\"http://sanfrancisco.cbslocal.com/2016/08/22/new-development-plan-from-metallicas-hetfield-gets-local-approval/\" rel=\"noopener\" target=\"_blank\">told KPIX in 2016\u003c/a>. “And that was not very well received.” \u003c/p>\n\u003cp>Hetfield never followed up on that application. Instead, he filed another pre-application that same year to build just four single-family homes on his property, while adding more of his land to the agricultural conservation easement. The plan was well-received, especially in contrast to the affordable housing project proposed by Hetfield’s Lucas Valley neighbor, George Lucas, after the \u003cem>Star Wars\u003c/em> director’s plans for \u003ca href=\"http://sanfrancisco.cbslocal.com/2015/04/15/george-lucas-planning-payback-with-massive-affordable-housing-project-on-his-marin-county-land/\" rel=\"noopener\" target=\"_blank\">an expanded Skywalker Ranch were opposed\u003c/a>. \u003c/p>\n\u003cp>Hetfield’s family has yet to move forward on their plans to build the four homes on 40 acres outside of the easement, but representatives of the family say it’s still possibility. Until then, they will enjoy \u003ca href=\"https://www.landtrustalliance.org/topics/taxes/income-tax-incentives-land-conservation\" rel=\"noopener\" target=\"_blank\">considerable tax deductions\u003c/a> from having the land in the easement.\u003c/p>\n\u003cp>The Hetfields now live in Vail, Colorado. Last year, the Metallica singer admitted on the \u003ca href=\"https://ww2.kqed.org/arts/2016/12/20/metallicas-james-hetfield-says-he-left-marin-because-of-bay-area-attitude/\" rel=\"noopener\" target=\"_blank\">Joe Rogan Experience\u003c/a> podcast that he moved his family because he “got sick” of Bay Area attitudes.\u003c/p>\n\u003cp>“They talk about how diverse they are, and things like that, and it’s fine if you’re diverse like them,” Hetfield said. “But showing up with a deer on the bumper doesn’t fly in Marin County.” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The 60th Grammy Awards might well be its most diverse.\u003c/p>\n\u003cp>Early Tuesday the Recording Academy announced the first round of nominees following changes to its nomination process. After much-celebrated works by Black musicians were snubbed in recent years, the academy implemented a digitized voting system in June and added review committees for rap, new age and contemporary instrumental nominees — two decisions that the academy hoped would result in a level playing field.\u003c/p>\n\u003cp>The impact was apparent this year. Kendrick Lamar, Childish Gambino, and former GRAMMY winners Bruno Mars and Jay-Z, are all in contention for Album of the Year, but not one white artist. (Ed Sheeran’s \u003ci>Divide,\u003c/i> one of the year’s best sellers, was \u003ca href=\"https://www.washingtonpost.com/news/business/wp/2017/11/28/by-shunning-taylor-swift-and-ed-sheeran-grammys-somewhat-move-away-from-mega-sellers/?utm_term=.9840407b0906\" target=\"_blank\" rel=\"noopener\">expected to be in the running\u003c/a>.)\u003c/p>\n\u003cp>The Bay Area, in all its eclectic musical breadth, has also earned a considerable amount of love at the Grammy nominations this year. Here’s a list of six Bay Area artists nominated for the gilded gramophone.\u003c/p>\n\u003ch2>Kehlani\u003c/h2>\n\u003cp>\u003cstrong>Best R&B Performance\u003c/strong> — “Distraction”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Oakland’s very own Kehlani follows her sterling record with the Recording Academy with a nod for “Distraction,” a track off her 2017 release \u003cem>SweetSexySavage\u003c/em>. It is her second Grammy nomination in her short but illustrious career: her mixtape \u003cem>You Should Be Here\u003c/em> was nominated in 2016 for Best Urban Contemporary Album.\u003c/p>\n\u003cp>“Distraction,” a number produced by Pop & Oak, distills the promise of her album title into a three-minute confection. It is in contention with Bruno Mars’ “That’s What I Like,” SZA’s “The Weekend,” Ledisi’s “High” and Daniel Caesar’s “Get You.”\u003c/p>\n\u003ch2>Metallica\u003c/h2>\n\u003cp>\u003cstrong>Best Rock Song\u003c/strong> — “Atlas, Rise!”\u003cbr>\n\u003cstrong>Best Rock Album\u003c/strong> — \u003cem>Hardwired…To Self-Destruct\u003c/em>\u003c/p>\n\u003cp>\u003cem>Hardwired…to Self-Destruct\u003c/em>, Metallica’s tenth album, was recorded entirely in the band’s San Rafael headquarters and released in November 2016. It heralds a return-to-form for the band, who have already won nine Grammys.\u003c/p>\n\u003cp>Its nominated single, “Atlas, Rise!” is in competition for Best Rock Song with songs by acts as varied as rap-rock songwriter K. Flay, fellow metal stalwarts Avenged Sevenfold and perennial Grammy favorites Foo Fighters.\u003c/p>\n\u003cp>The nomination follows Metallica’s headlining performance at \u003ca href=\"https://ww2.kqed.org/arts/2017/11/10/photo-recap-band-together-bay-area/\" target=\"_blank\" rel=\"noopener\">Band Together Bay Area\u003c/a>, a North Bay fire benefit held in early November at AT&T Park.\u003c/p>\n\u003ch2>Kitaro\u003c/h2>\n\u003cp>\u003cstrong>Best New Age Album\u003c/strong> — \u003cem>Sacred Journey of Ku-Kai Vol. 5\u003c/em>\u003c/p>\n\u003cp>Japanese new age composer Kitaro’s \u003cem>Sacred Journey of Ku-Kai\u003c/em> series was conceived following the 9/11 attacks. It is a statement on global connectivity and peace amid a period of unrest.\u003c/p>\n\u003cp>He’s been putting out volumes from this series since 2003, all of which have earned Grammy nods. And Kitaro, who now resides in Sebastopol, couldn’t have dropped this fifth volume at a better time. As his North Bay community comes to grips with environmental disaster, his work, which is laden with tranquil natural soundscapes, is a necessary reminder of Earth’s majesty in spite of its cruelties.\u003c/p>\n\u003cp>Following the North Bay wildfires, Kitaro performed a duo of shows in Healsburg’s Raven Performing Arts Theater shows on Nov. 19 — one recalling the immersive glory of space, and the other assuaging Sonoma County residents afflicted by the fires.\u003c/p>\n\u003ch2>Alphabet Rockers\u003c/h2>\n\u003cp>\u003cstrong>Best Children’s Album\u003c/strong> — \u003cem>Rise Shine #Woke\u003c/em>\u003c/p>\n\u003cp>Alphabet Rockers’ latest release, \u003cem>Rise Shine #Woke\u003c/em>, is the rare release that doesn’t treat its audience with kid gloves. Tommy Shepherd, Jr. and Kaitlin McGaw, the children’s hip-hop outfit’s two lead performers, have produced a work that stands for multiculturalism and social justice amid a political time where these goals seem to be held in low regard. (We covered the release of this album \u003ca href=\"https://ww2.kqed.org/arts/2017/02/01/alphabet-rockers-now-making-childrens-songs-about-social-issues/\" target=\"_blank\" rel=\"noopener\">back in February\u003c/a>.)\u003c/p>\n\u003ch2>The Grateful Dead\u003c/h2>\n\u003cp>\u003cstrong>Best Music Film\u003c/strong> — \u003cem>Long Strange Trip\u003c/em>\u003cbr>\n\u003cstrong>Best Boxed Or Special Limited Edition Package\u003c/strong> — \u003cem>May 1977: Get Shown the Light\u003c/em>\u003c/p>\n\u003cp>The Grateful Dead’s two Grammy nods this year are for works that serve as great introductions to their world. \u003cem>Get Shown the Light — \u003c/em>a boxset of remastered audio from their revered performance at Cornell University’s Barton Hall and other performances from that era — is a polished display of the Dead at its most approachable. The nearly four-hour documentary \u003cem>Long Strange Trip\u003c/em>, true to its word, is a sprawling, oftentimes messy document of the band at its peak.\u003c/p>\n\u003ch2>Julian Lage\u003c/h2>\n\u003cp>\u003cstrong>Best Contemporary Instrumental Album\u003c/strong> — \u003cem>Mount Royal \u003c/em>(with Chris Eldridge)\u003c/p>\n\u003cp>Santa Rosa local Julian Lage is nothing if not prodigious. By the age of 13, Lage was performing on the Grammys stage. By 22, his debut solo album was nominated for a Grammy.\u003c/p>\n\u003cp>At 29, well, he’s crafting lovely guitar music with the likes of Wilco’s Nels Cline and Punch Brothers’ Chris Eldridge. His second full-length with Eldridge, \u003cem>Mount Royal\u003c/em> was nominated for a Grammy, both their second nod by the Recording Academy. Not too shabby for someone who’s just about to celebrate his 30th birthday in less than a month.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Honorable mention: Florida blues rock duo Tedeschi Trucks Band, while they’re not based in the Bay Area, received a Grammy nomination for Best Contemporary Blues Album for a live album recorded right in Oakland’s Fox Theatre.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The 60th Grammy Awards might well be its most diverse.\u003c/p>\n\u003cp>Early Tuesday the Recording Academy announced the first round of nominees following changes to its nomination process. After much-celebrated works by Black musicians were snubbed in recent years, the academy implemented a digitized voting system in June and added review committees for rap, new age and contemporary instrumental nominees — two decisions that the academy hoped would result in a level playing field.\u003c/p>\n\u003cp>The impact was apparent this year. Kendrick Lamar, Childish Gambino, and former GRAMMY winners Bruno Mars and Jay-Z, are all in contention for Album of the Year, but not one white artist. (Ed Sheeran’s \u003ci>Divide,\u003c/i> one of the year’s best sellers, was \u003ca href=\"https://www.washingtonpost.com/news/business/wp/2017/11/28/by-shunning-taylor-swift-and-ed-sheeran-grammys-somewhat-move-away-from-mega-sellers/?utm_term=.9840407b0906\" target=\"_blank\" rel=\"noopener\">expected to be in the running\u003c/a>.)\u003c/p>\n\u003cp>The Bay Area, in all its eclectic musical breadth, has also earned a considerable amount of love at the Grammy nominations this year. Here’s a list of six Bay Area artists nominated for the gilded gramophone.\u003c/p>\n\u003ch2>Kehlani\u003c/h2>\n\u003cp>\u003cstrong>Best R&B Performance\u003c/strong> — “Distraction”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Oakland’s very own Kehlani follows her sterling record with the Recording Academy with a nod for “Distraction,” a track off her 2017 release \u003cem>SweetSexySavage\u003c/em>. It is her second Grammy nomination in her short but illustrious career: her mixtape \u003cem>You Should Be Here\u003c/em> was nominated in 2016 for Best Urban Contemporary Album.\u003c/p>\n\u003cp>“Distraction,” a number produced by Pop & Oak, distills the promise of her album title into a three-minute confection. It is in contention with Bruno Mars’ “That’s What I Like,” SZA’s “The Weekend,” Ledisi’s “High” and Daniel Caesar’s “Get You.”\u003c/p>\n\u003ch2>Metallica\u003c/h2>\n\u003cp>\u003cstrong>Best Rock Song\u003c/strong> — “Atlas, Rise!”\u003cbr>\n\u003cstrong>Best Rock Album\u003c/strong> — \u003cem>Hardwired…To Self-Destruct\u003c/em>\u003c/p>\n\u003cp>\u003cem>Hardwired…to Self-Destruct\u003c/em>, Metallica’s tenth album, was recorded entirely in the band’s San Rafael headquarters and released in November 2016. It heralds a return-to-form for the band, who have already won nine Grammys.\u003c/p>\n\u003cp>Its nominated single, “Atlas, Rise!” is in competition for Best Rock Song with songs by acts as varied as rap-rock songwriter K. Flay, fellow metal stalwarts Avenged Sevenfold and perennial Grammy favorites Foo Fighters.\u003c/p>\n\u003cp>The nomination follows Metallica’s headlining performance at \u003ca href=\"https://ww2.kqed.org/arts/2017/11/10/photo-recap-band-together-bay-area/\" target=\"_blank\" rel=\"noopener\">Band Together Bay Area\u003c/a>, a North Bay fire benefit held in early November at AT&T Park.\u003c/p>\n\u003ch2>Kitaro\u003c/h2>\n\u003cp>\u003cstrong>Best New Age Album\u003c/strong> — \u003cem>Sacred Journey of Ku-Kai Vol. 5\u003c/em>\u003c/p>\n\u003cp>Japanese new age composer Kitaro’s \u003cem>Sacred Journey of Ku-Kai\u003c/em> series was conceived following the 9/11 attacks. It is a statement on global connectivity and peace amid a period of unrest.\u003c/p>\n\u003cp>He’s been putting out volumes from this series since 2003, all of which have earned Grammy nods. And Kitaro, who now resides in Sebastopol, couldn’t have dropped this fifth volume at a better time. As his North Bay community comes to grips with environmental disaster, his work, which is laden with tranquil natural soundscapes, is a necessary reminder of Earth’s majesty in spite of its cruelties.\u003c/p>\n\u003cp>Following the North Bay wildfires, Kitaro performed a duo of shows in Healsburg’s Raven Performing Arts Theater shows on Nov. 19 — one recalling the immersive glory of space, and the other assuaging Sonoma County residents afflicted by the fires.\u003c/p>\n\u003ch2>Alphabet Rockers\u003c/h2>\n\u003cp>\u003cstrong>Best Children’s Album\u003c/strong> — \u003cem>Rise Shine #Woke\u003c/em>\u003c/p>\n\u003cp>Alphabet Rockers’ latest release, \u003cem>Rise Shine #Woke\u003c/em>, is the rare release that doesn’t treat its audience with kid gloves. Tommy Shepherd, Jr. and Kaitlin McGaw, the children’s hip-hop outfit’s two lead performers, have produced a work that stands for multiculturalism and social justice amid a political time where these goals seem to be held in low regard. (We covered the release of this album \u003ca href=\"https://ww2.kqed.org/arts/2017/02/01/alphabet-rockers-now-making-childrens-songs-about-social-issues/\" target=\"_blank\" rel=\"noopener\">back in February\u003c/a>.)\u003c/p>\n\u003ch2>The Grateful Dead\u003c/h2>\n\u003cp>\u003cstrong>Best Music Film\u003c/strong> — \u003cem>Long Strange Trip\u003c/em>\u003cbr>\n\u003cstrong>Best Boxed Or Special Limited Edition Package\u003c/strong> — \u003cem>May 1977: Get Shown the Light\u003c/em>\u003c/p>\n\u003cp>The Grateful Dead’s two Grammy nods this year are for works that serve as great introductions to their world. \u003cem>Get Shown the Light — \u003c/em>a boxset of remastered audio from their revered performance at Cornell University’s Barton Hall and other performances from that era — is a polished display of the Dead at its most approachable. The nearly four-hour documentary \u003cem>Long Strange Trip\u003c/em>, true to its word, is a sprawling, oftentimes messy document of the band at its peak.\u003c/p>\n\u003ch2>Julian Lage\u003c/h2>\n\u003cp>\u003cstrong>Best Contemporary Instrumental Album\u003c/strong> — \u003cem>Mount Royal \u003c/em>(with Chris Eldridge)\u003c/p>\n\u003cp>Santa Rosa local Julian Lage is nothing if not prodigious. By the age of 13, Lage was performing on the Grammys stage. By 22, his debut solo album was nominated for a Grammy.\u003c/p>\n\u003cp>At 29, well, he’s crafting lovely guitar music with the likes of Wilco’s Nels Cline and Punch Brothers’ Chris Eldridge. His second full-length with Eldridge, \u003cem>Mount Royal\u003c/em> was nominated for a Grammy, both their second nod by the Recording Academy. Not too shabby for someone who’s just about to celebrate his 30th birthday in less than a month.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Honorable mention: Florida blues rock duo Tedeschi Trucks Band, while they’re not based in the Bay Area, received a Grammy nomination for Best Contemporary Blues Album for a live album recorded right in Oakland’s Fox Theatre.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>“Music Heals.”\u003c/p>\n\u003cp>That’s what Metallica singer James Hetfield told a sold-out stadium before the band played a benefit concert for those affected by the North Bay wildfires, which left some of the most devastating losses in California history with more than 5,000 homes lost and many people displaced. \u003c/p>\n\u003cp>Metallica, along with G-Eazy, Rancid, Metallica, Dave Matthews and Tim Reynolds, Dead & Company and Raphael Saadiq, performed at AT&T Park on Thursday, Nov. 9, at Band Together Bay Area. Artists waived their usual fees as ticket revenues were donated to \u003ca href=\"https://tippingpoint.org/relief\" rel=\"noopener\" target=\"_blank\">Tipping Point Emergency Relief Fund\u003c/a>, which supports low-income North Bay residents displaced by the fire. \u003c/p>\n\u003cp>A number of seats were given also given to first responders, volunteers and people impacted by the fires. While music can’t heal everything, the concert gave a number of families a break from hard times — not to mention to mention the whole event raised a reported $15 million for a good cause. \u003c/p>\n\u003cp>[gallery type=\"slideshow\" size=\"full\" ids=\"13814629,13814627,13814625,13814624,13814622,13814621,13814620,13814619,13814617,13814616,13814615,13814614,13814613,13814612,13814611,13814610,13814609,13814608,13814607,13814606,13814605,13814604,13814603,13814601,13814598\" orderby=\"rand\"]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13814632\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/MG_1082-1-800x450.jpg\" alt=\"Metallica headlines Band Together Bay Area, a benefit concert for North Bay Fire relief at AT&T Park on Thursday, November 9.\" width=\"0\" height=\"0\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_1082-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_1082-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_1082-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_1082-1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_1082-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_1082-1-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_1082-1-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_1082-1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_1082-1-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_1082-1-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Music Heals.”\u003c/p>\n\u003cp>That’s what Metallica singer James Hetfield told a sold-out stadium before the band played a benefit concert for those affected by the North Bay wildfires, which left some of the most devastating losses in California history with more than 5,000 homes lost and many people displaced. \u003c/p>\n\u003cp>Metallica, along with G-Eazy, Rancid, Metallica, Dave Matthews and Tim Reynolds, Dead & Company and Raphael Saadiq, performed at AT&T Park on Thursday, Nov. 9, at Band Together Bay Area. Artists waived their usual fees as ticket revenues were donated to \u003ca href=\"https://tippingpoint.org/relief\" rel=\"noopener\" target=\"_blank\">Tipping Point Emergency Relief Fund\u003c/a>, which supports low-income North Bay residents displaced by the fire. \u003c/p>\n\u003cp>A number of seats were given also given to first responders, volunteers and people impacted by the fires. While music can’t heal everything, the concert gave a number of families a break from hard times — not to mention to mention the whole event raised a reported $15 million for a good cause. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Shawn Murphy saw Metallica on the ‘…And Justice For All’ tour when he was just 14. It was the second time he had seen the band, and it was at that show that he knew he would spend the rest of his life playing drums in metal bands. \u003c/p>\n\u003cp>“That was it. I said, ‘I’m playing drums, man,'” Murphy said. “It was the coolest thing I ever saw and it’s still one of the best concerts I’ve ever seen.”\u003c/p>\n\u003cp>Murphy went on to play in band after band in his hometown of Spokane, Washington. All the while he dreamed of buying an ’80s TAMA GranStar kit with shark-tooth lugs, just like the one he saw Ulrich playing* back as a young teen. Over 20 years later, he finally found one, putting it to use with his Metallica tribute band called Blistered Earth. \u003c/p>\n\u003cp>[contextly_sidebar id=”6f2SwHBTTqaFHUHGFlO1fVPqB4DVHw0o”]\u003c/p>\n\u003cp>The group built a sizable West Coast following, concentrating on the masters of metal’s earliest, thrashiest hits. “Other tribute bands get booked at casinos — you know, the higher-end gigs — and we don’t get those because we’re metal,” Murphy said. “It’s funny, because those guys will book a Boston tribute at a casino, and Boston’s not even a pimple on Metallica’s ass.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But Murphy’s prized TAMA drum set is gone now, along with the rest of Blistered Earth’s equipment. After their show in Portland on April 23, Murphy says the band let their guard down and didn’t keep the equipment at the venue, leaving it locked up in their hotel’s garage instead. While the band was asleep, two thieves made off with the gear, trailer and all. \u003c/p>\n\u003cp>“I’m not quite sure how they did it because [the trailer] literally weighed a ton,” Murphy said, having seen surveillance footage of the two men entering the garage. “We’ve tried to pick it up and it doesn’t work.”\u003c/p>\n\u003cp>“Meth is a hell of a drug,” he added.\u003c/p>\n\u003cp>The police found the trailer the next day, abandoned in a park 25 miles away — with all the equipment missing. The band had insured their gear for theft, but Murphy still wanted his drums back. Murphy says TAMA stopped making GranStars about 25 years ago, and if he wanted another one, he would have to piece one together, drum by drum.\u003c/p>\n\u003cp>So Murphy took to Facebook and posted about the theft, saying he’d even be willing to buy them back, no questions asked. \u003c/p>\n\u003cp>https://www.facebook.com/blisteredearthtribute/posts/1452007668199241\u003c/p>\n\u003cp>The post got some traction on social media and the theft was even mentioned on a local radio station. Just a few days later, Murphy was told not to worry. \u003c/p>\n\u003cp>“Next thing I know I’m getting a phone call from some lady at Metallica HQ, saying they want me to send them a gear list and they’re going to replace the stuff,” Murphy said.\u003c/p>\n\u003cp>As it turned out, Metallica frontman James Hetfield had heard about the theft and promised to replace their gear. After posting the good news on the band’s Facebook page, articles about Metallica’s good deed — and of Blistered Earth’s existence — started popping up all over.\u003c/p>\n\u003cp>“Getting a little publicity has been nice,” Murphy said. “We’re probably on the last five minutes of our 15 minutes of fame.”\u003c/p>\n\u003cp>Metallica hasn’t posted a statement about their good deed, and they may not ever. But it may represent a corrective steer from an incident last year, after Metallica came under attack for sending a \u003ca href=\"http://www.metalinjection.net/metal-crimes/metallica-issues-a-cease-and-desist-order-to-a-canadian-cover-band\" target=\"_blank\" rel=\"noopener\">41-page cease-and-desist letter\u003c/a> to Sandman, a Metallica tribute band in Canada, for using a logo similar to the original group. In an interview with \u003cem>Rolling Stone\u003c/em> that published the next day, Metallica apologized to the tribute group and blamed the incident on “\u003ca href=\"http://www.rollingstone.com/music/news/metallica-canadian-cover-band-reconcile-over-cease-and-desist-letter-20160114\" target=\"_blank\" rel=\"noopener\">an overzealous lawyer\u003c/a>.” \u003c/p>\n\u003cfigure id=\"attachment_13141680\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Blistered-Earth-800x450.jpg\" alt=\"Blistered Earth\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13141680\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Blistered-Earth-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Blistered-Earth-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Blistered-Earth-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Blistered-Earth-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Blistered-Earth-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Blistered-Earth.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Blistered-Earth-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Blistered-Earth-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Blistered-Earth-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Blistered Earth playing live. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Metallica also had its equipment stolen once, in 1984, after \u003ca href=\"https://metallica.com/blog/timeline/354250/equipment-stolen\" target=\"_blank\" rel=\"noopener\">a show in Boston\u003c/a>. The theft reportedly inspired the song “Fade to Black.”\u003c/p>\n\u003cp>Murphy said on Monday that the band still hadn’t received any gear from Metallica, but he’s not too worried. He also doesn’t expect Metallica to replace each and every piece of stolen equipment, like his TAMA GranStar kit, even though it’s possible that Urlich still has some in his collection.\u003c/p>\n\u003cp>“I’m sure he’s got one, but I’m sure I’m not getting it,” Murphy said. \u003c/p>\n\u003cp>\u003cb>UPDATE:\u003c/b> On Tuesday, the day this story ran, the first of the replacement equipment — a signature ESP guitar — showed up at Murphy’s house. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>*According to several drum forums, Urlich actually played a TAMA ArtStar II with GranStar lugs in the ’80s. In the early ’90s, TAMA sold an Urlich signature model of the GranStar series. \u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But Murphy’s prized TAMA drum set is gone now, along with the rest of Blistered Earth’s equipment. After their show in Portland on April 23, Murphy says the band let their guard down and didn’t keep the equipment at the venue, leaving it locked up in their hotel’s garage instead. While the band was asleep, two thieves made off with the gear, trailer and all. \u003c/p>\n\u003cp>“I’m not quite sure how they did it because [the trailer] literally weighed a ton,” Murphy said, having seen surveillance footage of the two men entering the garage. “We’ve tried to pick it up and it doesn’t work.”\u003c/p>\n\u003cp>“Meth is a hell of a drug,” he added.\u003c/p>\n\u003cp>The police found the trailer the next day, abandoned in a park 25 miles away — with all the equipment missing. The band had insured their gear for theft, but Murphy still wanted his drums back. Murphy says TAMA stopped making GranStars about 25 years ago, and if he wanted another one, he would have to piece one together, drum by drum.\u003c/p>\n\u003cp>So Murphy took to Facebook and posted about the theft, saying he’d even be willing to buy them back, no questions asked. \u003c/p>\n\u003cp>https://www.facebook.com/blisteredearthtribute/posts/1452007668199241\u003c/p>\n\u003cp>The post got some traction on social media and the theft was even mentioned on a local radio station. Just a few days later, Murphy was told not to worry. \u003c/p>\n\u003cp>“Next thing I know I’m getting a phone call from some lady at Metallica HQ, saying they want me to send them a gear list and they’re going to replace the stuff,” Murphy said.\u003c/p>\n\u003cp>As it turned out, Metallica frontman James Hetfield had heard about the theft and promised to replace their gear. After posting the good news on the band’s Facebook page, articles about Metallica’s good deed — and of Blistered Earth’s existence — started popping up all over.\u003c/p>\n\u003cp>“Getting a little publicity has been nice,” Murphy said. “We’re probably on the last five minutes of our 15 minutes of fame.”\u003c/p>\n\u003cp>Metallica hasn’t posted a statement about their good deed, and they may not ever. But it may represent a corrective steer from an incident last year, after Metallica came under attack for sending a \u003ca href=\"http://www.metalinjection.net/metal-crimes/metallica-issues-a-cease-and-desist-order-to-a-canadian-cover-band\" target=\"_blank\" rel=\"noopener\">41-page cease-and-desist letter\u003c/a> to Sandman, a Metallica tribute band in Canada, for using a logo similar to the original group. In an interview with \u003cem>Rolling Stone\u003c/em> that published the next day, Metallica apologized to the tribute group and blamed the incident on “\u003ca href=\"http://www.rollingstone.com/music/news/metallica-canadian-cover-band-reconcile-over-cease-and-desist-letter-20160114\" target=\"_blank\" rel=\"noopener\">an overzealous lawyer\u003c/a>.” \u003c/p>\n\u003cfigure id=\"attachment_13141680\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Blistered-Earth-800x450.jpg\" alt=\"Blistered Earth\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13141680\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Blistered-Earth-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Blistered-Earth-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Blistered-Earth-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Blistered-Earth-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Blistered-Earth-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Blistered-Earth.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Blistered-Earth-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Blistered-Earth-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Blistered-Earth-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Blistered Earth playing live. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Metallica also had its equipment stolen once, in 1984, after \u003ca href=\"https://metallica.com/blog/timeline/354250/equipment-stolen\" target=\"_blank\" rel=\"noopener\">a show in Boston\u003c/a>. The theft reportedly inspired the song “Fade to Black.”\u003c/p>\n\u003cp>Murphy said on Monday that the band still hadn’t received any gear from Metallica, but he’s not too worried. He also doesn’t expect Metallica to replace each and every piece of stolen equipment, like his TAMA GranStar kit, even though it’s possible that Urlich still has some in his collection.\u003c/p>\n\u003cp>“I’m sure he’s got one, but I’m sure I’m not getting it,” Murphy said. \u003c/p>\n\u003cp>\u003cb>UPDATE:\u003c/b> On Tuesday, the day this story ran, the first of the replacement equipment — a signature ESP guitar — showed up at Murphy’s house. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>*According to several drum forums, Urlich actually played a TAMA ArtStar II with GranStar lugs in the ’80s. In the early ’90s, TAMA sold an Urlich signature model of the GranStar series. \u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Bonded by Blood: Five Bay Area Metal Bands that Changed the '80s",
"headTitle": "Bonded by Blood: Five Bay Area Metal Bands that Changed the ’80s | KQED",
"content": "\u003cp>A recent study showed that fans of heavy metal in the ’80s have grown up to be \u003ca href=\"http://ww2.kqed.org/pop/2015/07/08/study-aging-80s-metal-fans-doing-better-than-everyone/\" target=\"_blank\" rel=\"noopener noreferrer\">happier than others in their generation\u003c/a>, and if this is true, the Bay Area must be full of well-adjusted \u003ca href=\"http://www.urbandictionary.com/define.php?term=hesher\" target=\"_blank\" rel=\"noopener noreferrer\">heshers\u003c/a>.\u003c/p>\n\u003cp>The Bay Area was such a great place for metal, in fact, that it beckoned Metallica to move here from L.A., and it produced not one, but two subgenres of metal: thrash and death metal.\u003c/p>\n\u003cp>The Bay Area thrash scene might not have had the media attention L.A.’s glam scene received—probably because its participants weren’t as photogenic—but it produced the kind of true metal that real headbangers seek out. Bay Area metal was fast, technical and aggressive, and its impact can be heard more prominently in today’s metal bands than any of the poofy-haired Aerosmith ripoffs from SoCal.\u003c/p>\n\u003cp>[aside postID='arts_13903050']\u003c/p>\n\u003cp>Five of the Bay Area’s metal bands stick out as particularly influential. For those unfamiliar with the Bay Area’s metal history, this list isn’t meant to inspire the purchase of a denim vest and crude drawings of the group’s logos on the back with a Sharpie. This list is to give these thrashers the props they deserve.\u003c/p>\n\u003ch2>1. \u003ca href=\"http://www.metallica.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-10834471\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Metallica_logoSMALL.jpg\" alt=\"Metallica_logoSMALL\" width=\"209\" height=\"88\">\u003c/a>\u003c/h2>\n\u003cfigure id=\"attachment_10834476\" class=\"wp-caption aligncenter\" style=\"max-width: 759px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10834476\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/METALLICA-PALO-ALTO-1983-BRIAN-LEW-759x600.jpg\" alt=\"Cliff Burton and James Hetfield of Metallica, live in Palo Alto in 1983. (Photo by Brian Lew)\" width=\"759\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/METALLICA-PALO-ALTO-1983-BRIAN-LEW-759x600.jpg 759w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/METALLICA-PALO-ALTO-1983-BRIAN-LEW-400x316.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/METALLICA-PALO-ALTO-1983-BRIAN-LEW.jpg 896w\" sizes=\"(max-width: 759px) 100vw, 759px\">\u003cfigcaption class=\"wp-caption-text\">Cliff Burton and James Hetfield of Metallica, live in Palo Alto in 1983. (Photo by Brian Lew) \u003ccite>(Photo: Brian Lew)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of \u003cem>course\u003c/em> Metallica is first on this list. Whatever you think of their later entrance into pop music, Metallica’s first four albums are high water marks for heavy metal. Their first LP \u003ci>Kill ‘Em All\u003c/i> was released while the band was living in El Cerrito, and for many headbangers around the world it would be their introduction to Bay Area thrash.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There are dozens of songs from Metallica’s early days that demonstrate their power at such an early age, so let’s start with the first track from \u003ci>Kill ‘Em All\u003c/i>, “Hit The Lights.” The song has melody, dynamics, and the use of echo and churning half-time rhythm in the chorus. It’s also contains Kirk Hammett’s exemplary solo work, groundbreaking in its own right; while Kerry King and Jeff Hanneman of Slayer re-wrote the book on guitar solos, turning them into exercises in technical ability (“Let’s see how many notes I can hit before I throw in a dive bomb!”), Hammett managed to stay referential to the work of guitar heroes like Uli Jon Roth and even Jimi Hendrix—but he played with breakneck speed to keep up with the tempo demands of thrash.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FTqaCHl5Ra4\u003c/p>\n\u003ch2>2. \u003ca href=\"http://exodusattack.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-10834481\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/exodus-logoSMALL.jpg\" alt=\"exodus-logoSMALL\" width=\"205\" height=\"88\">\u003c/a>\u003c/h2>\n\u003cfigure id=\"attachment_10834560\" class=\"wp-caption alignright\" style=\"max-width: 686px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10834560\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/EXODUS-RUTHIES-INN-1984_BRIAN-LEW-e1436768223683.jpg\" alt=\"Exodus playing live at Ruthie's Inn, Berkeley, in1984. (Photo by Brian Lew)\" width=\"686\" height=\"428\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/EXODUS-RUTHIES-INN-1984_BRIAN-LEW-e1436768223683.jpg 686w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/EXODUS-RUTHIES-INN-1984_BRIAN-LEW-e1436768223683-400x250.jpg 400w\" sizes=\"(max-width: 686px) 100vw, 686px\">\u003cfigcaption class=\"wp-caption-text\">Exodus playing live at Ruthie’s Inn, Berkeley, in 1984. (Photo by Brian Lew)\u003c/figcaption>\u003c/figure>\n\u003cp>When music nerds talk about thrash, they usually reference “\u003ca href=\"http://www.nytimes.com/2011/09/16/arts/music/music-review-big-four-with-anthrax-megadeth-slayer-and-metallica.html\" target=\"_blank\" rel=\"noopener noreferrer\">The Big Four\u003c/a>”: Metallica, Slayer, Anthrax and Megadeth. But if a fifth band could be added, it would certainly be Exodus. Founded in 1980 by Hammett (before he joined Metallica) and drummer Tom Hunting, Exodus eventually found its stride with the additions of singer Paul Baloff and guitar shredder Gary Holt, who would become the group’s mastermind over its next three decades of existence. (Holt would later join Slayer, replacing Oakland-born guitarist Hanneman after his \u003ca href=\"http://www.rollingstone.com/music/news/slayer-guitarist-jeff-hanneman-died-of-alcohol-related-cirrhosis-20130510\" target=\"_blank\" rel=\"noopener noreferrer\">untimely death in 2013\u003c/a>.)\u003c/p>\n\u003cp>When it came to sound, Exodus shared more with Slayer than their Bay Area brethren Metallica, and that continues to be true to this day (they would later add touches of Pantera to the mix as well). But their debut album \u003ci>Bonded By Blood\u003c/i> is a stone-cold thrash classic, and if it had been released the same year as \u003ci>Kill ‘Em All\u003c/i>, as intended, it’s almost certain that Exodus would’ve seen similar success.\u003c/p>\n\u003cp>Sadly, the album was held up by the record label, and was marred by the reverb-laden production so common on early ’80s metal records—which is probably why the band re-recorded it in 2008 as \u003ci>Let There Be Blood\u003c/i> with third singer Rob Dukes at the helm. (Exodus recently reunited with their second and longest-running frontman, Steve “Zetro” Souza.) But tracks like “A Lesson In Violence” have a undeniable power, owing in no small part to the vocal work of Baloff. Sadly, Baloff was struck down by a stroke in 2002, which led to his death at the age of 41.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=c0Kvzrxtwq8\u003c/p>\n\u003ch2>3. \u003ca href=\"https://www.facebook.com/666possessed\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-10834645\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/possessedSMALL.gif\" alt=\"possessedSMALL\" width=\"185\" height=\"88\">\u003c/a>\u003c/h2>\n\u003cfigure id=\"attachment_10835073\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10835073\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Possessed-FB.jpg\" alt=\"Possessed (Courtesy of Possessed's Facebook Page)\" width=\"600\" height=\"396\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Possessed-FB.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Possessed-FB-400x264.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Possessed (Courtesy of Possessed’s Facebook Page)\u003c/figcaption>\u003c/figure>\n\u003cp>There’s long been a common misconception that the subgenre of death metal was started by the Florida band Death. Yet it was El Sobrante’s Possessed whose 1984 demo \u003ci>Death Metal\u003c/i> would not only enter the phrase into the metal lexicon—it would come to literally define the music, described as an “extreme subgenre of heavy metal” by \u003ca href=\"https://en.wikipedia.org/wiki/Death_metal\" target=\"_blank\" rel=\"noopener noreferrer\">Wikipedia\u003c/a>. Possessed’s songs were extreme indeed—punishingly fast, full of rapid-fire riffs, blasting drum beats and guttural vocals, and lyrics about the evilest of evil themes: violence and Satan.\u003c/p>\n\u003cp>Despite having the distinct honor of inspiring a new subgenre with \u003ci>Death Metal\u003c/i> and the LP \u003ci>Seven Churches\u003c/i>, by the band’s second album they had dropped their signature sound, thereby alienating fans. It wouldn’t be long after the second LP that the band would break up. Guitarist Larry LaLonde would go on to play with Primus, while singer/bassist Jeff Becerra became paralyzed from the waist down in a shooting incident. But Possessed’s status as death metal progenitors continued to garner the band a following, inspiring the wheelchair-bound Becerra to start playing shows as Possessed with new members. The obvious pick for a highlight track would be one of their hits—”The Exorcist” or “Death Metal”—but we’re going with another jam off \u003ci>Seven Churches\u003c/i>, “Satan’s Curse,” which is more representative of the death metal that was to come.\u003c/p>\n\u003cp>\u003cb>Update:\u003c/b> Becerra reached out to KQED after this article was published to explain the issue with the second Possessed album, \u003ci>Beyond The Gates\u003c/i>:\u003c/p>\n\u003cp>“How the story goes is that Carl (producer/ex-Rods) f–ed up the final mix so that the sound suffered and differed greatly from how we originally mixed it, which was MUCH heavier, with the guitars a LOT more distorted. But in the end BTG is still probably the best written and one of the most liked of our albums. This is the album where we gave Larry his first opportunity to write some of the songs and also gave us a chance to put something more into our music.\u003c/p>\n\u003cp>“In fact we sold more copies of the second album than the first and to this day it is a favorite of many Possessed fans. And to be honest today I am playing to larger audiences than ever and getting a lot of requests for Beyond The Gates material.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=duGLuv3N1P8\u003c/p>\n\u003ch2>4. \u003ca href=\"http://www.deathangel.us/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-10835070\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/deathangellogoSMALL.gif\" alt=\"deathangellogoSMALL\" width=\"180\" height=\"88\">\u003c/a>\u003c/h2>\n\u003cfigure id=\"attachment_10835072\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10835072\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Death-Angel-FB-800x533.jpg\" alt=\"http://www.ckshotz.com/\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Death-Angel-FB.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Death-Angel-FB-400x267.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rob Cavestany (left), founding member of Death Angel, playing in 2013 (Photo by Chris Kentzell/\u003ca href=\"http://www.ckshotz.com\" target=\"_blank\" rel=\"noopener noreferrer\">CKShotz.com\u003c/a>)\u003c/figcaption>\u003c/figure>\n\u003cp>In 1982, four Filipino kids from Concord who were barely in their teens started a band in the vein of the New Wave of British Heavy Metal (NWOBHM) that had made its way overseas. The following year, Death Angel went into the studio to record their first demo, \u003ca href=\"https://www.youtube.com/watch?v=oohl7ICF2Kg\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Heavy Metal Insanity\u003c/i>\u003c/a>—a rough-around-the-edges debut from a group of kids who weren’t even old enough to drive to a gig.\u003c/p>\n\u003cp>Death Angel then added a singer, former roadie Mark Osegueda, and a chance meeting with Metallica’s Hammett led to the legendary shredder recording their demo \u003ca href=\"https://www.youtube.com/watch?v=252MSq5F6-k\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Kill As One.\u003c/i> \u003c/a>That resulted in a record deal with Engima Records, the release of landmark thrash albums \u003ci>The Ultra-Violence\u003c/i> and \u003ci>Frolic Through The Park\u003c/i>, and the band touring the globe before they were old enough to legally drink. Almost 30 years later, the band is still playing with Osegueda at the mic and founding member Rob Cavestany still on lead guitar.\u003c/p>\n\u003cp>Though the band’s track “Thrashers,” an ode to metal music and its fans, would be apt, we instead present the video for “Voracious Souls,” which was reportedly banned from MTV for its lyrical content and was shot right here in the Bay Area.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YjQjLLxWKCk\u003c/p>\n\u003ch2>5. \u003ca href=\"http://www.testamentlegions.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-10835153\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Testament-logoSMALL.jpg\" alt=\"Testament-logoSMALL\" width=\"176\" height=\"88\">\u003c/a>\u003c/h2>\n\u003cfigure id=\"attachment_10835154\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10835154\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Testament-throwback-800x450.jpg\" alt=\"Testament back in the day. (Courtesy of Testament's Facebook Page)\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Testament-throwback-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Testament-throwback-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Testament-throwback.jpg 850w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Testament back in the day. (Courtesy of Testament’s Facebook Page)\u003c/figcaption>\u003c/figure>\n\u003cp>Last but not least is Testament, who started performing in Berkeley under the moniker The Legacy back in 1983. When singer Chuck Billy joined the group in 1986, the band changed their name, upped their game and became one of the scene’s best groups.\u003c/p>\n\u003cp>Testament is another band that still plays today, and has managed to keep a large, dedicated following thanks to their consistent output. Lead guitarist and songwriter Alex Skolnick, a student of Joe Satriani, filled each Testament album with furious, head-banging songs, but he managed to sneak in actual melodies as well. As for a representative track, “Practice What You Preach” off the 1989 album of the same name is packed so full of killer riffs it should be declared lethal. But we’re going with “Over the Wall,” from their first album, 1987’s \u003ci>The Legacy\u003c/i>. Not only was it filmed on Alcatraz Island, it also shows Testament as a bunch of young, pimply-faced thrashers.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ITWXnzcQFV4\u003c/p>\n\u003cp>There are plenty other bands worth noting from the Bay Area metal scene—sadly, we couldn’t include other amazing thrash bands such as Vio-Lence or crossover groups like Attitude Adjustment—and feel free to add your favorites below in the comments.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Thank you to Brian Lew for use of his photos, more of which can be seen in his book \u003ca href=\"http://www.bazillionpoints.com/shop/murder-in-the-front-row-by-brian-umlaut-lew-harald-o-oimoen/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cb>Murder In The Front Row.\u003c/b>\u003c/a> Also, thanks to Jon “Quitty” Quittner for giving the “\u003ca href=\"http://hesherobsesher.tumblr.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hessian Obsession\u003c/a>” umlaut of approval on this list.\u003c/i>\u003c/p>\n\n",
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"excerpt": "To lovers of heavy metal, the Bay Area's thrash scene is considered one of the most influential; here's a primer on five of its most notable groups.",
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"description": "To lovers of heavy metal, the Bay Area's thrash scene is considered one of the most influential; here's a primer on five of its most notable groups.",
"title": "Bonded by Blood: Five Bay Area Metal Bands that Changed the '80s | KQED",
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"headline": "Bonded by Blood: Five Bay Area Metal Bands that Changed the '80s",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A recent study showed that fans of heavy metal in the ’80s have grown up to be \u003ca href=\"http://ww2.kqed.org/pop/2015/07/08/study-aging-80s-metal-fans-doing-better-than-everyone/\" target=\"_blank\" rel=\"noopener noreferrer\">happier than others in their generation\u003c/a>, and if this is true, the Bay Area must be full of well-adjusted \u003ca href=\"http://www.urbandictionary.com/define.php?term=hesher\" target=\"_blank\" rel=\"noopener noreferrer\">heshers\u003c/a>.\u003c/p>\n\u003cp>The Bay Area was such a great place for metal, in fact, that it beckoned Metallica to move here from L.A., and it produced not one, but two subgenres of metal: thrash and death metal.\u003c/p>\n\u003cp>The Bay Area thrash scene might not have had the media attention L.A.’s glam scene received—probably because its participants weren’t as photogenic—but it produced the kind of true metal that real headbangers seek out. Bay Area metal was fast, technical and aggressive, and its impact can be heard more prominently in today’s metal bands than any of the poofy-haired Aerosmith ripoffs from SoCal.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Five of the Bay Area’s metal bands stick out as particularly influential. For those unfamiliar with the Bay Area’s metal history, this list isn’t meant to inspire the purchase of a denim vest and crude drawings of the group’s logos on the back with a Sharpie. This list is to give these thrashers the props they deserve.\u003c/p>\n\u003ch2>1. \u003ca href=\"http://www.metallica.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-10834471\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Metallica_logoSMALL.jpg\" alt=\"Metallica_logoSMALL\" width=\"209\" height=\"88\">\u003c/a>\u003c/h2>\n\u003cfigure id=\"attachment_10834476\" class=\"wp-caption aligncenter\" style=\"max-width: 759px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10834476\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/METALLICA-PALO-ALTO-1983-BRIAN-LEW-759x600.jpg\" alt=\"Cliff Burton and James Hetfield of Metallica, live in Palo Alto in 1983. (Photo by Brian Lew)\" width=\"759\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/METALLICA-PALO-ALTO-1983-BRIAN-LEW-759x600.jpg 759w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/METALLICA-PALO-ALTO-1983-BRIAN-LEW-400x316.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/METALLICA-PALO-ALTO-1983-BRIAN-LEW.jpg 896w\" sizes=\"(max-width: 759px) 100vw, 759px\">\u003cfigcaption class=\"wp-caption-text\">Cliff Burton and James Hetfield of Metallica, live in Palo Alto in 1983. (Photo by Brian Lew) \u003ccite>(Photo: Brian Lew)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of \u003cem>course\u003c/em> Metallica is first on this list. Whatever you think of their later entrance into pop music, Metallica’s first four albums are high water marks for heavy metal. Their first LP \u003ci>Kill ‘Em All\u003c/i> was released while the band was living in El Cerrito, and for many headbangers around the world it would be their introduction to Bay Area thrash.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There are dozens of songs from Metallica’s early days that demonstrate their power at such an early age, so let’s start with the first track from \u003ci>Kill ‘Em All\u003c/i>, “Hit The Lights.” The song has melody, dynamics, and the use of echo and churning half-time rhythm in the chorus. It’s also contains Kirk Hammett’s exemplary solo work, groundbreaking in its own right; while Kerry King and Jeff Hanneman of Slayer re-wrote the book on guitar solos, turning them into exercises in technical ability (“Let’s see how many notes I can hit before I throw in a dive bomb!”), Hammett managed to stay referential to the work of guitar heroes like Uli Jon Roth and even Jimi Hendrix—but he played with breakneck speed to keep up with the tempo demands of thrash.\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/FTqaCHl5Ra4'\n title='//www.youtube.com/embed/FTqaCHl5Ra4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>2. \u003ca href=\"http://exodusattack.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-10834481\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/exodus-logoSMALL.jpg\" alt=\"exodus-logoSMALL\" width=\"205\" height=\"88\">\u003c/a>\u003c/h2>\n\u003cfigure id=\"attachment_10834560\" class=\"wp-caption alignright\" style=\"max-width: 686px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10834560\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/EXODUS-RUTHIES-INN-1984_BRIAN-LEW-e1436768223683.jpg\" alt=\"Exodus playing live at Ruthie's Inn, Berkeley, in1984. (Photo by Brian Lew)\" width=\"686\" height=\"428\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/EXODUS-RUTHIES-INN-1984_BRIAN-LEW-e1436768223683.jpg 686w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/EXODUS-RUTHIES-INN-1984_BRIAN-LEW-e1436768223683-400x250.jpg 400w\" sizes=\"(max-width: 686px) 100vw, 686px\">\u003cfigcaption class=\"wp-caption-text\">Exodus playing live at Ruthie’s Inn, Berkeley, in 1984. (Photo by Brian Lew)\u003c/figcaption>\u003c/figure>\n\u003cp>When music nerds talk about thrash, they usually reference “\u003ca href=\"http://www.nytimes.com/2011/09/16/arts/music/music-review-big-four-with-anthrax-megadeth-slayer-and-metallica.html\" target=\"_blank\" rel=\"noopener noreferrer\">The Big Four\u003c/a>”: Metallica, Slayer, Anthrax and Megadeth. But if a fifth band could be added, it would certainly be Exodus. Founded in 1980 by Hammett (before he joined Metallica) and drummer Tom Hunting, Exodus eventually found its stride with the additions of singer Paul Baloff and guitar shredder Gary Holt, who would become the group’s mastermind over its next three decades of existence. (Holt would later join Slayer, replacing Oakland-born guitarist Hanneman after his \u003ca href=\"http://www.rollingstone.com/music/news/slayer-guitarist-jeff-hanneman-died-of-alcohol-related-cirrhosis-20130510\" target=\"_blank\" rel=\"noopener noreferrer\">untimely death in 2013\u003c/a>.)\u003c/p>\n\u003cp>When it came to sound, Exodus shared more with Slayer than their Bay Area brethren Metallica, and that continues to be true to this day (they would later add touches of Pantera to the mix as well). But their debut album \u003ci>Bonded By Blood\u003c/i> is a stone-cold thrash classic, and if it had been released the same year as \u003ci>Kill ‘Em All\u003c/i>, as intended, it’s almost certain that Exodus would’ve seen similar success.\u003c/p>\n\u003cp>Sadly, the album was held up by the record label, and was marred by the reverb-laden production so common on early ’80s metal records—which is probably why the band re-recorded it in 2008 as \u003ci>Let There Be Blood\u003c/i> with third singer Rob Dukes at the helm. (Exodus recently reunited with their second and longest-running frontman, Steve “Zetro” Souza.) But tracks like “A Lesson In Violence” have a undeniable power, owing in no small part to the vocal work of Baloff. Sadly, Baloff was struck down by a stroke in 2002, which led to his death at the age of 41.\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/c0Kvzrxtwq8'\n title='//www.youtube.com/embed/c0Kvzrxtwq8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>3. \u003ca href=\"https://www.facebook.com/666possessed\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-10834645\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/possessedSMALL.gif\" alt=\"possessedSMALL\" width=\"185\" height=\"88\">\u003c/a>\u003c/h2>\n\u003cfigure id=\"attachment_10835073\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10835073\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Possessed-FB.jpg\" alt=\"Possessed (Courtesy of Possessed's Facebook Page)\" width=\"600\" height=\"396\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Possessed-FB.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Possessed-FB-400x264.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Possessed (Courtesy of Possessed’s Facebook Page)\u003c/figcaption>\u003c/figure>\n\u003cp>There’s long been a common misconception that the subgenre of death metal was started by the Florida band Death. Yet it was El Sobrante’s Possessed whose 1984 demo \u003ci>Death Metal\u003c/i> would not only enter the phrase into the metal lexicon—it would come to literally define the music, described as an “extreme subgenre of heavy metal” by \u003ca href=\"https://en.wikipedia.org/wiki/Death_metal\" target=\"_blank\" rel=\"noopener noreferrer\">Wikipedia\u003c/a>. Possessed’s songs were extreme indeed—punishingly fast, full of rapid-fire riffs, blasting drum beats and guttural vocals, and lyrics about the evilest of evil themes: violence and Satan.\u003c/p>\n\u003cp>Despite having the distinct honor of inspiring a new subgenre with \u003ci>Death Metal\u003c/i> and the LP \u003ci>Seven Churches\u003c/i>, by the band’s second album they had dropped their signature sound, thereby alienating fans. It wouldn’t be long after the second LP that the band would break up. Guitarist Larry LaLonde would go on to play with Primus, while singer/bassist Jeff Becerra became paralyzed from the waist down in a shooting incident. But Possessed’s status as death metal progenitors continued to garner the band a following, inspiring the wheelchair-bound Becerra to start playing shows as Possessed with new members. The obvious pick for a highlight track would be one of their hits—”The Exorcist” or “Death Metal”—but we’re going with another jam off \u003ci>Seven Churches\u003c/i>, “Satan’s Curse,” which is more representative of the death metal that was to come.\u003c/p>\n\u003cp>\u003cb>Update:\u003c/b> Becerra reached out to KQED after this article was published to explain the issue with the second Possessed album, \u003ci>Beyond The Gates\u003c/i>:\u003c/p>\n\u003cp>“How the story goes is that Carl (producer/ex-Rods) f–ed up the final mix so that the sound suffered and differed greatly from how we originally mixed it, which was MUCH heavier, with the guitars a LOT more distorted. But in the end BTG is still probably the best written and one of the most liked of our albums. This is the album where we gave Larry his first opportunity to write some of the songs and also gave us a chance to put something more into our music.\u003c/p>\n\u003cp>“In fact we sold more copies of the second album than the first and to this day it is a favorite of many Possessed fans. And to be honest today I am playing to larger audiences than ever and getting a lot of requests for Beyond The Gates material.”\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/duGLuv3N1P8'\n title='//www.youtube.com/embed/duGLuv3N1P8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>4. \u003ca href=\"http://www.deathangel.us/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-10835070\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/deathangellogoSMALL.gif\" alt=\"deathangellogoSMALL\" width=\"180\" height=\"88\">\u003c/a>\u003c/h2>\n\u003cfigure id=\"attachment_10835072\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10835072\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Death-Angel-FB-800x533.jpg\" alt=\"http://www.ckshotz.com/\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Death-Angel-FB.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Death-Angel-FB-400x267.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rob Cavestany (left), founding member of Death Angel, playing in 2013 (Photo by Chris Kentzell/\u003ca href=\"http://www.ckshotz.com\" target=\"_blank\" rel=\"noopener noreferrer\">CKShotz.com\u003c/a>)\u003c/figcaption>\u003c/figure>\n\u003cp>In 1982, four Filipino kids from Concord who were barely in their teens started a band in the vein of the New Wave of British Heavy Metal (NWOBHM) that had made its way overseas. The following year, Death Angel went into the studio to record their first demo, \u003ca href=\"https://www.youtube.com/watch?v=oohl7ICF2Kg\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Heavy Metal Insanity\u003c/i>\u003c/a>—a rough-around-the-edges debut from a group of kids who weren’t even old enough to drive to a gig.\u003c/p>\n\u003cp>Death Angel then added a singer, former roadie Mark Osegueda, and a chance meeting with Metallica’s Hammett led to the legendary shredder recording their demo \u003ca href=\"https://www.youtube.com/watch?v=252MSq5F6-k\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Kill As One.\u003c/i> \u003c/a>That resulted in a record deal with Engima Records, the release of landmark thrash albums \u003ci>The Ultra-Violence\u003c/i> and \u003ci>Frolic Through The Park\u003c/i>, and the band touring the globe before they were old enough to legally drink. Almost 30 years later, the band is still playing with Osegueda at the mic and founding member Rob Cavestany still on lead guitar.\u003c/p>\n\u003cp>Though the band’s track “Thrashers,” an ode to metal music and its fans, would be apt, we instead present the video for “Voracious Souls,” which was reportedly banned from MTV for its lyrical content and was shot right here in the Bay Area.\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/YjQjLLxWKCk'\n title='//www.youtube.com/embed/YjQjLLxWKCk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>5. \u003ca href=\"http://www.testamentlegions.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-10835153\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Testament-logoSMALL.jpg\" alt=\"Testament-logoSMALL\" width=\"176\" height=\"88\">\u003c/a>\u003c/h2>\n\u003cfigure id=\"attachment_10835154\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10835154\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Testament-throwback-800x450.jpg\" alt=\"Testament back in the day. (Courtesy of Testament's Facebook Page)\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Testament-throwback-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Testament-throwback-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Testament-throwback.jpg 850w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Testament back in the day. (Courtesy of Testament’s Facebook Page)\u003c/figcaption>\u003c/figure>\n\u003cp>Last but not least is Testament, who started performing in Berkeley under the moniker The Legacy back in 1983. When singer Chuck Billy joined the group in 1986, the band changed their name, upped their game and became one of the scene’s best groups.\u003c/p>\n\u003cp>Testament is another band that still plays today, and has managed to keep a large, dedicated following thanks to their consistent output. Lead guitarist and songwriter Alex Skolnick, a student of Joe Satriani, filled each Testament album with furious, head-banging songs, but he managed to sneak in actual melodies as well. As for a representative track, “Practice What You Preach” off the 1989 album of the same name is packed so full of killer riffs it should be declared lethal. But we’re going with “Over the Wall,” from their first album, 1987’s \u003ci>The Legacy\u003c/i>. Not only was it filmed on Alcatraz Island, it also shows Testament as a bunch of young, pimply-faced thrashers.\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/ITWXnzcQFV4'\n title='//www.youtube.com/embed/ITWXnzcQFV4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There are plenty other bands worth noting from the Bay Area metal scene—sadly, we couldn’t include other amazing thrash bands such as Vio-Lence or crossover groups like Attitude Adjustment—and feel free to add your favorites below in the comments.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Thank you to Brian Lew for use of his photos, more of which can be seen in his book \u003ca href=\"http://www.bazillionpoints.com/shop/murder-in-the-front-row-by-brian-umlaut-lew-harald-o-oimoen/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cb>Murder In The Front Row.\u003c/b>\u003c/a> Also, thanks to Jon “Quitty” Quittner for giving the “\u003ca href=\"http://hesherobsesher.tumblr.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hessian Obsession\u003c/a>” umlaut of approval on this list.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/news/series/baycurious",
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"source": "kqed",
"order": 3
},
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"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
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}
},
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"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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}
},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"source": "kqed",
"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
"site": "radio",
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},
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
"link": "/forum",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
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