Long Live The Pound: The Forgotten 2000s Venue That Changed the Bay Area
The Dolls Are Coming
Saying Goodbye to Thee Parkside, a ‘Safe Haven’ for San Francisco’s Punks and Rebels
Punk Legend Jello Biafra Hospitalized After Stroke
Inside the Planetarium, Richmond’s New All-Ages DIY Venue Where Anything Goes
Mosswood Lineup Announced: Iggy Pop, Bikini Kill, Dead Milkmen, Otoboke Beaver, More
A Preteen Punk Band From Mill Valley Takes on AI
Poised to Blow Up, Spiritual Cramp Is Bringing San Francisco Along for the Ride
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But fewer than 900 people witnessed Nowell’s final performance. The rest of Sublime’s millions of fans always want to know: \u003cem>what was it like?\u003c/em>\u003c/p>\n\u003cp>I was there that night, and left after four songs. My band had played the Warped Tour with Sublime the year before, and I’d had my fill of them, to say nothing of Nowell’s impulsive behavior. (He once \u003ca href=\"http://www.bohemian.com/northbay/what-i-got/Content?oid=2170536\" target=\"_blank\" rel=\"noopener\">sicced his dog on a skateboarder and then expected me to back him up in a fight\u003c/a>.) But I’ve always wondered how the rest of the night went down.\u003c/p>\n\u003cp>So to mark the 30th anniversary of Sublime’s last show in Petaluma, I’ve decided to pull together those memories, stories, and loose threads—from regular showgoers, people behind the scenes, performers on stage and band members themselves.\u003c/p>\n\u003cfigure id=\"attachment_11611375\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Sublime.Pool_.BIG_-800x450.jpg\" alt=\"Sublime with Lou Dog.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11611375\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sublime.Pool_.BIG_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sublime.Pool_.BIG_-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sublime.Pool_.BIG_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sublime.Pool_.BIG_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sublime.Pool_.BIG_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sublime.Pool_.BIG_-960x540.jpg 960w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sublime with Lou Dog.\u003c/figcaption>\u003c/figure>\n\u003ch2>Stand by Your Van\u003c/h2>\n\u003cp>\u003cb>Eric Wilson (Bassist, Sublime)\u003c/b>: We had just finished the album. For two or three years before that, we had gotten a really strong cult following, just from playing up and down the coast. We started packing in 2,000 people just from word of mouth, before we even had any deal with a record company.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Rick Bonde (Booking agent, the Tahoe Agency)\u003c/b>: In the time I worked with them, they made it to every gig, we really tightened up the scene, Brad had gotten clean. From my memory, he’d been clean for almost a year. They were going to go to Europe, Brad had a brand-new wife, a new baby.\u003c/p>\n\u003cp>\u003cb>Lil’ Mike\u003c/b>: I was gonna meet ’em at the Glass House in Pomona. They were supposed to play there the week before, and I was gonna jump in the van with ’em and head up the coast. But they canceled the Pomona show. I went down to the club that night, and they were like, “Nah, they’re not coming.” I was worried there had been an O.D.\u003c/p>\n\u003cp>\u003cb>Jason Boggs (Filibuster)\u003c/b>: They’d come to Sacramento and open up for us and play for 30-40 people at little dive bars around town, and they’d crash on our floors. But they’d really started to blow up right around then, with “Date Rape” on KROQ.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=CeMeDihwyrg\u003c/p>\n\u003cp>\u003cb>Tom Gaffey (Manager, Phoenix Theater)\u003c/b>: We were just starting to see more ska and less punk. My punk crowd was just starting to finally turn 21. Ska was the next thing. The youngsters loved it. Most of our crowd for the Sublime show was under 18, and definitely under 21.\u003c/p>\n\u003cp>\u003cb>Rick Bonde\u003c/b>: I was with them the night before up in Chico. That was one of the most insane, crazy rock ‘n’ roll shows I’ve ever seen in my life. There were probably 2,000 people there. The fence got torn down, security was overwhelmed.\u003c/p>\n\u003cp>\u003cb>Eric Wilson\u003c/b>: It was in a park, with a traveling circus. All these people with tattoos and piercings, the freakshow thing. \u003c/p>\n\u003cp>\u003cb>Rick Bonde\u003c/b>: At one point I saw an opening in the crowd and I thought someone had gotten hurt and gone down. So I jumped off the stage, right in the middle of this crowd, and there was nothing there, but everyone was looking on the ground. I’m like, “What are we looking for?” And some guy yells out, “A finger! A fuckin’ finger!” And I’m like, “What do you mean, a finger?!” So we’re all there looking around for this guy’s finger.\u003c/p>\n\u003cp>\u003cb>Eric Wilson\u003c/b>: In Chico, there were a lot of drugs. We stayed over at some college girls’ house and smoked crack for breakfast. So it wasn’t really surprising that that’s where Brad found his last bag.\u003c/p>\n\u003cp>\u003cb>Rick Bonde\u003c/b>: At the afterparty, Brad came up to Mitch, who was the bodyguard we’d hired to protect Brad from himself. Brad walked up and said, “Gimme some money.” And Mitch was like, “No, I’m not giving you any money.” And Brad got really upset and was like, “It’s my money! Gimme my fuckin’ money!” And Mitch was like, “I’m not giving you any money.” Because we all knew what that was about. But the unfortunate thing is that Brad didn’t need money to score, you know what I mean? So I’m convinced he got it that night.\u003c/p>\n\u003cfigure id=\"attachment_11611248\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Sublime.Ticket-800x462.jpg\" alt=\"A ticket for Sublime's last show, May 24, 1996.\" width=\"800\" height=\"462\" class=\"size-medium wp-image-11611248\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sublime.Ticket-800x462.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sublime.Ticket-400x231.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sublime.Ticket-768x443.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sublime.Ticket-960x554.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sublime.Ticket.jpg 1100w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A ticket for Sublime’s last show, May 24, 1996. \u003ccite>(Photo: Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Eric Wilson\u003c/b>: I slept hungover on the way to Petaluma. And so did anybody else that was in the van. We had a big old junker motor home and we had our own bunks. That was like a tour bus to us.\u003c/p>\n\u003cp>\u003cb>Boots Hughston (Manager, Maritime Hall)\u003c/b>: We had ’em at Maritime once before, and we had ’em at the Phoenix a couple times. They were kind of wild and crazy. Bradley was a little bit out of control, but he wasn’t a bad person or anything. I liked him. I thought he was cool. They were booked at the Phoenix one night, and the Maritime the next night.\u003c/p>\n\u003cp>\u003cb>Rhi Smith-Guerrero\u003c/b>: I was 19. A bunch of dudes were going. My best friend had just met a guy, and his roommates were all like, “Let’s go see Sublime!” So I hopped in with the roommates and left her behind with her boyfriend, which she still regrets to this day.\u003c/p>\n\u003cp>\u003cb>Josh Drake\u003c/b>: Earth Crisis played at the Phoenix with the metal band I was in and there were maybe six people there. But whenever there was a big ska show at the Phoenix—Let’s Go Bowling, Skankin’ Pickle, Reel Big Fish—lots of people would go to the ska shows, so you would just go to whatever show it was.\u003c/p>\n\u003cp>\u003cb>Lil’ Mike\u003c/b>: Everybody’d be singing along and know all the words, even if the record wasn’t out! They just had that contagious enthusiasm. I’ve never seen anything like it. \u003c/p>\n\u003cp>\u003cb>Tom Gaffey\u003c/b>: That was their third show here. The first time they came in was as the support band and absolutely stole the show. So we brought them back on their own two more times. Their guarantee in those days was probably $1,500 plus backend. In those days, backend was still at 70 percent.\u003c/p>\n\u003cp>\u003cb>Boots Hughston\u003c/b>: They probably got three grand.\u003c/p>\n\u003cp>\u003cb>Rick Bonde\u003c/b>: I would guess that their guarantee was probably in the $2,500 range. And right now, they’d be playing for no less than $250,000 or $500,000 a night.\u003c/p>\n\u003cp>\u003cb>Tom Gaffey\u003c/b>: Here’s one of the differences that I noticed. The first couple times that they came through, they’d get here early, they’d do their soundcheck and then they’d hang out with all the skater kids. The skater kids would be going onto their RV and watching videos with them and hanging out. The last time through, the RV was not open to skaters. They weren’t hanging out as much. Bradley wasn’t skating with the kids like he had before. That was the first sign that something was a little bit wrong.\u003c/p>\n\u003cfigure id=\"attachment_11611373\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Phoenix.Inside-800x474.jpg\" alt=\"The inside of the Phoenix Theater today.\" width=\"800\" height=\"474\" class=\"size-medium wp-image-11611373\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Phoenix.Inside-800x474.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Phoenix.Inside-400x237.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Phoenix.Inside-768x455.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Phoenix.Inside-1180x699.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Phoenix.Inside.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Phoenix.Inside-960x569.jpg 960w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The inside of the Phoenix Theater today. \u003ccite>(Photo: Jim Agius)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Work That We Do\u003c/h2>\n\u003cp>\u003cb>Jason Boggs (Filibuster)\u003c/b>: It was the Ziggens, us, and Sublime. We had a 27-foot 1967 school bus that we took around on tour, so we rolled up in that, and all the guys from the band hung out in there. That was like our little backstage party zone.\u003c/p>\n\u003cp>\u003cb>Hollie Simons\u003c/b>: I remember lots of frat boys, which was weird for the Phoenix, and the crowd that usually went there. It was never the college boys, it was the punk rockers and skaters. I went with my girlfriends. \u003c/p>\n\u003cp>\u003cb>Tyson Engel\u003c/b>: Brad was hanging out with people out front. He was excited with the new record coming out. I gave him a cigarette, but I didn’t really talk to him that much.\u003c/p>\n\u003cp>\u003cb>Hollie Simons\u003c/b>: I thought it was incredibly cool that before they played, Brad was in the crowd, drinking and hanging out.\u003c/p>\n\u003cp>\u003cb>Eric Wilson\u003c/b>: I remember before the show—it was in the Bay Area, with a college crowd—and there were some guys discussing politics. I said what I thought about it, which wasn’t much, and then the guy put me down for a couple minutes in a real intelligent way.\u003c/p>\n\u003cp>\u003cb>Josh Drake\u003c/b>: The way the Phoenix used to get when there were tons of people in there, it was so hot that you had to try to crane your head up to get fresh air. With the crowd, and the heat, it was tough to breathe.\u003c/p>\n\u003cp>\u003cb>Hollie Simons\u003c/b>: It was an awesome concert, and a huge party. The energy level was just insane.\u003c/p>\n\u003cfigure id=\"attachment_11611247\" class=\"wp-caption alignright\" style=\"max-width: 450px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Sublime.LastShowFlyer-450x600.jpg\" alt=\"The flyer for Sublime's last show, May 24, 1996.\" width=\"450\" height=\"600\" class=\"size-medium wp-image-11611247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sublime.LastShowFlyer-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sublime.LastShowFlyer-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sublime.LastShowFlyer.jpg 720w\" sizes=\"auto, (max-width: 450px) 100vw, 450px\">\u003cfigcaption class=\"wp-caption-text\">The flyer for Sublime’s last show, May 24, 1996. \u003ccite>(Courtesy Glenn Rubenstein)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Jason Boggs\u003c/b>: Sublime killed it that night. They did a great, great job. Considering how much we’d all been partying before the show, I was very, very impressed at how tight they sounded.\u003c/p>\n\u003cp>\u003cb>Tom Gaffey\u003c/b>: I think I read somewhere that said he’d called home, and said he was having the best show he’d ever had. I don’t want to go against what common belief is, but I do recall that I was kind of bored with that show. I’m sorry to say that. It just didn’t have the energy the other shows had had. \u003c/p>\n\u003cp>\u003cb>Sara Sugrue\u003c/b>: I recall feeling sheer disappointment. I thought it sounded awful, especially Brad. I feel a little bad saying it, being that he’s passed.\u003c/p>\n\u003cp>\u003cb>Drew Hirschfield\u003c/b>: It was my second time seeing them and I just remember Brad looking just awful. He was smoking lots of cigarettes during the set. \u003c/p>\n\u003cp>\u003cb>Josh Drake\u003c/b>: When Sublime was on, I went up to the balcony where they had the fire escape doors open, and you could get some fresh air. And of course, there were some guys with big army jackets standing around clearly smoking weed, and me, sidling up to them, trying to stand in the circle hoping they’d pass it to me. It was a gross-tasting wooden pipe that everyone’s mouth had been on, it was disgusting. \u003c/p>\n\u003cp>\u003cb>Tom Gaffey\u003c/b>: In those days that was acceptable behavior. Nowadays, our rules are stricter and stricter. The party finally ate us up.\u003c/p>\n\u003cfigure id=\"attachment_11611374\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Sublime.Sunglasses.BIG_.jpg\" alt=\"Sublime.\" width=\"1100\" height=\"619\" class=\"size-full wp-image-11611374\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sublime.Sunglasses.BIG_.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sublime.Sunglasses.BIG_-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sublime.Sunglasses.BIG_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sublime.Sunglasses.BIG_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sublime.Sunglasses.BIG_-960x540.jpg 960w\" sizes=\"auto, (max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Sublime.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Jared Powell\u003c/b>: I left the show. I was like, “Whatever, I’ll see them play again.” \u003c/p>\n\u003cp>\u003cb>Drew Hirschfield\u003c/b>: It was a show I was stoked about because I had become a real fan, and then there was something worrisome and sadly disconnected about the band. \u003c/p>\n\u003cp>\u003cb>Eric Wilson\u003c/b>: It was a hit-and-miss thing for us. We used to drink a lot. A lot of my older acquaintances would say, “I would never know if you guys were going to sound like total shit or play great.” We didn’t have our professional skills going on back then. We just thought the world was ours, or whatever.\u003c/p>\n\u003cp>\u003cb>Jason Boggs\u003c/b>: They had the halfpipes at the front. It was almost like a rec center, the way it was set up.\u003c/p>\n\u003cp>\u003cb>Hollie Simons\u003c/b>: There were pro skateboarders skating on the ramps while they were playing, and people were just going nuts. I wanna say Mike Carroll was one of them? My friends I was with, they were more in awe of the skateboarders than the band itself. \u003c/p>\n\u003cp>\u003cb>Rhi Smith-Guerrero\u003c/b>: I stayed in the back. I remember that the pit was pretty rowdy. I was being a little more cautious than I would have been in the past couple years prior to that. I had pit injuries.\u003c/p>\n\u003cfigure id=\"attachment_11611377\" class=\"wp-caption alignright\" style=\"max-width: 858px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Sublime.Cassette.jpg\" alt=\"Skunk Records sampler.\" width=\"858\" height=\"1308\" class=\"size-full wp-image-11611377\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sublime.Cassette.jpg 858w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sublime.Cassette-400x610.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sublime.Cassette-394x600.jpg 394w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sublime.Cassette-768x1171.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sublime.Cassette-774x1180.jpg 774w\" sizes=\"auto, (max-width: 858px) 100vw, 858px\">\u003cfigcaption class=\"wp-caption-text\">Skunk Records sampler. \u003ccite>(Courtesy Josh Drake)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Sara Sugrue\u003c/b>: There was this one guy that I couldn’t take my eyes off of. I recall him being dressed in all black, and wearing a skirt, and he decided to dance ballet-style in the pit. He would pirouette through some macho douchebags that were pushing people around, and he looked so free, without a care in the world of what others thought. \u003c/p>\n\u003cp>\u003cb>Faith Corrien Valdez\u003c/b>: I just remember their Dalmatian running around.\u003c/p>\n\u003cp>\u003cb>Eric Wilson\u003c/b>: Lou Dog running around on stage, that was typical, yeah. He probably bit somebody too.\u003c/p>\n\u003cp>\u003cb>Josh Drake\u003c/b>: I still have a cassette tape, a Skunk Records sampler, that I think the Ziggens threw out to the crowd.\u003c/p>\n\u003cp>\u003cb>Rhi Smith-Guerrero\u003c/b>: My friend was up in the front, and I guess he buddied up to this big, burly, muscly black dude who was their merch guy, and so he left with a bunch of stickers, pins and t-shirts and stuff.\u003c/p>\n\u003cp>\u003cb>Lil’ Mike\u003c/b>: Sublime would give you 10 copies of their records, and be like, “Give these to your bros, let people know about us!” \u003c/p>\n\u003cp>\u003cb>Hollie Simons\u003c/b>: We snuck backstage, which was amazing for us, in our Osh-Kosh overalls, and really curly hair, with a Mickey’s 40 oz. poured into a Big Gulp cup. I was 19. There was lots of weed, and it was crowded. We just stood there in the corner, in awe, drinking out of our 7-11 Big Gulps full of beer.\u003c/p>\n\u003cp>\u003cb>Eric Wilson\u003c/b>: It was always a scene backstage. We had our guard down, so we didn’t see what [Brad] was up to.\u003c/p>\n\u003cfigure id=\"attachment_11611243\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/LastPhoto.jpg\" alt=\"The last known photo of Brad Nowell, with fan Barbie Shearer and friend.\" width=\"400\" height=\"321\" class=\"size-full wp-image-11611243\">\u003cfigcaption class=\"wp-caption-text\">The last known photo of Brad Nowell, with fan Barbie Shearer and friend. \u003ccite>(Courtesy Barbie Shearer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Waking up to an Alarm\u003c/h2>\n\u003cp>\u003cb>Tom Gaffey\u003c/b>: Rick Bonde called me the next day and said, “Tom, I want you to know this wasn’t your fault.” I said, “What are you talking about?” \u003c/p>\n\u003cp>\u003cb>Eric Wilson\u003c/b>: I was asleep in the motor home. We woke up to have bloody marys, and I sent my friend inside the hotel to get some ice for the bloody marys. And he came back frantically crying.\u003c/p>\n\u003cp>\u003cb>Rhi Smith-Guerrero\u003c/b>: I was at my parents’ house and I woke up and poured myself a bowl of cereal and was sitting in front of MTV. And the MTV News splash was “Bradley Nowell Dead at 28. Died in San Francisco.” I just about spewed my cereal.\u003c/p>\n\u003cp>\u003cb>Rick Bonde\u003c/b>: Bud [Gaugh, Sublime drummer] found him. What I heard is that Lou Dog was on the bed, licking Brad’s face. Bud looked at him, and there was zero question. Lou was licking the vomit off of him, his face was green-colored. There was no saving him. Obviously it was over.\u003c/p>\n\u003cfigure id=\"attachment_11611378\" class=\"wp-caption aligncenter\" style=\"max-width: 480px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/tmptrf4MG_full.jpeg\" alt=\"The Oceanview Motel, San Francisco.\" width=\"480\" height=\"360\" class=\"size-full wp-image-11611378\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/tmptrf4MG_full.jpeg 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/tmptrf4MG_full-400x300.jpeg 400w\" sizes=\"auto, (max-width: 480px) 100vw, 480px\">\u003cfigcaption class=\"wp-caption-text\">The Oceanview Motel, San Francisco.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Boots Hughston\u003c/b>: At first I thought it was bullshit. I thought somebody was pulling my leg. That’s the kind of band they were, always goofing off. “Tell the Maritime promoter that Bradley died and then he won’t give us any shit for missing soundcheck.” That’s what I was thinking. But then this girl I talked to, who was hanging with the band, she got real serious and real quiet, and she said, “No, no man. He’s not here anymore.” \u003c/p>\n\u003cp>\u003cb>Eric Wilson\u003c/b>: It killed part of me. I don’t really like talking about it.\u003c/p>\n\u003cp>\u003cb>Jason Boggs\u003c/b>: From what I heard, there were a bunch of people in San Francisco that got the same batch, and there were a bunch of O.D.’s that night. \u003c/p>\n\u003cfigure id=\"attachment_11611244\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Maritime.Postcard-781x1180.jpg\" alt=\"A poster announcing Sublime's show at the Maritime Hall on May 25, 1996, which never happened.\" width=\"640\" height=\"967\" class=\"size-large wp-image-11611244\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Maritime.Postcard-781x1180.jpg 781w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Maritime.Postcard-400x604.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Maritime.Postcard-397x600.jpg 397w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Maritime.Postcard-768x1160.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Maritime.Postcard-960x1450.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Maritime.Postcard.jpg 1059w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A poster announcing Sublime’s show at the Maritime Hall on May 25, 1996, which never happened.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Drew Hirschfield\u003c/b>: The next day during recess at Montgomery High my pal John told me he heard about the overdose. I was shocked and a bit scared. I think we felt sacredly important that we were at their last show ever, ’cause we were a bunch of 17 year old punks. \u003c/p>\n\u003cp>\u003cb>Josh Drake\u003c/b>: It was on the news. And I got that kind of excitement that I was \u003cem>part of news\u003c/em>! Like, “I was at that show!” I know that that’s insane, taking someone’s death and turning it into a win. But when you’re that age and nothing ever happens to you, it was at least some excitement in our small town.\u003c/p>\n\u003cp>\u003cb>Tom Gaffey\u003c/b>: Three or four creepy downtown denizens in town tried to claim responsibility, tried to say that they were the ones that sold him the drugs, as a source of pride. How ghoulish is that? What a bunch of idiots. And I wasn’t the only one who heard stuff like that. It’s like, is that your stupid way of at least being able to say you were a part of history? That’s how you want to be known, as the guy that sold Bradley Nowell the drugs?\u003c/p>\n\u003cp>\u003cb>Rhi Smith-Guerrero\u003c/b>: I heard a lot of rumors about where the drugs came from. I heard people say, “Yeah, my friend was the guy that sold him the dope,” and all that. It sounded like a lot of exaggeration and rumor. \u003c/p>\n\u003cp>\u003cb>Jared Powell\u003c/b>: Everybody says they know someone who did something. There are rumors that seem plausible, but it’s also coming from people who want to hang onto some celebrity moment, and that’s just scumbaggy anyway.\u003c/p>\n\u003cp>\u003cb>Rhi Smith-Guerrero\u003c/b>: The rumors were nasty, about who was trying to boast about it.\u003c/p>\n\u003cp>\u003cb>Rick Bonde\u003c/b>: I’m convinced he got it in Chico. And here’s my theory. I think that Brad knew that he was going to be home, seeing his wife and baby in a few days, and I think that he got high that night and probably decided he needed to just finish it off so he wasn’t tempted to do it the next day. So he could clean up for a couple days before he needed to see his family. That’s been my gut this whole time, and believe me, I’ve thought about it a million times in the last 20 years.\u003c/p>\n\u003cfigure id=\"attachment_11611379\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/SublimeST.jpg\" alt=\"Sublime's self-titled major label debut.\" width=\"800\" height=\"810\" class=\"size-full wp-image-11611379\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SublimeST.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SublimeST-400x405.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SublimeST-593x600.jpg 593w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SublimeST-768x778.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SublimeST-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SublimeST-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SublimeST-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SublimeST-96x96.jpg 96w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sublime’s self-titled major label debut.\u003c/figcaption>\u003c/figure>\n\u003ch2>Look at All the Love We’ve Found\u003c/h2>\n\u003cp>\u003cb>Boots Hughston\u003c/b>: Their fans were incredible. When the show at Maritime was canceled, instead of freaking out and demanding refunds, they just came and were, like, really sad. They didn’t care about the money they paid for the tickets. I probably only refunded 10 or 20 people out of 1,500 tickets sold. Usually when something like that happens, people start to demand their money back right at the door. It wasn’t like that. They were just sad that it happened. The whole space in front of the hall turned into a makeshift wake for Bradley. \u003c/p>\n\u003cp>\u003cb>Tom Gaffey\u003c/b>: In the next five to ten years we were getting a lot of people coming through taking pictures of the place. That’s dropped off, of course. \u003c/p>\n\u003cp>\u003cb>Rick Bonde\u003c/b>: The president of MCA Records met with me about a month later. I was in his office, and he told me that he was not going to release their record. He said, “I’m done, Rick, I can’t do this. I’ve spent half a million dollars on Brad’s rehab, and now we don’t have a band to tour behind it, I’m just gonna shelve it, it’s not going to work, it’s never going to be successful.” I was like, “I’m not leaving until you promise to put out this record.” I wouldn’t let up on him. And like, 20 minutes later, he was finally like, “Okay, I’ll try it. I’ll put it out and see what happens.” And now… how many millions of records later?\u003c/p>\n\u003cp>\u003cb>Josh Drake\u003c/b>: I was into punk bands and more underground music, so in that scene, we all rejected Sublime once their big album came out, and the horrible scarring of the musical landscape they caused by telling bands it was okay to play this crappy reggae music.\u003c/p>\n\u003cp>\u003cb>Jared Powell\u003c/b>: Now, everyone says they were at that show. If everybody who says they were at that show was actually at the show, it would have been thousands of people. \u003c/p>\n\u003cfigure id=\"attachment_11611245\" class=\"wp-caption alignright\" style=\"max-width: 537px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/phoenix-sublime-mural.jpg\" alt=\"The mural backstage at the Phoenix Theater, painted by Long Beach Dub All-Stars.\" width=\"537\" height=\"720\" class=\"size-full wp-image-11611245\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/phoenix-sublime-mural.jpg 537w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/phoenix-sublime-mural-400x536.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/phoenix-sublime-mural-448x600.jpg 448w\" sizes=\"auto, (max-width: 537px) 100vw, 537px\">\u003cfigcaption class=\"wp-caption-text\">The mural backstage at the Phoenix Theater, painted by Long Beach Dub All-Stars. \u003ccite>(Mikey DeLosa-Tham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Tom Gaffey\u003c/b>: The other guys came back here a few years later with Long Beach Dub All-Stars, and painted a mural backstage for Brad. \u003c/p>\n\u003cp>\u003cb>Eric Wilson\u003c/b>: That would have been done by Opie, the singer. He’s the guy who drew the sun [on \u003cem>40 Oz. to Freedom\u003c/em>]. He’s a tattoo artist.\u003c/p>\n\u003cp>\u003cb>Tom Gaffey\u003c/b>: It lasted forever, until last year when some idiot came and painted a mural over it.\u003c/p>\n\u003cp>\u003cb>Jared Powell\u003c/b>: Tom went apeshit. He started screaming and yelling, and this young little 18-year old grafitti writer that didn’t know what was going on was almost in tears. \u003c/p>\n\u003cp>\u003cb>Tom Gaffey\u003c/b>: That was a painful thing. It was a beautiful piece. I’d invite them to come back and redo it, because I’d love to have it back.\u003c/p>\n\u003cp>\u003cb>Jim Agius (Phoenix Theater in-house promoter)\u003c/b>: There’s actually audio from the show out there on the internet. The story I heard was that a girl recorded it from the balcony with a Walkman, and she and her boyfriend put it out on CD with money she made as a stripper.\u003c/p>\n\u003cp>\u003cb>Eric Wilson\u003c/b>: I haven’t heard that recording. Did we sound good? I hope we sounded good.\u003c/p>\n\u003cfigure id=\"attachment_11611246\" class=\"wp-caption aligncenter\" style=\"max-width: 300px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/PlayniceinthepitTape.jpg\" alt=\"'Play Nice in the Pit,' recorded at Sublime's last show, May 24, 1996.\" width=\"300\" height=\"226\" class=\"size-full wp-image-11611246\">\u003cfigcaption class=\"wp-caption-text\">‘Play Nice in the Pit,’ recorded at Sublime’s last show, May 24, 1996.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Lil Mike\u003c/b>: It wasn’t great audio quality. But yeah, she had this little Walkman, a hand-held thing. You can hear the whole thing on the internet, because I gave the tape to these internet guys after a while, they were just hounding me. It was called “\u003ca href=\"http://sublimewiki.com/index.php?title=05.24.1996\" target=\"_blank\" rel=\"noopener\">Play Nice in the Pit\u003c/a>,” because that’s what was painted on the wall of the Phoenix, so she went home that night and wrote that on the tape. We put some of the better-sounding songs out on a CD called \u003cem>\u003ca href=\"http://sublimewiki.com/index.php?title=It_All_Seems_so_Silly_in_the_Long_Run\" target=\"_blank\" rel=\"noopener\">It All Seems So Silly in the Long Run\u003c/a>\u003c/em> with some other recordings we’d done at Klub Komotion, and I sent ’em $1,000 each. Bud and Eric told me that was the most money they’d gotten from their music at that point. Their album was out and selling millions, but they hadn’t seen any money because they owed so much money to MCA for Brad’s rehab, which I’d heard cost half a million dollars. So the only royalty check they received at that point was from a bootleg!\u003c/p>\n\u003cp>\u003cb>Jim Agius\u003c/b>: The other thing is that there’s video footage of the whole show, but it’s never been released. After Brad died, there was some \u003ca href=\"http://articles.latimes.com/1998/feb/06/entertainment/ca-15990\" target=\"_blank\" rel=\"noopener\">ugly legal battle between the guy who filmed it and the band\u003c/a>, and he’s just sat on the footage all these years, not doing anything with it.\u003c/p>\n\u003cp>\u003cb>Eric Wilson\u003c/b>: I’m sure it’ll come out sometime, but I don’t know anything about the politics of it.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KuL8Iexv8g8\u003c/p>\n\u003cp>\u003cb>Sara Sugrue\u003c/b>: It’s also where I first met my ex, on the stairs of the Phoenix. Initially I was planning to say that it was a night I could have done without. However, without that night and the next few years of hell with my ex, I may have never been at Gale’s that one night where I met my amazing husband. Seventeen years together this year! So, with that thought, I am so happy that I have that disastrous night in my history. If I didn’t go to that show, I honestly would not be who I am now. \u003c/p>\n\u003cp>\u003cb>Hollie Simons\u003c/b>: I remember telling my husband, “Ah! I was at their last show!” when a Sublime song came on the radio when we were driving to Disneyland with our kids. He’s like, “No you weren’t!” I was like, “No, they played their last show at the Phoenix!”\u003c/p>\n\u003cp>\u003cb>Boots Hughston\u003c/b>: I didn’t really expect it to happen. Bradley, he was crazy and partying, but I just never got the vibe that he was going to check out like that.\u003c/p>\n\u003cp>\u003cb>Rick Bonde\u003c/b>: You know what was really going through my mind after he died? I swear this is true, that as sad I was for myself, and for my business, and obviously Brad’s wife and family, and the band—the thing I thought about the most was that the rest of the world didn’t know what they just lost.\u003c/p>\n\u003cp>\u003cb>Jason Boggs\u003c/b>: I think Brad would have gotten a lot more seasoned. I think he might have started to realize that he was a voice. He never got a chance to see how much influence he had on people, or how his music affected people in such a good way; he brought that positivity that I think he understood about reggae and rocksteady and even punk rock. He was a very positive person.\u003c/p>\n\u003cp>\u003cb>Eric Wilson\u003c/b>: He’d probably be playing music. Probably with me, but he might have gone solo. But who knows? We’ll never know.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"excerpt": "Remembering the band's final concert at the Phoenix Theater in Petaluma on May 24, 1996, as told by those in the crowd, behind the scenes, and on stage.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On May 24, 1996, Sublime played their last show at the \u003ca href=\"https://www.kqed.org/news/11954041/teens-helped-save-this-historic-bay-area-theater-by-making-it-their-own\">Phoenix Theater\u003c/a> in Petaluma.\u003c/p>\n\u003cp>No one knew it’d be their final concert. But no one knew, either, that singer Bradley Nowell would be found dead of a heroin overdose the next morning at a motel in San Francisco. \u003c/p>\n\u003cp>Sublime would go on to sell over 17 million records, and their last show in Petaluma has attained mythic status. An \u003ca href=\"http://sublimewiki.com/index.php?title=05.24.1996\" target=\"_blank\" rel=\"noopener\">audio bootleg\u003c/a> exists; legal issues over \u003ca href=\"https://groups.google.com/forum/#!topic/japan.music.punk/pb0K-Bp-MKM\" target=\"_blank\" rel=\"noopener\">still-unreleased video footage\u003c/a> have continued for years; and people still talk about it around Petaluma. But fewer than 900 people witnessed Nowell’s final performance. The rest of Sublime’s millions of fans always want to know: \u003cem>what was it like?\u003c/em>\u003c/p>\n\u003cp>I was there that night, and left after four songs. My band had played the Warped Tour with Sublime the year before, and I’d had my fill of them, to say nothing of Nowell’s impulsive behavior. (He once \u003ca href=\"http://www.bohemian.com/northbay/what-i-got/Content?oid=2170536\" target=\"_blank\" rel=\"noopener\">sicced his dog on a skateboarder and then expected me to back him up in a fight\u003c/a>.) But I’ve always wondered how the rest of the night went down.\u003c/p>\n\u003cp>So to mark the 30th anniversary of Sublime’s last show in Petaluma, I’ve decided to pull together those memories, stories, and loose threads—from regular showgoers, people behind the scenes, performers on stage and band members themselves.\u003c/p>\n\u003cfigure id=\"attachment_11611375\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Sublime.Pool_.BIG_-800x450.jpg\" alt=\"Sublime with Lou Dog.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11611375\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sublime.Pool_.BIG_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sublime.Pool_.BIG_-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sublime.Pool_.BIG_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sublime.Pool_.BIG_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sublime.Pool_.BIG_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sublime.Pool_.BIG_-960x540.jpg 960w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sublime with Lou Dog.\u003c/figcaption>\u003c/figure>\n\u003ch2>Stand by Your Van\u003c/h2>\n\u003cp>\u003cb>Eric Wilson (Bassist, Sublime)\u003c/b>: We had just finished the album. For two or three years before that, we had gotten a really strong cult following, just from playing up and down the coast. We started packing in 2,000 people just from word of mouth, before we even had any deal with a record company.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Rick Bonde (Booking agent, the Tahoe Agency)\u003c/b>: In the time I worked with them, they made it to every gig, we really tightened up the scene, Brad had gotten clean. From my memory, he’d been clean for almost a year. They were going to go to Europe, Brad had a brand-new wife, a new baby.\u003c/p>\n\u003cp>\u003cb>Lil’ Mike\u003c/b>: I was gonna meet ’em at the Glass House in Pomona. They were supposed to play there the week before, and I was gonna jump in the van with ’em and head up the coast. But they canceled the Pomona show. I went down to the club that night, and they were like, “Nah, they’re not coming.” I was worried there had been an O.D.\u003c/p>\n\u003cp>\u003cb>Jason Boggs (Filibuster)\u003c/b>: They’d come to Sacramento and open up for us and play for 30-40 people at little dive bars around town, and they’d crash on our floors. But they’d really started to blow up right around then, with “Date Rape” on KROQ.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/CeMeDihwyrg'\n title='//www.youtube.com/embed/CeMeDihwyrg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>Tom Gaffey (Manager, Phoenix Theater)\u003c/b>: We were just starting to see more ska and less punk. My punk crowd was just starting to finally turn 21. Ska was the next thing. The youngsters loved it. Most of our crowd for the Sublime show was under 18, and definitely under 21.\u003c/p>\n\u003cp>\u003cb>Rick Bonde\u003c/b>: I was with them the night before up in Chico. That was one of the most insane, crazy rock ‘n’ roll shows I’ve ever seen in my life. There were probably 2,000 people there. The fence got torn down, security was overwhelmed.\u003c/p>\n\u003cp>\u003cb>Eric Wilson\u003c/b>: It was in a park, with a traveling circus. All these people with tattoos and piercings, the freakshow thing. \u003c/p>\n\u003cp>\u003cb>Rick Bonde\u003c/b>: At one point I saw an opening in the crowd and I thought someone had gotten hurt and gone down. So I jumped off the stage, right in the middle of this crowd, and there was nothing there, but everyone was looking on the ground. I’m like, “What are we looking for?” And some guy yells out, “A finger! A fuckin’ finger!” And I’m like, “What do you mean, a finger?!” So we’re all there looking around for this guy’s finger.\u003c/p>\n\u003cp>\u003cb>Eric Wilson\u003c/b>: In Chico, there were a lot of drugs. We stayed over at some college girls’ house and smoked crack for breakfast. So it wasn’t really surprising that that’s where Brad found his last bag.\u003c/p>\n\u003cp>\u003cb>Rick Bonde\u003c/b>: At the afterparty, Brad came up to Mitch, who was the bodyguard we’d hired to protect Brad from himself. Brad walked up and said, “Gimme some money.” And Mitch was like, “No, I’m not giving you any money.” And Brad got really upset and was like, “It’s my money! Gimme my fuckin’ money!” And Mitch was like, “I’m not giving you any money.” Because we all knew what that was about. But the unfortunate thing is that Brad didn’t need money to score, you know what I mean? So I’m convinced he got it that night.\u003c/p>\n\u003cfigure id=\"attachment_11611248\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Sublime.Ticket-800x462.jpg\" alt=\"A ticket for Sublime's last show, May 24, 1996.\" width=\"800\" height=\"462\" class=\"size-medium wp-image-11611248\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sublime.Ticket-800x462.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sublime.Ticket-400x231.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sublime.Ticket-768x443.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sublime.Ticket-960x554.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sublime.Ticket.jpg 1100w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A ticket for Sublime’s last show, May 24, 1996. \u003ccite>(Photo: Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Eric Wilson\u003c/b>: I slept hungover on the way to Petaluma. And so did anybody else that was in the van. We had a big old junker motor home and we had our own bunks. That was like a tour bus to us.\u003c/p>\n\u003cp>\u003cb>Boots Hughston (Manager, Maritime Hall)\u003c/b>: We had ’em at Maritime once before, and we had ’em at the Phoenix a couple times. They were kind of wild and crazy. Bradley was a little bit out of control, but he wasn’t a bad person or anything. I liked him. I thought he was cool. They were booked at the Phoenix one night, and the Maritime the next night.\u003c/p>\n\u003cp>\u003cb>Rhi Smith-Guerrero\u003c/b>: I was 19. A bunch of dudes were going. My best friend had just met a guy, and his roommates were all like, “Let’s go see Sublime!” So I hopped in with the roommates and left her behind with her boyfriend, which she still regrets to this day.\u003c/p>\n\u003cp>\u003cb>Josh Drake\u003c/b>: Earth Crisis played at the Phoenix with the metal band I was in and there were maybe six people there. But whenever there was a big ska show at the Phoenix—Let’s Go Bowling, Skankin’ Pickle, Reel Big Fish—lots of people would go to the ska shows, so you would just go to whatever show it was.\u003c/p>\n\u003cp>\u003cb>Lil’ Mike\u003c/b>: Everybody’d be singing along and know all the words, even if the record wasn’t out! They just had that contagious enthusiasm. I’ve never seen anything like it. \u003c/p>\n\u003cp>\u003cb>Tom Gaffey\u003c/b>: That was their third show here. The first time they came in was as the support band and absolutely stole the show. So we brought them back on their own two more times. Their guarantee in those days was probably $1,500 plus backend. In those days, backend was still at 70 percent.\u003c/p>\n\u003cp>\u003cb>Boots Hughston\u003c/b>: They probably got three grand.\u003c/p>\n\u003cp>\u003cb>Rick Bonde\u003c/b>: I would guess that their guarantee was probably in the $2,500 range. And right now, they’d be playing for no less than $250,000 or $500,000 a night.\u003c/p>\n\u003cp>\u003cb>Tom Gaffey\u003c/b>: Here’s one of the differences that I noticed. The first couple times that they came through, they’d get here early, they’d do their soundcheck and then they’d hang out with all the skater kids. The skater kids would be going onto their RV and watching videos with them and hanging out. The last time through, the RV was not open to skaters. They weren’t hanging out as much. Bradley wasn’t skating with the kids like he had before. That was the first sign that something was a little bit wrong.\u003c/p>\n\u003cfigure id=\"attachment_11611373\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Phoenix.Inside-800x474.jpg\" alt=\"The inside of the Phoenix Theater today.\" width=\"800\" height=\"474\" class=\"size-medium wp-image-11611373\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Phoenix.Inside-800x474.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Phoenix.Inside-400x237.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Phoenix.Inside-768x455.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Phoenix.Inside-1180x699.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Phoenix.Inside.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Phoenix.Inside-960x569.jpg 960w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The inside of the Phoenix Theater today. \u003ccite>(Photo: Jim Agius)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Work That We Do\u003c/h2>\n\u003cp>\u003cb>Jason Boggs (Filibuster)\u003c/b>: It was the Ziggens, us, and Sublime. We had a 27-foot 1967 school bus that we took around on tour, so we rolled up in that, and all the guys from the band hung out in there. That was like our little backstage party zone.\u003c/p>\n\u003cp>\u003cb>Hollie Simons\u003c/b>: I remember lots of frat boys, which was weird for the Phoenix, and the crowd that usually went there. It was never the college boys, it was the punk rockers and skaters. I went with my girlfriends. \u003c/p>\n\u003cp>\u003cb>Tyson Engel\u003c/b>: Brad was hanging out with people out front. He was excited with the new record coming out. I gave him a cigarette, but I didn’t really talk to him that much.\u003c/p>\n\u003cp>\u003cb>Hollie Simons\u003c/b>: I thought it was incredibly cool that before they played, Brad was in the crowd, drinking and hanging out.\u003c/p>\n\u003cp>\u003cb>Eric Wilson\u003c/b>: I remember before the show—it was in the Bay Area, with a college crowd—and there were some guys discussing politics. I said what I thought about it, which wasn’t much, and then the guy put me down for a couple minutes in a real intelligent way.\u003c/p>\n\u003cp>\u003cb>Josh Drake\u003c/b>: The way the Phoenix used to get when there were tons of people in there, it was so hot that you had to try to crane your head up to get fresh air. With the crowd, and the heat, it was tough to breathe.\u003c/p>\n\u003cp>\u003cb>Hollie Simons\u003c/b>: It was an awesome concert, and a huge party. The energy level was just insane.\u003c/p>\n\u003cfigure id=\"attachment_11611247\" class=\"wp-caption alignright\" style=\"max-width: 450px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Sublime.LastShowFlyer-450x600.jpg\" alt=\"The flyer for Sublime's last show, May 24, 1996.\" width=\"450\" height=\"600\" class=\"size-medium wp-image-11611247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sublime.LastShowFlyer-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sublime.LastShowFlyer-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sublime.LastShowFlyer.jpg 720w\" sizes=\"auto, (max-width: 450px) 100vw, 450px\">\u003cfigcaption class=\"wp-caption-text\">The flyer for Sublime’s last show, May 24, 1996. \u003ccite>(Courtesy Glenn Rubenstein)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Jason Boggs\u003c/b>: Sublime killed it that night. They did a great, great job. Considering how much we’d all been partying before the show, I was very, very impressed at how tight they sounded.\u003c/p>\n\u003cp>\u003cb>Tom Gaffey\u003c/b>: I think I read somewhere that said he’d called home, and said he was having the best show he’d ever had. I don’t want to go against what common belief is, but I do recall that I was kind of bored with that show. I’m sorry to say that. It just didn’t have the energy the other shows had had. \u003c/p>\n\u003cp>\u003cb>Sara Sugrue\u003c/b>: I recall feeling sheer disappointment. I thought it sounded awful, especially Brad. I feel a little bad saying it, being that he’s passed.\u003c/p>\n\u003cp>\u003cb>Drew Hirschfield\u003c/b>: It was my second time seeing them and I just remember Brad looking just awful. He was smoking lots of cigarettes during the set. \u003c/p>\n\u003cp>\u003cb>Josh Drake\u003c/b>: When Sublime was on, I went up to the balcony where they had the fire escape doors open, and you could get some fresh air. And of course, there were some guys with big army jackets standing around clearly smoking weed, and me, sidling up to them, trying to stand in the circle hoping they’d pass it to me. It was a gross-tasting wooden pipe that everyone’s mouth had been on, it was disgusting. \u003c/p>\n\u003cp>\u003cb>Tom Gaffey\u003c/b>: In those days that was acceptable behavior. Nowadays, our rules are stricter and stricter. The party finally ate us up.\u003c/p>\n\u003cfigure id=\"attachment_11611374\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Sublime.Sunglasses.BIG_.jpg\" alt=\"Sublime.\" width=\"1100\" height=\"619\" class=\"size-full wp-image-11611374\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sublime.Sunglasses.BIG_.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sublime.Sunglasses.BIG_-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sublime.Sunglasses.BIG_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sublime.Sunglasses.BIG_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sublime.Sunglasses.BIG_-960x540.jpg 960w\" sizes=\"auto, (max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Sublime.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Jared Powell\u003c/b>: I left the show. I was like, “Whatever, I’ll see them play again.” \u003c/p>\n\u003cp>\u003cb>Drew Hirschfield\u003c/b>: It was a show I was stoked about because I had become a real fan, and then there was something worrisome and sadly disconnected about the band. \u003c/p>\n\u003cp>\u003cb>Eric Wilson\u003c/b>: It was a hit-and-miss thing for us. We used to drink a lot. A lot of my older acquaintances would say, “I would never know if you guys were going to sound like total shit or play great.” We didn’t have our professional skills going on back then. We just thought the world was ours, or whatever.\u003c/p>\n\u003cp>\u003cb>Jason Boggs\u003c/b>: They had the halfpipes at the front. It was almost like a rec center, the way it was set up.\u003c/p>\n\u003cp>\u003cb>Hollie Simons\u003c/b>: There were pro skateboarders skating on the ramps while they were playing, and people were just going nuts. I wanna say Mike Carroll was one of them? My friends I was with, they were more in awe of the skateboarders than the band itself. \u003c/p>\n\u003cp>\u003cb>Rhi Smith-Guerrero\u003c/b>: I stayed in the back. I remember that the pit was pretty rowdy. I was being a little more cautious than I would have been in the past couple years prior to that. I had pit injuries.\u003c/p>\n\u003cfigure id=\"attachment_11611377\" class=\"wp-caption alignright\" style=\"max-width: 858px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Sublime.Cassette.jpg\" alt=\"Skunk Records sampler.\" width=\"858\" height=\"1308\" class=\"size-full wp-image-11611377\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sublime.Cassette.jpg 858w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sublime.Cassette-400x610.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sublime.Cassette-394x600.jpg 394w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sublime.Cassette-768x1171.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Sublime.Cassette-774x1180.jpg 774w\" sizes=\"auto, (max-width: 858px) 100vw, 858px\">\u003cfigcaption class=\"wp-caption-text\">Skunk Records sampler. \u003ccite>(Courtesy Josh Drake)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Sara Sugrue\u003c/b>: There was this one guy that I couldn’t take my eyes off of. I recall him being dressed in all black, and wearing a skirt, and he decided to dance ballet-style in the pit. He would pirouette through some macho douchebags that were pushing people around, and he looked so free, without a care in the world of what others thought. \u003c/p>\n\u003cp>\u003cb>Faith Corrien Valdez\u003c/b>: I just remember their Dalmatian running around.\u003c/p>\n\u003cp>\u003cb>Eric Wilson\u003c/b>: Lou Dog running around on stage, that was typical, yeah. He probably bit somebody too.\u003c/p>\n\u003cp>\u003cb>Josh Drake\u003c/b>: I still have a cassette tape, a Skunk Records sampler, that I think the Ziggens threw out to the crowd.\u003c/p>\n\u003cp>\u003cb>Rhi Smith-Guerrero\u003c/b>: My friend was up in the front, and I guess he buddied up to this big, burly, muscly black dude who was their merch guy, and so he left with a bunch of stickers, pins and t-shirts and stuff.\u003c/p>\n\u003cp>\u003cb>Lil’ Mike\u003c/b>: Sublime would give you 10 copies of their records, and be like, “Give these to your bros, let people know about us!” \u003c/p>\n\u003cp>\u003cb>Hollie Simons\u003c/b>: We snuck backstage, which was amazing for us, in our Osh-Kosh overalls, and really curly hair, with a Mickey’s 40 oz. poured into a Big Gulp cup. I was 19. There was lots of weed, and it was crowded. We just stood there in the corner, in awe, drinking out of our 7-11 Big Gulps full of beer.\u003c/p>\n\u003cp>\u003cb>Eric Wilson\u003c/b>: It was always a scene backstage. We had our guard down, so we didn’t see what [Brad] was up to.\u003c/p>\n\u003cfigure id=\"attachment_11611243\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/LastPhoto.jpg\" alt=\"The last known photo of Brad Nowell, with fan Barbie Shearer and friend.\" width=\"400\" height=\"321\" class=\"size-full wp-image-11611243\">\u003cfigcaption class=\"wp-caption-text\">The last known photo of Brad Nowell, with fan Barbie Shearer and friend. \u003ccite>(Courtesy Barbie Shearer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Waking up to an Alarm\u003c/h2>\n\u003cp>\u003cb>Tom Gaffey\u003c/b>: Rick Bonde called me the next day and said, “Tom, I want you to know this wasn’t your fault.” I said, “What are you talking about?” \u003c/p>\n\u003cp>\u003cb>Eric Wilson\u003c/b>: I was asleep in the motor home. We woke up to have bloody marys, and I sent my friend inside the hotel to get some ice for the bloody marys. And he came back frantically crying.\u003c/p>\n\u003cp>\u003cb>Rhi Smith-Guerrero\u003c/b>: I was at my parents’ house and I woke up and poured myself a bowl of cereal and was sitting in front of MTV. And the MTV News splash was “Bradley Nowell Dead at 28. Died in San Francisco.” I just about spewed my cereal.\u003c/p>\n\u003cp>\u003cb>Rick Bonde\u003c/b>: Bud [Gaugh, Sublime drummer] found him. What I heard is that Lou Dog was on the bed, licking Brad’s face. Bud looked at him, and there was zero question. Lou was licking the vomit off of him, his face was green-colored. There was no saving him. Obviously it was over.\u003c/p>\n\u003cfigure id=\"attachment_11611378\" class=\"wp-caption aligncenter\" style=\"max-width: 480px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/tmptrf4MG_full.jpeg\" alt=\"The Oceanview Motel, San Francisco.\" width=\"480\" height=\"360\" class=\"size-full wp-image-11611378\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/tmptrf4MG_full.jpeg 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/tmptrf4MG_full-400x300.jpeg 400w\" sizes=\"auto, (max-width: 480px) 100vw, 480px\">\u003cfigcaption class=\"wp-caption-text\">The Oceanview Motel, San Francisco.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Boots Hughston\u003c/b>: At first I thought it was bullshit. I thought somebody was pulling my leg. That’s the kind of band they were, always goofing off. “Tell the Maritime promoter that Bradley died and then he won’t give us any shit for missing soundcheck.” That’s what I was thinking. But then this girl I talked to, who was hanging with the band, she got real serious and real quiet, and she said, “No, no man. He’s not here anymore.” \u003c/p>\n\u003cp>\u003cb>Eric Wilson\u003c/b>: It killed part of me. I don’t really like talking about it.\u003c/p>\n\u003cp>\u003cb>Jason Boggs\u003c/b>: From what I heard, there were a bunch of people in San Francisco that got the same batch, and there were a bunch of O.D.’s that night. \u003c/p>\n\u003cfigure id=\"attachment_11611244\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/Maritime.Postcard-781x1180.jpg\" alt=\"A poster announcing Sublime's show at the Maritime Hall on May 25, 1996, which never happened.\" width=\"640\" height=\"967\" class=\"size-large wp-image-11611244\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Maritime.Postcard-781x1180.jpg 781w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Maritime.Postcard-400x604.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Maritime.Postcard-397x600.jpg 397w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Maritime.Postcard-768x1160.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Maritime.Postcard-960x1450.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/Maritime.Postcard.jpg 1059w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A poster announcing Sublime’s show at the Maritime Hall on May 25, 1996, which never happened.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Drew Hirschfield\u003c/b>: The next day during recess at Montgomery High my pal John told me he heard about the overdose. I was shocked and a bit scared. I think we felt sacredly important that we were at their last show ever, ’cause we were a bunch of 17 year old punks. \u003c/p>\n\u003cp>\u003cb>Josh Drake\u003c/b>: It was on the news. And I got that kind of excitement that I was \u003cem>part of news\u003c/em>! Like, “I was at that show!” I know that that’s insane, taking someone’s death and turning it into a win. But when you’re that age and nothing ever happens to you, it was at least some excitement in our small town.\u003c/p>\n\u003cp>\u003cb>Tom Gaffey\u003c/b>: Three or four creepy downtown denizens in town tried to claim responsibility, tried to say that they were the ones that sold him the drugs, as a source of pride. How ghoulish is that? What a bunch of idiots. And I wasn’t the only one who heard stuff like that. It’s like, is that your stupid way of at least being able to say you were a part of history? That’s how you want to be known, as the guy that sold Bradley Nowell the drugs?\u003c/p>\n\u003cp>\u003cb>Rhi Smith-Guerrero\u003c/b>: I heard a lot of rumors about where the drugs came from. I heard people say, “Yeah, my friend was the guy that sold him the dope,” and all that. It sounded like a lot of exaggeration and rumor. \u003c/p>\n\u003cp>\u003cb>Jared Powell\u003c/b>: Everybody says they know someone who did something. There are rumors that seem plausible, but it’s also coming from people who want to hang onto some celebrity moment, and that’s just scumbaggy anyway.\u003c/p>\n\u003cp>\u003cb>Rhi Smith-Guerrero\u003c/b>: The rumors were nasty, about who was trying to boast about it.\u003c/p>\n\u003cp>\u003cb>Rick Bonde\u003c/b>: I’m convinced he got it in Chico. And here’s my theory. I think that Brad knew that he was going to be home, seeing his wife and baby in a few days, and I think that he got high that night and probably decided he needed to just finish it off so he wasn’t tempted to do it the next day. So he could clean up for a couple days before he needed to see his family. That’s been my gut this whole time, and believe me, I’ve thought about it a million times in the last 20 years.\u003c/p>\n\u003cfigure id=\"attachment_11611379\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/SublimeST.jpg\" alt=\"Sublime's self-titled major label debut.\" width=\"800\" height=\"810\" class=\"size-full wp-image-11611379\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SublimeST.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SublimeST-400x405.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SublimeST-593x600.jpg 593w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SublimeST-768x778.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SublimeST-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SublimeST-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SublimeST-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/SublimeST-96x96.jpg 96w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sublime’s self-titled major label debut.\u003c/figcaption>\u003c/figure>\n\u003ch2>Look at All the Love We’ve Found\u003c/h2>\n\u003cp>\u003cb>Boots Hughston\u003c/b>: Their fans were incredible. When the show at Maritime was canceled, instead of freaking out and demanding refunds, they just came and were, like, really sad. They didn’t care about the money they paid for the tickets. I probably only refunded 10 or 20 people out of 1,500 tickets sold. Usually when something like that happens, people start to demand their money back right at the door. It wasn’t like that. They were just sad that it happened. The whole space in front of the hall turned into a makeshift wake for Bradley. \u003c/p>\n\u003cp>\u003cb>Tom Gaffey\u003c/b>: In the next five to ten years we were getting a lot of people coming through taking pictures of the place. That’s dropped off, of course. \u003c/p>\n\u003cp>\u003cb>Rick Bonde\u003c/b>: The president of MCA Records met with me about a month later. I was in his office, and he told me that he was not going to release their record. He said, “I’m done, Rick, I can’t do this. I’ve spent half a million dollars on Brad’s rehab, and now we don’t have a band to tour behind it, I’m just gonna shelve it, it’s not going to work, it’s never going to be successful.” I was like, “I’m not leaving until you promise to put out this record.” I wouldn’t let up on him. And like, 20 minutes later, he was finally like, “Okay, I’ll try it. I’ll put it out and see what happens.” And now… how many millions of records later?\u003c/p>\n\u003cp>\u003cb>Josh Drake\u003c/b>: I was into punk bands and more underground music, so in that scene, we all rejected Sublime once their big album came out, and the horrible scarring of the musical landscape they caused by telling bands it was okay to play this crappy reggae music.\u003c/p>\n\u003cp>\u003cb>Jared Powell\u003c/b>: Now, everyone says they were at that show. If everybody who says they were at that show was actually at the show, it would have been thousands of people. \u003c/p>\n\u003cfigure id=\"attachment_11611245\" class=\"wp-caption alignright\" style=\"max-width: 537px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/phoenix-sublime-mural.jpg\" alt=\"The mural backstage at the Phoenix Theater, painted by Long Beach Dub All-Stars.\" width=\"537\" height=\"720\" class=\"size-full wp-image-11611245\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/phoenix-sublime-mural.jpg 537w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/phoenix-sublime-mural-400x536.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/phoenix-sublime-mural-448x600.jpg 448w\" sizes=\"auto, (max-width: 537px) 100vw, 537px\">\u003cfigcaption class=\"wp-caption-text\">The mural backstage at the Phoenix Theater, painted by Long Beach Dub All-Stars. \u003ccite>(Mikey DeLosa-Tham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Tom Gaffey\u003c/b>: The other guys came back here a few years later with Long Beach Dub All-Stars, and painted a mural backstage for Brad. \u003c/p>\n\u003cp>\u003cb>Eric Wilson\u003c/b>: That would have been done by Opie, the singer. He’s the guy who drew the sun [on \u003cem>40 Oz. to Freedom\u003c/em>]. He’s a tattoo artist.\u003c/p>\n\u003cp>\u003cb>Tom Gaffey\u003c/b>: It lasted forever, until last year when some idiot came and painted a mural over it.\u003c/p>\n\u003cp>\u003cb>Jared Powell\u003c/b>: Tom went apeshit. He started screaming and yelling, and this young little 18-year old grafitti writer that didn’t know what was going on was almost in tears. \u003c/p>\n\u003cp>\u003cb>Tom Gaffey\u003c/b>: That was a painful thing. It was a beautiful piece. I’d invite them to come back and redo it, because I’d love to have it back.\u003c/p>\n\u003cp>\u003cb>Jim Agius (Phoenix Theater in-house promoter)\u003c/b>: There’s actually audio from the show out there on the internet. The story I heard was that a girl recorded it from the balcony with a Walkman, and she and her boyfriend put it out on CD with money she made as a stripper.\u003c/p>\n\u003cp>\u003cb>Eric Wilson\u003c/b>: I haven’t heard that recording. Did we sound good? I hope we sounded good.\u003c/p>\n\u003cfigure id=\"attachment_11611246\" class=\"wp-caption aligncenter\" style=\"max-width: 300px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/PlayniceinthepitTape.jpg\" alt=\"'Play Nice in the Pit,' recorded at Sublime's last show, May 24, 1996.\" width=\"300\" height=\"226\" class=\"size-full wp-image-11611246\">\u003cfigcaption class=\"wp-caption-text\">‘Play Nice in the Pit,’ recorded at Sublime’s last show, May 24, 1996.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Lil Mike\u003c/b>: It wasn’t great audio quality. But yeah, she had this little Walkman, a hand-held thing. You can hear the whole thing on the internet, because I gave the tape to these internet guys after a while, they were just hounding me. It was called “\u003ca href=\"http://sublimewiki.com/index.php?title=05.24.1996\" target=\"_blank\" rel=\"noopener\">Play Nice in the Pit\u003c/a>,” because that’s what was painted on the wall of the Phoenix, so she went home that night and wrote that on the tape. We put some of the better-sounding songs out on a CD called \u003cem>\u003ca href=\"http://sublimewiki.com/index.php?title=It_All_Seems_so_Silly_in_the_Long_Run\" target=\"_blank\" rel=\"noopener\">It All Seems So Silly in the Long Run\u003c/a>\u003c/em> with some other recordings we’d done at Klub Komotion, and I sent ’em $1,000 each. Bud and Eric told me that was the most money they’d gotten from their music at that point. Their album was out and selling millions, but they hadn’t seen any money because they owed so much money to MCA for Brad’s rehab, which I’d heard cost half a million dollars. So the only royalty check they received at that point was from a bootleg!\u003c/p>\n\u003cp>\u003cb>Jim Agius\u003c/b>: The other thing is that there’s video footage of the whole show, but it’s never been released. After Brad died, there was some \u003ca href=\"http://articles.latimes.com/1998/feb/06/entertainment/ca-15990\" target=\"_blank\" rel=\"noopener\">ugly legal battle between the guy who filmed it and the band\u003c/a>, and he’s just sat on the footage all these years, not doing anything with it.\u003c/p>\n\u003cp>\u003cb>Eric Wilson\u003c/b>: I’m sure it’ll come out sometime, but I don’t know anything about the politics of it.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/KuL8Iexv8g8'\n title='//www.youtube.com/embed/KuL8Iexv8g8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>Sara Sugrue\u003c/b>: It’s also where I first met my ex, on the stairs of the Phoenix. Initially I was planning to say that it was a night I could have done without. However, without that night and the next few years of hell with my ex, I may have never been at Gale’s that one night where I met my amazing husband. Seventeen years together this year! So, with that thought, I am so happy that I have that disastrous night in my history. If I didn’t go to that show, I honestly would not be who I am now. \u003c/p>\n\u003cp>\u003cb>Hollie Simons\u003c/b>: I remember telling my husband, “Ah! I was at their last show!” when a Sublime song came on the radio when we were driving to Disneyland with our kids. He’s like, “No you weren’t!” I was like, “No, they played their last show at the Phoenix!”\u003c/p>\n\u003cp>\u003cb>Boots Hughston\u003c/b>: I didn’t really expect it to happen. Bradley, he was crazy and partying, but I just never got the vibe that he was going to check out like that.\u003c/p>\n\u003cp>\u003cb>Rick Bonde\u003c/b>: You know what was really going through my mind after he died? I swear this is true, that as sad I was for myself, and for my business, and obviously Brad’s wife and family, and the band—the thing I thought about the most was that the rest of the world didn’t know what they just lost.\u003c/p>\n\u003cp>\u003cb>Jason Boggs\u003c/b>: I think Brad would have gotten a lot more seasoned. I think he might have started to realize that he was a voice. He never got a chance to see how much influence he had on people, or how his music affected people in such a good way; he brought that positivity that I think he understood about reggae and rocksteady and even punk rock. He was a very positive person.\u003c/p>\n\u003cp>\u003cb>Eric Wilson\u003c/b>: He’d probably be playing music. Probably with me, but he might have gone solo. But who knows? We’ll never know.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Long Live The Pound: The Forgotten 2000s Venue That Changed the Bay Area",
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"content": "\u003cp>At the end of the 20th century, 100 Cargo Way at Pier 96 in San Francisco was a truck stop diner. When chef and entrepreneur Tony Carracci visited \u003ca href=\"https://www.kqed.org/arts/tag/bayview\">Hunter’s Point\u003c/a> to look at the building, he had dreams of being the next \u003ca href=\"https://www.kqed.org/arts/11409279/bill-graham-the-personality-no-museum-could-possibly-contain\">Bill Graham\u003c/a>. So he took over the remote spot — which came with a coveted liquor license — and invested $20,000 dollars into gutting it, building a stage and installing a professional concert sound system.\u003c/p>\n\u003cp>Around the same time, A.J. Cardinal was a punk who appreciated metal, and shared a desire with friend Cip Cipriano to bring Cradle of Filth to San Francisco. Cipriano also had dreams of being the next Bill Graham, and saw an opportunity (he called it “legalized gambling”) in the rocky, boom-and-bust business of promoting metal, hardcore and punk shows. They struck up a business relationship, booking shows at venues in the city, only to find that established venues didn’t want to scare the neighbors by putting names like Cradle of Filth on the marquee.\u003c/p>\n\u003cp>That would not be a problem at The Pound, Carracci’s 500-person capacity venue near the railroad tracks and a hauling yard, with barely any neighbors, especially at night.\u003c/p>\n\u003cfigure id=\"attachment_13988670\" class=\"wp-caption aligncenter\" style=\"max-width: 1818px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988670\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/EricVictorino_Strata.jpg\" alt=\"\" width=\"1818\" height=\"1228\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/EricVictorino_Strata.jpg 1818w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/EricVictorino_Strata-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/EricVictorino_Strata-768x519.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/EricVictorino_Strata-1536x1038.jpg 1536w\" sizes=\"auto, (max-width: 1818px) 100vw, 1818px\">\u003cfigcaption class=\"wp-caption-text\">Eric Victorino performs with Strata at The Pound circa 2004–’05. \u003ccite>(Courtesy of Danny Acosta/D.A. Mission)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At The Pound, Carracci, Cardinal and Cipriano carved out a pivotal and mostly unsung revolution in San Francisco’s legendary music scene. The Pound was born on \u003ca href=\"https://www.setlist.fm/setlist/jerry-cantrell/2001/the-pound-san-francisco-ca-63ddc687.html\">Feb. 8, 2001\u003c/a> with \u003ca href=\"https://www.instagram.com/p/C3FfMHNO-DM/\">Jerry Cantrell\u003c/a> from Alice in Chains playing the venue’s first show. Its short-but-influential run lasted just five years; the Port Authority pulled the plug on their lease in \u003ca href=\"https://www.sfweekly.com/music/r-i-p-pound-sf/article_625d8d33-cd39-525b-addd-9ead53c8785a.html\">fall 2006\u003c/a>.\u003c/p>\n\u003cp>Along the way, The Pound hosted a blizzard of early 2000s bands that would go on to become household names: My Chemical Romance, Paramore, Avenged Sevenfold. It also brought in veteran acts like Thin Lizzy, Anthrax, and Danzig of the Misfits. The Pound booked bands in their formative years that have persevered and now headline shows and festivals around the world – including Lamb of God, Killswitch Engage, Glassjaw and Hatebreed.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Back then, no one wanted to touch these bands. The powers that be did not believe that these bands had any kind of draw, staying power. They’re playing stadiums now,” Cipriano tells KQED. “I was right. My big prize for being right is all the bands eventually go on to Live Nation and suddenly there’s no room for the independent venues.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FP939cW5wrs&list=RDFP939cW5wrs&start_radio=1\u003c/p>\n\u003ch2>The venue where taxis refused to go\u003c/h2>\n\u003cp>The Pound had the aura of a horror film’s opening exterior. It was desolate, shrouded in ocean fog and surrounded by a gravel parking lot. Stacked shipping containers housed makeshift green rooms and offices; an abandoned-looking bus functioned as the smoking area; and the lighting resembled a temporary construction site. Taxi drivers would openly refuse to take metalheads there; the nearest Muni line, the 19, stopped too many blocks away for most to safely walk there at night.\u003c/p>\n\u003cp>Yet The Pound’s isolation was key to its winning formula. Unlike other venues, there were no nearby residences to worry about. The music could be as loud as possible, much to the delight of fans.\u003c/p>\n\u003cp>“We never got a sound complaint, ever,” Carracci recalled. The one time Carracci tested that notion, he erected an outdoor stage to host Danzig for a crowd of 3,000 people. The cops came and asked to see his permit, to which he replied, “Ah fuck, goddamnit man. I knew I forgot something.” To avoid inciting a riot by calling off the show, they handed Carracci a modest ticket and issued a verbal warning about the permit.\u003c/p>\n\u003cfigure id=\"attachment_13988668\" class=\"wp-caption aligncenter\" style=\"max-width: 1818px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988668\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/GuyGates_Wurkt.jpg\" alt=\"\" width=\"1818\" height=\"1228\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/GuyGates_Wurkt.jpg 1818w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/GuyGates_Wurkt-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/GuyGates_Wurkt-768x519.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/GuyGates_Wurkt-1536x1038.jpg 1536w\" sizes=\"auto, (max-width: 1818px) 100vw, 1818px\">\u003cfigcaption class=\"wp-caption-text\">Guy Gates performs with Wurkt at The Pound circa 2004–’05. \u003ccite>(Courtesy of Danny Acosta/D.A. Mission)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Pound opened when the internet was starting to change music through file sharing, mailing lists, chat rooms and fan sites, with social media and streaming soon to drastically alter music and fan culture overall. While rudimentary and scrappy in person, The Pound maintained an early internet mailing list to keep fans in the know for upcoming shows.\u003c/p>\n\u003cp>Because it used to be a restaurant, per city code, The Pound was allowed to have all-ages shows \u003ci>while serving alcohol\u003c/i>. Musician Tony Malson (now lead singer in \u003ca href=\"https://www.instagram.com/state_line_empire/?hl=en\">State Line Empire\u003c/a> and \u003ca href=\"https://www.instagram.com/thedevilincalifornia/?hl=en\">The Devil in California\u003c/a>) worked as a bartender at The Pound, and saw firsthand how crucial it was for underage music fans to be at these shows — X’s marked on their hands so they wouldn’t be served alcohol — having a safe and controlled outlet to get rowdy.\u003c/p>\n\u003cp>“To be at clubs that were doing shows for that all-ages setup, 2004-5-6-ish, that was important, and when it went away, you could feel it,” said Malson, “All that shit went out to the East Bay clubs and different places. The metal scene wasn’t as prominent in San Francisco after that.”\u003c/p>\n\u003cp>All-ages crowds weren’t great for his tips, but The Pound offered fringe benefits like opening for Thin Lizzy, Mountain and Robby Krieger from the Doors. As a bartender but also a fan, it also meant he got to pour drinks for members of Metallica and Alice in Chains.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=alvweI_JoWE\u003c/p>\n\u003ch2>A proving ground for musicians\u003c/h2>\n\u003cp>Opening for national touring acts at The Pound gave Malson’s projects the necessary credibility to claw out a living in music: “When we were doing other things, getting other gigs, touring, doing things like that, it looked really great on paper.”\u003c/p>\n\u003cp>Guitarist Sergio Licea also received such an opportunity at The Pound, playing for an established punk act Barbee Killed Kenn after they were booked to open for Dee Dee Ramone in 2002. However, tragedy struck: Dee Dee Ramone died the week of the show. When the show went on anyway, Licea took the stage to an audience of less than 10 people.\u003c/p>\n\u003cp>Nevertheless, he loved being on The Pound’s stage, even without a crowd to feed off. “That place and Slim’s were personal dream venues for me, because I caught so many cool shows there,” he says, noting he was on The Pound’s online mailing list. “It’s still a highlight. I remember it pretty vividly.”\u003c/p>\n\u003cfigure id=\"attachment_13988663\" class=\"wp-caption aligncenter\" style=\"max-width: 1818px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988663\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/PaulMendoza_Unjust.jpg\" alt=\"\" width=\"1818\" height=\"1228\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/PaulMendoza_Unjust.jpg 1818w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/PaulMendoza_Unjust-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/PaulMendoza_Unjust-768x519.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/PaulMendoza_Unjust-1536x1038.jpg 1536w\" sizes=\"auto, (max-width: 1818px) 100vw, 1818px\">\u003cfigcaption class=\"wp-caption-text\">Paul Mendoza performs with Unjust at The Pound circa 2004–’05. \u003ccite>(Courtesy of Danny Acosta/D.A. Mission)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Eric Wong, a veteran metal bassist (Metallica’s James Hetfield once produced Wong’s band Piranha), played at The Pound multiple times. When his band \u003ca href=\"https://linktr.ee/unjustband?utm_source=ig&utm_medium=social&utm_content=link_in_bio&fbclid=PAZXh0bgNhZW0CMTEAc3J0YwZhcHBfaWQMMjU2MjgxMDQwNTU4AAGnI6UeTqY96ANNJTnh-gwB1Bzn7qP7RxRQkJlsYjbOoaV9C_HPEuZY2Z0QsHM_aem_iUqBdWuSuIMQBZ5K-l_h-A\">Unjust\u003c/a> played a record-release show for their album \u003ci>Glow\u003c/i>, “I was absolutely shocked that we packed the place,” he said.\u003c/p>\n\u003cp>“That was the place to be. You didn’t have to worry about anything there. You could be yourself. You could play. There wasn’t a lot of egos. It was generally a good place. Everyone took care of each other.”\u003c/p>\n\u003cp>When The Pound closed, “it was almost the end of fun times,” he said. “That was kind of the end of that whole wave of thrash metal too, in the Bay Area.”\u003c/p>\n\u003cp>Ginger Cuevas now sings in the Bay Area metal band \u003ca href=\"https://www.instagram.com/diabluraofficial/?hl=en\">Diablura\u003c/a>. In the mid-aughts, she had just moved from New York and needed live music to fight off homesickness. Her ex-husband surprised her with a \u003ca href=\"https://www.setlist.fm/setlist/remembering-never/2005/the-pound-san-francisco-ca-73826ed5.html\">Remembering Never show \u003c/a>at The Pound in 2005.\u003c/p>\n\u003cp>That night, Cuevas took note of The Pound’s remote location. “‘Am I gonna get killed out here? Nobody’s ever gonna find my body out here if something happens,’” Cuevas remembers thinking to herself. “It was like that, but\u003ci> I had the time of my life\u003c/i>.”\u003c/p>\n\u003cp>https://youtu.be/apaqPjrmrM8?si=8_Dm3Q-LRrCMmBFy\u003c/p>\n\u003ch2>The Pound’s legacy lives on\u003c/h2>\n\u003cp>Carracci and Cipriano tried their luck with a new location for The Pound in West Oakland, but \u003ca href=\"https://eastbayexpress.com/pound-sf-reopens-in-west-oakland-1/\">it didn’t pan out. \u003c/a>Cipriano keeps The Pound’s spirit alive by booking shows at the DNA Lounge in San Francisco. Carracci most recently worked as a chef and co-owner of the Point Richmond restaurant and music venue Baltic Kiss, which \u003ca href=\"https://oaklandside.org/2025/04/18/baltic-kiss-closed-tony-carracci/\">closed in 2025\u003c/a>.\u003c/p>\n\u003cp>Cardinal \u003ca href=\"https://www.sfgate.com/news/article/cardinal-a-j-2636013.php\">died in 2004\u003c/a>. Her work booking The Pound in the final years of her life constitutes a major contribution to the Bay Area music scene, and set an example for other women in a male-dominated field. Malson remains a fixture in the San Francisco music scene, with his grunge tribute band \u003ca href=\"https://www.instagram.com/rustychainssf/?hl=en\">Rusty Chains\u003c/a> hosting a yearly fundraiser for \u003ca href=\"https://www.sfsuicide.org\">San Francisco Suicide Prevention\u003c/a>.\u003c/p>\n\u003cp>Wong still plays with Unjust, who recently recorded a new EP — in part as a tribute to their longtime roadie Erik Cordero, who died by suicide. Cuevas never got to play The Pound with Diablura, but is thankful independent venues like DNA Lounge, Kilowatt in San Francisco and Eli’s Mile High Club in Oakland continue to foster the local heavy music scene.\u003c/p>\n\u003cp>Licea, who now co-owns a \u003ca href=\"https://florwines.com/\">wine shop\u003c/a> in Portland, summed up what made The Pound special. Bands would start there and pound away until they graduated up through the bigger venues in the region. For its time and place, The Pound was a warm, loud scene in the cold quiet of San Francisco’s industrial piers.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“Picking up energy at a live show is a fucking amazing energy, but you can’t get that [same] energy sitting up in the nosebleeds. You gotta have somebody sweat on you and shit. You gotta get splashed on by the guitar player,” said Licea, “That’s the shit that I like. That’s the kind of stuff that I think we’re really missing.”\u003c/p>\n\n",
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"headline": "Long Live The Pound: The Forgotten 2000s Venue That Changed the Bay Area",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At the end of the 20th century, 100 Cargo Way at Pier 96 in San Francisco was a truck stop diner. When chef and entrepreneur Tony Carracci visited \u003ca href=\"https://www.kqed.org/arts/tag/bayview\">Hunter’s Point\u003c/a> to look at the building, he had dreams of being the next \u003ca href=\"https://www.kqed.org/arts/11409279/bill-graham-the-personality-no-museum-could-possibly-contain\">Bill Graham\u003c/a>. So he took over the remote spot — which came with a coveted liquor license — and invested $20,000 dollars into gutting it, building a stage and installing a professional concert sound system.\u003c/p>\n\u003cp>Around the same time, A.J. Cardinal was a punk who appreciated metal, and shared a desire with friend Cip Cipriano to bring Cradle of Filth to San Francisco. Cipriano also had dreams of being the next Bill Graham, and saw an opportunity (he called it “legalized gambling”) in the rocky, boom-and-bust business of promoting metal, hardcore and punk shows. They struck up a business relationship, booking shows at venues in the city, only to find that established venues didn’t want to scare the neighbors by putting names like Cradle of Filth on the marquee.\u003c/p>\n\u003cp>That would not be a problem at The Pound, Carracci’s 500-person capacity venue near the railroad tracks and a hauling yard, with barely any neighbors, especially at night.\u003c/p>\n\u003cfigure id=\"attachment_13988670\" class=\"wp-caption aligncenter\" style=\"max-width: 1818px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988670\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/EricVictorino_Strata.jpg\" alt=\"\" width=\"1818\" height=\"1228\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/EricVictorino_Strata.jpg 1818w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/EricVictorino_Strata-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/EricVictorino_Strata-768x519.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/EricVictorino_Strata-1536x1038.jpg 1536w\" sizes=\"auto, (max-width: 1818px) 100vw, 1818px\">\u003cfigcaption class=\"wp-caption-text\">Eric Victorino performs with Strata at The Pound circa 2004–’05. \u003ccite>(Courtesy of Danny Acosta/D.A. Mission)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At The Pound, Carracci, Cardinal and Cipriano carved out a pivotal and mostly unsung revolution in San Francisco’s legendary music scene. The Pound was born on \u003ca href=\"https://www.setlist.fm/setlist/jerry-cantrell/2001/the-pound-san-francisco-ca-63ddc687.html\">Feb. 8, 2001\u003c/a> with \u003ca href=\"https://www.instagram.com/p/C3FfMHNO-DM/\">Jerry Cantrell\u003c/a> from Alice in Chains playing the venue’s first show. Its short-but-influential run lasted just five years; the Port Authority pulled the plug on their lease in \u003ca href=\"https://www.sfweekly.com/music/r-i-p-pound-sf/article_625d8d33-cd39-525b-addd-9ead53c8785a.html\">fall 2006\u003c/a>.\u003c/p>\n\u003cp>Along the way, The Pound hosted a blizzard of early 2000s bands that would go on to become household names: My Chemical Romance, Paramore, Avenged Sevenfold. It also brought in veteran acts like Thin Lizzy, Anthrax, and Danzig of the Misfits. The Pound booked bands in their formative years that have persevered and now headline shows and festivals around the world – including Lamb of God, Killswitch Engage, Glassjaw and Hatebreed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Back then, no one wanted to touch these bands. The powers that be did not believe that these bands had any kind of draw, staying power. They’re playing stadiums now,” Cipriano tells KQED. “I was right. My big prize for being right is all the bands eventually go on to Live Nation and suddenly there’s no room for the independent venues.”\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/FP939cW5wrs'\n title='//www.youtube.com/embed/FP939cW5wrs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>The venue where taxis refused to go\u003c/h2>\n\u003cp>The Pound had the aura of a horror film’s opening exterior. It was desolate, shrouded in ocean fog and surrounded by a gravel parking lot. Stacked shipping containers housed makeshift green rooms and offices; an abandoned-looking bus functioned as the smoking area; and the lighting resembled a temporary construction site. Taxi drivers would openly refuse to take metalheads there; the nearest Muni line, the 19, stopped too many blocks away for most to safely walk there at night.\u003c/p>\n\u003cp>Yet The Pound’s isolation was key to its winning formula. Unlike other venues, there were no nearby residences to worry about. The music could be as loud as possible, much to the delight of fans.\u003c/p>\n\u003cp>“We never got a sound complaint, ever,” Carracci recalled. The one time Carracci tested that notion, he erected an outdoor stage to host Danzig for a crowd of 3,000 people. The cops came and asked to see his permit, to which he replied, “Ah fuck, goddamnit man. I knew I forgot something.” To avoid inciting a riot by calling off the show, they handed Carracci a modest ticket and issued a verbal warning about the permit.\u003c/p>\n\u003cfigure id=\"attachment_13988668\" class=\"wp-caption aligncenter\" style=\"max-width: 1818px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988668\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/GuyGates_Wurkt.jpg\" alt=\"\" width=\"1818\" height=\"1228\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/GuyGates_Wurkt.jpg 1818w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/GuyGates_Wurkt-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/GuyGates_Wurkt-768x519.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/GuyGates_Wurkt-1536x1038.jpg 1536w\" sizes=\"auto, (max-width: 1818px) 100vw, 1818px\">\u003cfigcaption class=\"wp-caption-text\">Guy Gates performs with Wurkt at The Pound circa 2004–’05. \u003ccite>(Courtesy of Danny Acosta/D.A. Mission)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Pound opened when the internet was starting to change music through file sharing, mailing lists, chat rooms and fan sites, with social media and streaming soon to drastically alter music and fan culture overall. While rudimentary and scrappy in person, The Pound maintained an early internet mailing list to keep fans in the know for upcoming shows.\u003c/p>\n\u003cp>Because it used to be a restaurant, per city code, The Pound was allowed to have all-ages shows \u003ci>while serving alcohol\u003c/i>. Musician Tony Malson (now lead singer in \u003ca href=\"https://www.instagram.com/state_line_empire/?hl=en\">State Line Empire\u003c/a> and \u003ca href=\"https://www.instagram.com/thedevilincalifornia/?hl=en\">The Devil in California\u003c/a>) worked as a bartender at The Pound, and saw firsthand how crucial it was for underage music fans to be at these shows — X’s marked on their hands so they wouldn’t be served alcohol — having a safe and controlled outlet to get rowdy.\u003c/p>\n\u003cp>“To be at clubs that were doing shows for that all-ages setup, 2004-5-6-ish, that was important, and when it went away, you could feel it,” said Malson, “All that shit went out to the East Bay clubs and different places. The metal scene wasn’t as prominent in San Francisco after that.”\u003c/p>\n\u003cp>All-ages crowds weren’t great for his tips, but The Pound offered fringe benefits like opening for Thin Lizzy, Mountain and Robby Krieger from the Doors. As a bartender but also a fan, it also meant he got to pour drinks for members of Metallica and Alice in Chains.\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/alvweI_JoWE'\n title='//www.youtube.com/embed/alvweI_JoWE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>A proving ground for musicians\u003c/h2>\n\u003cp>Opening for national touring acts at The Pound gave Malson’s projects the necessary credibility to claw out a living in music: “When we were doing other things, getting other gigs, touring, doing things like that, it looked really great on paper.”\u003c/p>\n\u003cp>Guitarist Sergio Licea also received such an opportunity at The Pound, playing for an established punk act Barbee Killed Kenn after they were booked to open for Dee Dee Ramone in 2002. However, tragedy struck: Dee Dee Ramone died the week of the show. When the show went on anyway, Licea took the stage to an audience of less than 10 people.\u003c/p>\n\u003cp>Nevertheless, he loved being on The Pound’s stage, even without a crowd to feed off. “That place and Slim’s were personal dream venues for me, because I caught so many cool shows there,” he says, noting he was on The Pound’s online mailing list. “It’s still a highlight. I remember it pretty vividly.”\u003c/p>\n\u003cfigure id=\"attachment_13988663\" class=\"wp-caption aligncenter\" style=\"max-width: 1818px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13988663\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/PaulMendoza_Unjust.jpg\" alt=\"\" width=\"1818\" height=\"1228\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/PaulMendoza_Unjust.jpg 1818w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/PaulMendoza_Unjust-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/PaulMendoza_Unjust-768x519.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/04/PaulMendoza_Unjust-1536x1038.jpg 1536w\" sizes=\"auto, (max-width: 1818px) 100vw, 1818px\">\u003cfigcaption class=\"wp-caption-text\">Paul Mendoza performs with Unjust at The Pound circa 2004–’05. \u003ccite>(Courtesy of Danny Acosta/D.A. Mission)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Eric Wong, a veteran metal bassist (Metallica’s James Hetfield once produced Wong’s band Piranha), played at The Pound multiple times. When his band \u003ca href=\"https://linktr.ee/unjustband?utm_source=ig&utm_medium=social&utm_content=link_in_bio&fbclid=PAZXh0bgNhZW0CMTEAc3J0YwZhcHBfaWQMMjU2MjgxMDQwNTU4AAGnI6UeTqY96ANNJTnh-gwB1Bzn7qP7RxRQkJlsYjbOoaV9C_HPEuZY2Z0QsHM_aem_iUqBdWuSuIMQBZ5K-l_h-A\">Unjust\u003c/a> played a record-release show for their album \u003ci>Glow\u003c/i>, “I was absolutely shocked that we packed the place,” he said.\u003c/p>\n\u003cp>“That was the place to be. You didn’t have to worry about anything there. You could be yourself. You could play. There wasn’t a lot of egos. It was generally a good place. Everyone took care of each other.”\u003c/p>\n\u003cp>When The Pound closed, “it was almost the end of fun times,” he said. “That was kind of the end of that whole wave of thrash metal too, in the Bay Area.”\u003c/p>\n\u003cp>Ginger Cuevas now sings in the Bay Area metal band \u003ca href=\"https://www.instagram.com/diabluraofficial/?hl=en\">Diablura\u003c/a>. In the mid-aughts, she had just moved from New York and needed live music to fight off homesickness. Her ex-husband surprised her with a \u003ca href=\"https://www.setlist.fm/setlist/remembering-never/2005/the-pound-san-francisco-ca-73826ed5.html\">Remembering Never show \u003c/a>at The Pound in 2005.\u003c/p>\n\u003cp>That night, Cuevas took note of The Pound’s remote location. “‘Am I gonna get killed out here? Nobody’s ever gonna find my body out here if something happens,’” Cuevas remembers thinking to herself. “It was like that, but\u003ci> I had the time of my life\u003c/i>.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/apaqPjrmrM8'\n title='//www.youtube.com/embed/apaqPjrmrM8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>The Pound’s legacy lives on\u003c/h2>\n\u003cp>Carracci and Cipriano tried their luck with a new location for The Pound in West Oakland, but \u003ca href=\"https://eastbayexpress.com/pound-sf-reopens-in-west-oakland-1/\">it didn’t pan out. \u003c/a>Cipriano keeps The Pound’s spirit alive by booking shows at the DNA Lounge in San Francisco. Carracci most recently worked as a chef and co-owner of the Point Richmond restaurant and music venue Baltic Kiss, which \u003ca href=\"https://oaklandside.org/2025/04/18/baltic-kiss-closed-tony-carracci/\">closed in 2025\u003c/a>.\u003c/p>\n\u003cp>Cardinal \u003ca href=\"https://www.sfgate.com/news/article/cardinal-a-j-2636013.php\">died in 2004\u003c/a>. Her work booking The Pound in the final years of her life constitutes a major contribution to the Bay Area music scene, and set an example for other women in a male-dominated field. Malson remains a fixture in the San Francisco music scene, with his grunge tribute band \u003ca href=\"https://www.instagram.com/rustychainssf/?hl=en\">Rusty Chains\u003c/a> hosting a yearly fundraiser for \u003ca href=\"https://www.sfsuicide.org\">San Francisco Suicide Prevention\u003c/a>.\u003c/p>\n\u003cp>Wong still plays with Unjust, who recently recorded a new EP — in part as a tribute to their longtime roadie Erik Cordero, who died by suicide. Cuevas never got to play The Pound with Diablura, but is thankful independent venues like DNA Lounge, Kilowatt in San Francisco and Eli’s Mile High Club in Oakland continue to foster the local heavy music scene.\u003c/p>\n\u003cp>Licea, who now co-owns a \u003ca href=\"https://florwines.com/\">wine shop\u003c/a> in Portland, summed up what made The Pound special. Bands would start there and pound away until they graduated up through the bigger venues in the region. For its time and place, The Pound was a warm, loud scene in the cold quiet of San Francisco’s industrial piers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Picking up energy at a live show is a fucking amazing energy, but you can’t get that [same] energy sitting up in the nosebleeds. You gotta have somebody sweat on you and shit. You gotta get splashed on by the guitar player,” said Licea, “That’s the shit that I like. That’s the kind of stuff that I think we’re really missing.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "doll-fest-oakland-albany-femmes-punk-bands-2026",
"title": "The Dolls Are Coming",
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"headTitle": "The Dolls Are Coming | KQED",
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"content": "\u003cp>Anita Lofton and Veronica Savage have made noise in the Bay for more than a decade with their bands Sistas In The Pit and The Hail Marys – notable not just for their energy, but for the ways their identities intersect with their music. The two women are proudly Black, fiercely punk, unapologetically raw and have recently coalesced (along with drummer Q) into \u003ca href=\"https://www.instagram.com/blackgoldsun1/\">Black Gold Sun\u003c/a>. \u003c/p>\n\u003cp>After watching the 2024 election results, Anita paused all her other projects and, as “an act of public service,” decided to start a Black girl punk band.\u003c/p>\n\u003cp>“I knew the communities I belong to would be grieving — sad, devastated, overwhelmed,” she tells KQED via email. “I wanted to build a safe space for us. A place to rage, to dance, to scream and to let it all out.”\u003c/p>\n\u003cp>This weekend, Black Gold Sun will perform in another space designed to let it all out: \u003ca href=\"https://www.dollfest.net/home\">Doll Fest\u003c/a>, the two-day festival dedicated to femme-fronted bands from across the country. This year’s event will be held at Oakland’s California Ballroom on March 28 and 29, with a \u003ca href=\"https://tickets.venuepilot.com/e/doll-fest-vol-ii-pre-party-w-skip-the-needle-2026-03-27-ivy-room-albany-5b86b9\">pre-party\u003c/a> on March 27 at the female-owned Ivy Room in Albany. \u003c/p>\n\u003cfigure id=\"attachment_13987971\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/vial_by_katy_kelly.jpg\" alt=\"\" width=\"1000\" height=\"903\" class=\"size-full wp-image-13987971\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/vial_by_katy_kelly.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/vial_by_katy_kelly-160x144.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/vial_by_katy_kelly-768x694.jpg 768w\" sizes=\"auto, (max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Minneapolis punk trio VIAL plays this year’s Doll Fest. \u003ccite>(Katy Kelly)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now in its second year, the homegrown festival is dedicated to smashing the patriarchy, amplifying feminine power through music. In addition to local groups at the vanguard such as Black Gold Sun, this year’s headliners include Minneapolis bratpunk trio \u003ca href=\"https://www.vialband.com/\">VIAL\u003c/a> and Fat Wreck Chords’ \u003ca href=\"https://badcopbadcopmusic.com/\">Bad Cop Bad Cop\u003c/a>. Also on the lineup are Denver beatmaker and MC \u003ca href=\"https://www.instagram.com/wheelchairsportscamp/\">Wheelchair Sportscamp\u003c/a>, trans alt-hip-hop artist \u003ca href=\"https://www.itsdamag3.com/\">DAMAG3\u003c/a>, and nine-piece all-female ska band \u003ca href=\"https://www.instagram.com/colectivosabinas/\">El Colectivo Sabinas\u003c/a>. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Anything that uplifts, empowers, or highlights women’s creativity is a yes for me. The current state of the world is doing a number on women, and I want to contribute to their joy,” says Anita, who plays guitar and sings for Black Gold Sun. \u003c/p>\n\u003cp>Doll Fest founder Maria Chaos was similarly fed up with the status quo, and grew determined to create the change she wanted to see in punk.\u003c/p>\n\u003cp>“I became really tired of watching old white man bands hogging the stages and making these empty promises of tokenized statements,” she tells KQED via email. \u003c/p>\n\u003cfigure id=\"attachment_13987972\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/421523652_921050173114647_7186941386879221908_n.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"size-full wp-image-13987972\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/421523652_921050173114647_7186941386879221908_n.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/421523652_921050173114647_7186941386879221908_n-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/421523652_921050173114647_7186941386879221908_n-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/421523652_921050173114647_7186941386879221908_n-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/421523652_921050173114647_7186941386879221908_n-600x600.jpg 600w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">All-female ska band El Colectivo Sabinas. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Maria stepped up to the plate and built Doll Fest from the ground up alongside general manager and art director Freya Hausman, who until recently was the general manager of the Bay Area record label Alternative Tentacles. The two booked femme-led bands across the punk spectrum – from riot grrrl legends to ska-punk and alt-rock – \u003ca href=\"https://thebadcopy.com/interviews/maria-chaos-shares-the-birth-of-doll-fest-how-its-a-response-the-experience-of-booking-her-first-festival/\">prioritizing\u003c/a> a group’s enjoyment, draw and morals relative to the fest’s local audience and ethos. The inaugural Doll Fest took over Cornerstone in Berkeley, a city chosen for its \u003ca href=\"https://www.kron4.com/news/bay-area/doll-fest-amps-up-for-2-day-takeover-in-berkeley-we-want-people-to-feel-like-this-was-made-for-them/\">history of radical art and activism\u003c/a>, with headliners Tsunami Bomb and Naked Aggression. \u003c/p>\n\u003cp>Veronica, Black Gold Sun’s bassist, has exclusively played in all-female bands, and performed at multiple women-focused events. “Punk music has always been about challenges, rebellion, DIY culture. This festival gives space for female-fronted bands to be seen and heard, and for folks to experience a range of styles and messages that can keep the scene fresh and energized,” she says. \u003c/p>\n\u003cp>The energy is contagious – and expansive. Doll Fest has grown to include multiple auxiliary events including a comedy night, boxing meet-up, a vinyl compilation, multiple fundraisers, and a two-day festival in Mexico City headlined by legendary L.A. punk Alice Bag. “Before anyone asks, no this is not going to be Vans Warped Tour 2.0,” Maria adds.\u003c/p>\n\u003cp>“Having bands come from other areas to the Bay Area can be quite costly or difficult,” she continues. “This is a family, a community. If they can’t come to us then I want to go to them.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=mE3G38gLO4s\u003c/p>\n\u003cp>Doll Fest has a nationwide community of supporters. Just a few months after the first Doll Fest, Maria was at Florida’s \u003ca href=\"https://www.facebook.com/thefestfl/\">Fest\u003c/a> and spoke with many people who knew about her event. “They thought it was so cool and had been yearning for an event like this.”\u003c/p>\n\u003cp>At a \u003ca href=\"https://www.instagram.com/p/DP6kJbwEdIO/\">Doll Fest benefit show\u003c/a> in November featuring \u003ca href=\"https://www.kqed.org/arts/13935330/frightwig-40th-anniversary-album-san-francisco-punk-rock-riot-grrrl\">San Francisco OGs Frightwig\u003c/a>, a performer recalled becoming jaded with life and music. “[She said] this event had given her a spark that she hadn’t felt in years,” Maria remembered. “I was in tears at one point…because the room felt like you were walking into a giant hug.”\u003c/p>\n\u003cp>Black Gold Sun’s Anita Lofton considers a femme-focused festival to be a powerful acknowledgment.\u003c/p>\n\u003cp>“The plain and simple truth is that seeing something makes it possible,” she says. “When you see women performing punk music, you know it’s real.”\u003c/p>\n\u003cfigure id=\"attachment_13987974\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/BCBC-portrait-4784_credit_SoFinchPhotography-2025-1.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13987974\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/BCBC-portrait-4784_credit_SoFinchPhotography-2025-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/BCBC-portrait-4784_credit_SoFinchPhotography-2025-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/BCBC-portrait-4784_credit_SoFinchPhotography-2025-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/BCBC-portrait-4784_credit_SoFinchPhotography-2025-1-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Bad Cop Bad Cop, from Southern California, play this weekend’s Doll Fest. \u003ccite>(So Finch Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like any production, putting on Doll Fest comes with logistical and emotional challenges. Maria says she experiences stress, imposter syndrome, and sometimes fears that she’s letting her team down. \u003c/p>\n\u003cp>Still, “hearing about how this event brings a type of joy to peoples’ lives…fuel[s] the fire,” Maria says. “I’ll keep doing these until I die.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Doll Fest takes place Saturday and Sunday, March 28 and 29, at the California Ballroom (1726 Franklin St. Oakland). A pre-party gets underway Friday, March 27, at the Ivy Room. \u003c/i>\u003ca href=\"https://www.dollfest.net/\">\u003ci>Tickets and more details here\u003c/i>\u003c/a>.\u003c/p>\n\n",
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"title": "The Femme-Fronted Bands of Doll Fest Are Set to Take Over Oakland | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Anita Lofton and Veronica Savage have made noise in the Bay for more than a decade with their bands Sistas In The Pit and The Hail Marys – notable not just for their energy, but for the ways their identities intersect with their music. The two women are proudly Black, fiercely punk, unapologetically raw and have recently coalesced (along with drummer Q) into \u003ca href=\"https://www.instagram.com/blackgoldsun1/\">Black Gold Sun\u003c/a>. \u003c/p>\n\u003cp>After watching the 2024 election results, Anita paused all her other projects and, as “an act of public service,” decided to start a Black girl punk band.\u003c/p>\n\u003cp>“I knew the communities I belong to would be grieving — sad, devastated, overwhelmed,” she tells KQED via email. “I wanted to build a safe space for us. A place to rage, to dance, to scream and to let it all out.”\u003c/p>\n\u003cp>This weekend, Black Gold Sun will perform in another space designed to let it all out: \u003ca href=\"https://www.dollfest.net/home\">Doll Fest\u003c/a>, the two-day festival dedicated to femme-fronted bands from across the country. This year’s event will be held at Oakland’s California Ballroom on March 28 and 29, with a \u003ca href=\"https://tickets.venuepilot.com/e/doll-fest-vol-ii-pre-party-w-skip-the-needle-2026-03-27-ivy-room-albany-5b86b9\">pre-party\u003c/a> on March 27 at the female-owned Ivy Room in Albany. \u003c/p>\n\u003cfigure id=\"attachment_13987971\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/vial_by_katy_kelly.jpg\" alt=\"\" width=\"1000\" height=\"903\" class=\"size-full wp-image-13987971\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/vial_by_katy_kelly.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/vial_by_katy_kelly-160x144.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/vial_by_katy_kelly-768x694.jpg 768w\" sizes=\"auto, (max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Minneapolis punk trio VIAL plays this year’s Doll Fest. \u003ccite>(Katy Kelly)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now in its second year, the homegrown festival is dedicated to smashing the patriarchy, amplifying feminine power through music. In addition to local groups at the vanguard such as Black Gold Sun, this year’s headliners include Minneapolis bratpunk trio \u003ca href=\"https://www.vialband.com/\">VIAL\u003c/a> and Fat Wreck Chords’ \u003ca href=\"https://badcopbadcopmusic.com/\">Bad Cop Bad Cop\u003c/a>. Also on the lineup are Denver beatmaker and MC \u003ca href=\"https://www.instagram.com/wheelchairsportscamp/\">Wheelchair Sportscamp\u003c/a>, trans alt-hip-hop artist \u003ca href=\"https://www.itsdamag3.com/\">DAMAG3\u003c/a>, and nine-piece all-female ska band \u003ca href=\"https://www.instagram.com/colectivosabinas/\">El Colectivo Sabinas\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Anything that uplifts, empowers, or highlights women’s creativity is a yes for me. The current state of the world is doing a number on women, and I want to contribute to their joy,” says Anita, who plays guitar and sings for Black Gold Sun. \u003c/p>\n\u003cp>Doll Fest founder Maria Chaos was similarly fed up with the status quo, and grew determined to create the change she wanted to see in punk.\u003c/p>\n\u003cp>“I became really tired of watching old white man bands hogging the stages and making these empty promises of tokenized statements,” she tells KQED via email. \u003c/p>\n\u003cfigure id=\"attachment_13987972\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/421523652_921050173114647_7186941386879221908_n.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"size-full wp-image-13987972\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/421523652_921050173114647_7186941386879221908_n.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/421523652_921050173114647_7186941386879221908_n-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/421523652_921050173114647_7186941386879221908_n-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/421523652_921050173114647_7186941386879221908_n-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/421523652_921050173114647_7186941386879221908_n-600x600.jpg 600w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">All-female ska band El Colectivo Sabinas. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Maria stepped up to the plate and built Doll Fest from the ground up alongside general manager and art director Freya Hausman, who until recently was the general manager of the Bay Area record label Alternative Tentacles. The two booked femme-led bands across the punk spectrum – from riot grrrl legends to ska-punk and alt-rock – \u003ca href=\"https://thebadcopy.com/interviews/maria-chaos-shares-the-birth-of-doll-fest-how-its-a-response-the-experience-of-booking-her-first-festival/\">prioritizing\u003c/a> a group’s enjoyment, draw and morals relative to the fest’s local audience and ethos. The inaugural Doll Fest took over Cornerstone in Berkeley, a city chosen for its \u003ca href=\"https://www.kron4.com/news/bay-area/doll-fest-amps-up-for-2-day-takeover-in-berkeley-we-want-people-to-feel-like-this-was-made-for-them/\">history of radical art and activism\u003c/a>, with headliners Tsunami Bomb and Naked Aggression. \u003c/p>\n\u003cp>Veronica, Black Gold Sun’s bassist, has exclusively played in all-female bands, and performed at multiple women-focused events. “Punk music has always been about challenges, rebellion, DIY culture. This festival gives space for female-fronted bands to be seen and heard, and for folks to experience a range of styles and messages that can keep the scene fresh and energized,” she says. \u003c/p>\n\u003cp>The energy is contagious – and expansive. Doll Fest has grown to include multiple auxiliary events including a comedy night, boxing meet-up, a vinyl compilation, multiple fundraisers, and a two-day festival in Mexico City headlined by legendary L.A. punk Alice Bag. “Before anyone asks, no this is not going to be Vans Warped Tour 2.0,” Maria adds.\u003c/p>\n\u003cp>“Having bands come from other areas to the Bay Area can be quite costly or difficult,” she continues. “This is a family, a community. If they can’t come to us then I want to go to them.”\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/mE3G38gLO4s'\n title='//www.youtube.com/embed/mE3G38gLO4s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Doll Fest has a nationwide community of supporters. Just a few months after the first Doll Fest, Maria was at Florida’s \u003ca href=\"https://www.facebook.com/thefestfl/\">Fest\u003c/a> and spoke with many people who knew about her event. “They thought it was so cool and had been yearning for an event like this.”\u003c/p>\n\u003cp>At a \u003ca href=\"https://www.instagram.com/p/DP6kJbwEdIO/\">Doll Fest benefit show\u003c/a> in November featuring \u003ca href=\"https://www.kqed.org/arts/13935330/frightwig-40th-anniversary-album-san-francisco-punk-rock-riot-grrrl\">San Francisco OGs Frightwig\u003c/a>, a performer recalled becoming jaded with life and music. “[She said] this event had given her a spark that she hadn’t felt in years,” Maria remembered. “I was in tears at one point…because the room felt like you were walking into a giant hug.”\u003c/p>\n\u003cp>Black Gold Sun’s Anita Lofton considers a femme-focused festival to be a powerful acknowledgment.\u003c/p>\n\u003cp>“The plain and simple truth is that seeing something makes it possible,” she says. “When you see women performing punk music, you know it’s real.”\u003c/p>\n\u003cfigure id=\"attachment_13987974\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/BCBC-portrait-4784_credit_SoFinchPhotography-2025-1.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13987974\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/BCBC-portrait-4784_credit_SoFinchPhotography-2025-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/BCBC-portrait-4784_credit_SoFinchPhotography-2025-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/BCBC-portrait-4784_credit_SoFinchPhotography-2025-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/BCBC-portrait-4784_credit_SoFinchPhotography-2025-1-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Bad Cop Bad Cop, from Southern California, play this weekend’s Doll Fest. \u003ccite>(So Finch Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like any production, putting on Doll Fest comes with logistical and emotional challenges. Maria says she experiences stress, imposter syndrome, and sometimes fears that she’s letting her team down. \u003c/p>\n\u003cp>Still, “hearing about how this event brings a type of joy to peoples’ lives…fuel[s] the fire,” Maria says. “I’ll keep doing these until I die.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Doll Fest takes place Saturday and Sunday, March 28 and 29, at the California Ballroom (1726 Franklin St. Oakland). A pre-party gets underway Friday, March 27, at the Ivy Room. \u003c/i>\u003ca href=\"https://www.dollfest.net/\">\u003ci>Tickets and more details here\u003c/i>\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "thee-parkside-closing-san-francisco-potrero-hill",
"title": "Saying Goodbye to Thee Parkside, a ‘Safe Haven’ for San Francisco’s Punks and Rebels",
"publishDate": 1773168049,
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"headTitle": "Saying Goodbye to Thee Parkside, a ‘Safe Haven’ for San Francisco’s Punks and Rebels | KQED",
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"content": "\u003cp>On a recent Saturday night at Thee Parkside, I stand in the dimly lit bathroom reading the graffiti-covered walls as I try, and fail, to catch a glimpse of my reflection under the film of stickers on the mirror.\u003c/p>\n\u003cp>From the bathroom I can hear East Bay metalcore band The Tower the Fool hyping the crowd.\u003c/p>\n\u003cp>“It’s an honor to be playing here at Thee Parkside,” the frontman says. “It’s going to be one of the last ones here. We used to come here all the time when we were young. Back in our punk days, saw Reagan Youth, Adolescents over here —”\u003c/p>\n\u003cp>“Sneaking in underage!” someone yells from the crowd.\u003c/p>\n\u003cp>“Yeah,” he laughs. “Sneaking in underage. We were having a great time.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A little red building on the corner of 17th and Wisconsin Streets, Thee Parkside will soon close its doors for the last time after 26 years as a staple of the punk and underground music scene. An official last day has yet to be set, but live music performances will last throughout the month of March.\u003c/p>\n\u003cp>While details regarding the $1.33 million sale of the property last April have not been made public, graffiti inside Thee Parkside’s patio reads, “This will be condos you can’t afford!” (The slogan is also on T-shirts sold behind the bar.)\u003c/p>\n\u003cfigure id=\"attachment_13987476\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13987476 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_014-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_014-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_014-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_014-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_014-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Graffiti reading “This will be condos you can’t afford!” is painted on a wall at Thee Parkside on March 6, 2026, in San Francisco. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>No concrete plans for developing the lot have been filed with the city, but the property’s real estate listing highlights that the site “allows for development up to 48 feet in height” and “presents a rare chance to create a dynamic residential or mixed-use project.”\u003c/p>\n\u003cp>“The community that I serve, they’re losing a lot of things, not just Thee Parkside,” owner Malia Spanyol told KQED. “It’s been a struggle for 15 years, 20 years. Everyone’s moving to Oakland, everyone’s getting pushed out of the city. Everyone can’t afford to live here. Everyone’s working 60-hour weeks. It’s hard for a lot of people right now.”\u003c/p>\n\u003cp>The loss is just one of many for Potrero Hill’s creative scene. Bottom of the Hill, a 35-year-old music venue, announced it’ll close at the end of 2026. The nearby California College of the Arts will also shut its doors in 2027.\u003c/p>\n\u003cfigure id=\"attachment_13987474\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987474\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_008-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_008-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_008-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_008-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_008-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Owner Malia Spanyol sits inside the office at Thee Parkside on March 6, 2025, in San Francisco. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Parkside regular Duff Ryan has been coming to Thee Parkside since the early 2000s. He’d initially go to the bar to see a punk show or two. When he later enrolled at CCA just a few blocks away, Thee Parkside became the after-class hotspot to get a fix of tater tots.\u003c/p>\n\u003cp>Over a decade after graduation, Ryan remains a consistent regular for the community he’s forged with employees and fellow regulars alike. He can stop by on any given day and find someone for a chat. [aside postid='arts_13987283']\u003c/p>\n\u003cp>“So many years later it’s been a central part of my life, my friend group, my family,” Ryan said.\u003c/p>\n\u003cp>During pandemic shutdowns, Thee Parkside opened window service, and Ryan went every day.\u003c/p>\n\u003cp>“It was a place to see your friends and to feel a little bit less crazy while stuck in your house,” Ryan said. “What an incredibly important sort of community outlet.”\u003c/p>\n\u003cfigure id=\"attachment_13987473\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987473\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_001-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_001-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_001-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_001-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_001-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A cyclist rides past the entrance to Thee Parkside, a punk dive bar that has operated in San Francisco for 26 years, on March 6, 2025. The venue has long served as a gathering space for the city’s punk and underground music community. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over the years, the small venue has hosted local bands as well as big ones, like when Green Day played as The Coverups in 2018. There have been tricycle races and ladies’ arm wrestling on the Fourth of July — plus weddings, baby showers, memorial services and birthday parties.\u003c/p>\n\u003cp>For Thee Parkside’s most tenured employee Shane Plitt, the closure is even more personal: at one point, Thee Parkside became his literal home. [aside postid='arts_13987466']\u003c/p>\n\u003cp>Between tours with his band M.U.T.T., he got evicted. Spanyol offered the green room atop the bar, and he lived there well into COVID.\u003c/p>\n\u003cp>“I have spent so much time there, I mean, it was literally like my living room,” Plitt said. “I’d wake up, go downstairs and the regulars are all there trying to get me a shot of tequila and I’m like, I just need a coffee.”\u003c/p>\n\u003cfigure id=\"attachment_13987481\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987481\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_023-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_023-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_023-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_023-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_023-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Matt Walker of M.U.T.T. sings into a microphone while playing guitar during a performance at Thee Parkside on March 6, 2025, in San Francisco. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Plitt and senior colleague Max Wickham recently got tattoos of Spanyol’s name. Inspired by a former coworker who would tag “Malia” inside and outside the bar, they snapped a picture and thought it felt right to get her name permanently inked.\u003c/p>\n\u003cp>“The core [of Thee Parkside] has always been the same,” Wickham said. “Malia has owned the bar for close to 20 years, and you can’t own a place that long without it becoming an extension of yourself. … It was a place where people could be — it sounds so cheesy — but a place where people could be themselves.”\u003c/p>\n\u003cp>Plitt and Wickham emphasize that the community at Thee Parkside — the punks, burners, hippies, techies and businesspeople alike — couldn’t exist without Spanyol’s efforts of inclusivity and acceptance. Some of the staff even call her “mom.”\u003c/p>\n\u003cfigure id=\"attachment_13987477\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987477\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_015-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_015-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_015-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_015-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_015-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shane Plitt (left) and Max Wickham show their tattoos honoring Malia Spanyol, owner of Thee Parkside, on March 6, 2025, in San Francisco. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It really represents a safe haven for any creative person,” Plitt said. “Somebody’s down, bad on their luck, went to jail, got out of jail, can’t find a job — you are welcome.”\u003c/p>\n\u003cp>Since announcing Thee Parkside will be closing sometime this year, community response has been equal parts frustration and disbelief. But there’s also a silver lining: an outpouring of support. Plitt noted that the bar has been as busy as it was before the pandemic, a sign of the community coming together for some of its final nights.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“It’s been an insane 19 years for me,” Spanyol said. “It has been so wild. I appreciate what Thee Parkside has given me for fucking 19 years. It has been so much fun. It has been such hard work, but it has paid off in so many ways.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On a recent Saturday night at Thee Parkside, I stand in the dimly lit bathroom reading the graffiti-covered walls as I try, and fail, to catch a glimpse of my reflection under the film of stickers on the mirror.\u003c/p>\n\u003cp>From the bathroom I can hear East Bay metalcore band The Tower the Fool hyping the crowd.\u003c/p>\n\u003cp>“It’s an honor to be playing here at Thee Parkside,” the frontman says. “It’s going to be one of the last ones here. We used to come here all the time when we were young. Back in our punk days, saw Reagan Youth, Adolescents over here —”\u003c/p>\n\u003cp>“Sneaking in underage!” someone yells from the crowd.\u003c/p>\n\u003cp>“Yeah,” he laughs. “Sneaking in underage. We were having a great time.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A little red building on the corner of 17th and Wisconsin Streets, Thee Parkside will soon close its doors for the last time after 26 years as a staple of the punk and underground music scene. An official last day has yet to be set, but live music performances will last throughout the month of March.\u003c/p>\n\u003cp>While details regarding the $1.33 million sale of the property last April have not been made public, graffiti inside Thee Parkside’s patio reads, “This will be condos you can’t afford!” (The slogan is also on T-shirts sold behind the bar.)\u003c/p>\n\u003cfigure id=\"attachment_13987476\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13987476 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_014-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_014-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_014-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_014-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_014-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Graffiti reading “This will be condos you can’t afford!” is painted on a wall at Thee Parkside on March 6, 2026, in San Francisco. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>No concrete plans for developing the lot have been filed with the city, but the property’s real estate listing highlights that the site “allows for development up to 48 feet in height” and “presents a rare chance to create a dynamic residential or mixed-use project.”\u003c/p>\n\u003cp>“The community that I serve, they’re losing a lot of things, not just Thee Parkside,” owner Malia Spanyol told KQED. “It’s been a struggle for 15 years, 20 years. Everyone’s moving to Oakland, everyone’s getting pushed out of the city. Everyone can’t afford to live here. Everyone’s working 60-hour weeks. It’s hard for a lot of people right now.”\u003c/p>\n\u003cp>The loss is just one of many for Potrero Hill’s creative scene. Bottom of the Hill, a 35-year-old music venue, announced it’ll close at the end of 2026. The nearby California College of the Arts will also shut its doors in 2027.\u003c/p>\n\u003cfigure id=\"attachment_13987474\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987474\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_008-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_008-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_008-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_008-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_008-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Owner Malia Spanyol sits inside the office at Thee Parkside on March 6, 2025, in San Francisco. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Parkside regular Duff Ryan has been coming to Thee Parkside since the early 2000s. He’d initially go to the bar to see a punk show or two. When he later enrolled at CCA just a few blocks away, Thee Parkside became the after-class hotspot to get a fix of tater tots.\u003c/p>\n\u003cp>Over a decade after graduation, Ryan remains a consistent regular for the community he’s forged with employees and fellow regulars alike. He can stop by on any given day and find someone for a chat. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“So many years later it’s been a central part of my life, my friend group, my family,” Ryan said.\u003c/p>\n\u003cp>During pandemic shutdowns, Thee Parkside opened window service, and Ryan went every day.\u003c/p>\n\u003cp>“It was a place to see your friends and to feel a little bit less crazy while stuck in your house,” Ryan said. “What an incredibly important sort of community outlet.”\u003c/p>\n\u003cfigure id=\"attachment_13987473\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987473\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_001-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_001-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_001-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_001-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_001-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A cyclist rides past the entrance to Thee Parkside, a punk dive bar that has operated in San Francisco for 26 years, on March 6, 2025. The venue has long served as a gathering space for the city’s punk and underground music community. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over the years, the small venue has hosted local bands as well as big ones, like when Green Day played as The Coverups in 2018. There have been tricycle races and ladies’ arm wrestling on the Fourth of July — plus weddings, baby showers, memorial services and birthday parties.\u003c/p>\n\u003cp>For Thee Parkside’s most tenured employee Shane Plitt, the closure is even more personal: at one point, Thee Parkside became his literal home. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Between tours with his band M.U.T.T., he got evicted. Spanyol offered the green room atop the bar, and he lived there well into COVID.\u003c/p>\n\u003cp>“I have spent so much time there, I mean, it was literally like my living room,” Plitt said. “I’d wake up, go downstairs and the regulars are all there trying to get me a shot of tequila and I’m like, I just need a coffee.”\u003c/p>\n\u003cfigure id=\"attachment_13987481\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987481\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_023-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_023-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_023-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_023-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_023-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Matt Walker of M.U.T.T. sings into a microphone while playing guitar during a performance at Thee Parkside on March 6, 2025, in San Francisco. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Plitt and senior colleague Max Wickham recently got tattoos of Spanyol’s name. Inspired by a former coworker who would tag “Malia” inside and outside the bar, they snapped a picture and thought it felt right to get her name permanently inked.\u003c/p>\n\u003cp>“The core [of Thee Parkside] has always been the same,” Wickham said. “Malia has owned the bar for close to 20 years, and you can’t own a place that long without it becoming an extension of yourself. … It was a place where people could be — it sounds so cheesy — but a place where people could be themselves.”\u003c/p>\n\u003cp>Plitt and Wickham emphasize that the community at Thee Parkside — the punks, burners, hippies, techies and businesspeople alike — couldn’t exist without Spanyol’s efforts of inclusivity and acceptance. Some of the staff even call her “mom.”\u003c/p>\n\u003cfigure id=\"attachment_13987477\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987477\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_015-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_015-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_015-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_015-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/030626_THEE-PARKSIDE-_GH_015-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shane Plitt (left) and Max Wickham show their tattoos honoring Malia Spanyol, owner of Thee Parkside, on March 6, 2025, in San Francisco. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It really represents a safe haven for any creative person,” Plitt said. “Somebody’s down, bad on their luck, went to jail, got out of jail, can’t find a job — you are welcome.”\u003c/p>\n\u003cp>Since announcing Thee Parkside will be closing sometime this year, community response has been equal parts frustration and disbelief. But there’s also a silver lining: an outpouring of support. Plitt noted that the bar has been as busy as it was before the pandemic, a sign of the community coming together for some of its final nights.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s been an insane 19 years for me,” Spanyol said. “It has been so wild. I appreciate what Thee Parkside has given me for fucking 19 years. It has been so much fun. It has been such hard work, but it has paid off in so many ways.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>San Francisco \u003ca href=\"https://www.kqed.org/arts/tag/punk-rock\">punk\u003c/a> legend Jello Biafra has been hospitalized following a hemorrhagic stroke caused by high blood pressure, according to a statement posted on his Facebook page.\u003c/p>\n\u003cp>The former Dead Kennedys frontman described collapsing after getting out of bed and realizing he had lost feeling in his left leg and arm. “I tried to hop back up again, and I couldn’t. I realized I had ‘fallen and I can’t get up!’” he wrote. “It was this point I thought, ‘Oh shit, I’m having a stroke!’”\u003c/p>\n\u003cp>Biafra is in stable condition at a hospital, the statement said. “I still have a lot of great stuff in me, but right now I gotta lotta of rehabbing to do,” he concluded.\u003c/p>\n\u003cp>Fans left thousands of supportive comments on Biafra’s post, including well-wishes from fellow stroke survivors.\u003c/p>\n\u003cp>The 67-year-old singer-songwriter first came into prominence with the Dead Kennedys in the late 1970s with “California Über Alles,” a satirical song about then-governor Jerry Brown.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>With other songs like “Nazi Punks Fuck Off,” the Dead Kennedys cemented their reputation as politically outspoken provocateurs. Biafra ran for mayor of San Francisco in 1979 and, later, campaigned for the Green Party’s presidential nomination in 2000.\u003c/p>\n\u003cp>The Dead Kennedys reunited without Biafra in 2001 after accusing him of withholding royalties in a lawsuit.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Now a solo artist, Biafra remains active with his Alternative Tentacles record label and regularly posts political commentary on his social media.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco \u003ca href=\"https://www.kqed.org/arts/tag/punk-rock\">punk\u003c/a> legend Jello Biafra has been hospitalized following a hemorrhagic stroke caused by high blood pressure, according to a statement posted on his Facebook page.\u003c/p>\n\u003cp>The former Dead Kennedys frontman described collapsing after getting out of bed and realizing he had lost feeling in his left leg and arm. “I tried to hop back up again, and I couldn’t. I realized I had ‘fallen and I can’t get up!’” he wrote. “It was this point I thought, ‘Oh shit, I’m having a stroke!’”\u003c/p>\n\u003cp>Biafra is in stable condition at a hospital, the statement said. “I still have a lot of great stuff in me, but right now I gotta lotta of rehabbing to do,” he concluded.\u003c/p>\n\u003cp>Fans left thousands of supportive comments on Biafra’s post, including well-wishes from fellow stroke survivors.\u003c/p>\n\u003cp>The 67-year-old singer-songwriter first came into prominence with the Dead Kennedys in the late 1970s with “California Über Alles,” a satirical song about then-governor Jerry Brown.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>With other songs like “Nazi Punks Fuck Off,” the Dead Kennedys cemented their reputation as politically outspoken provocateurs. Biafra ran for mayor of San Francisco in 1979 and, later, campaigned for the Green Party’s presidential nomination in 2000.\u003c/p>\n\u003cp>The Dead Kennedys reunited without Biafra in 2001 after accusing him of withholding royalties in a lawsuit.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Now a solo artist, Biafra remains active with his Alternative Tentacles record label and regularly posts political commentary on his social media.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>As a small crowd gathered in an industrial complex in \u003ca href=\"https://www.kqed.org/arts/tag/richmond\">Richmond\u003c/a> on Friday night, a puppeteer dressed as a molting bird gave birth to a human doll baby, followed by a brief magic show. A ska band ripped through a short set, a sideshow performer swallowed two swords and stuck fishhooks in her eyelids, and another local band \u003ca href=\"https://www.kqed.org/mindshift/37196/a-portal-to-chaos-and-adventure-in-a-playground\">named after a kids’ portal to chaos\u003c/a> closed out the night.\u003c/p>\n\u003cp>Just your average evening at Richmond’s newest DIY, all-ages, substance-free venue, \u003ca href=\"https://ragtagshows.com/\">The Planetarium\u003c/a>.\u003c/p>\n\u003cp>A former karaoke lounge situated inside a maze of \u003ca href=\"https://intergalactic.rocks/\">practice spaces\u003c/a>, The Planetarium serves a city not exactly known for providing opportunities to its younger creative residents. After being open for only a few weeks, it’s already gaining a following.\u003c/p>\n\u003ch2>Finding your people\u003c/h2>\n\u003cp>At Friday’s \u003ca href=\"https://www.instagram.com/p/DTls0sTkn14/\">Cosmik Debris\u003c/a> variety show, one person came for the puppets at the recommendation of someone on their local music Signal chat; another, from Berkeley, wanted to recapture the feeling they had as a teen punk in San Diego. Someone else saw a flyer while helping a friend during their KALX DJ set, and another couple was invited for a friend’s birthday. \u003c/p>\n\u003cfigure id=\"attachment_13985700\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20260116_PLANETARIUMRICHMOND_GC-26-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13985700\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20260116_PLANETARIUMRICHMOND_GC-26-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20260116_PLANETARIUMRICHMOND_GC-26-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20260116_PLANETARIUMRICHMOND_GC-26-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20260116_PLANETARIUMRICHMOND_GC-26-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Adventure Playground performs at the Planetarium in Richmond on Jan. 16, 2026. \u003ccite>(Gina Castro for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I knew we were doing good when I had some guy come to his second show, when we’d only had four,” said Alex Botkin, one of The Planetarium’s co-founders, who grew up half a mile down the road in El Cerrito. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The project of three longtime DIYers who met at the long-running Berkeley punk club \u003ca href=\"https://www.kqed.org/arts/tag/924-gilman\">924 Gilman\u003c/a>, The Planetarium has hosted half a dozen events since its grand opening on Jan. 2. Currently scheduled are 32 additional shows, mostly on Fridays, Saturdays and Sundays, through May. Booking as Ragtag Productions, the trio caters to smaller, younger bands, touring acts, and transgressive performance art — all communities in which the founders have been involved.\u003c/p>\n\u003cp>“I spent a lot of time traveling between weird performance art worlds in the East Bay in search of community,” said Plantearium co-founder Kirk Pearson, a New York native who moved to the Bay about 10 years ago. “I found all of these groups of people, several of which were incredibly good performers, but with absolutely no venue that was suited for them to perform. So that’s at least part of my excitement [with The Plantarium].” \u003c/p>\n\u003cfigure id=\"attachment_13985695\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20260116_PLANETARIUMRICHMOND_GC-4-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13985695\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20260116_PLANETARIUMRICHMOND_GC-4-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20260116_PLANETARIUMRICHMOND_GC-4-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20260116_PLANETARIUMRICHMOND_GC-4-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20260116_PLANETARIUMRICHMOND_GC-4-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Risa Lenore performs a puppet show at the Planetarium in Richmond on Jan. 16, 2026. \u003ccite>(Gina Castro for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tickets to a Planetarium show will hover between $10 and $15 to encourage artistic discovery without a hefty price tag. “By having that openness to variety and all the bands that are having a great time, you’ll probably have a good time,” Alex said. \u003c/p>\n\u003ch2>Roots in DIY\u003c/h2>\n\u003cp>Community begets community, and The Planetarium is proof of the East Bay’s deep DIY and punk roots. Pearson is a composer and sound designer who founded \u003ca href=\"https://dogbotic.com/\">Dogbotic\u003c/a> and previously did sound at Gilman. Botkin, a musician with the band awakebutstillinbed (who also played with Friday’s ska band, Sad Snack), books shows and ran a record label in addition to years of volunteer work at Gilman. His partner Lexi Botkin grew up going to shows and volunteering at Gilman, in addition to playing bass and selling merch for bands. \u003c/p>\n\u003cp>“I was just a show rat. I was at everything and talking to everybody, and helping out however I could,” said Lexi, a Berkeley educator who grew up in Pleasanton and San Jose. “Ever since I was a kid, my dream was to have a business where I could help foster art communities and creativity.” \u003c/p>\n\u003cfigure id=\"attachment_13985701\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20260116_PLANETARIUMRICHMOND_GC-29-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13985701\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20260116_PLANETARIUMRICHMOND_GC-29-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20260116_PLANETARIUMRICHMOND_GC-29-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20260116_PLANETARIUMRICHMOND_GC-29-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20260116_PLANETARIUMRICHMOND_GC-29-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Attendees dance as Adventure Playground performs at the Planetarium in Richmond on Jan. 16, 2026. \u003ccite>(Gina Castro for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With a good deal on rent from their friends in \u003ca href=\"https://www.instagram.com/middleagedqueers/\">Middle-Aged Queers\u003c/a> — who purchased the building with the intention of opening a venue but lacked the time — and a lot of help from their community, The Planetarium was born. The room that would become the venue was in decent shape, with cool lighting in place and some supplies to spruce things up. It was already permitted for noise with the city of Richmond. \u003c/p>\n\u003cp>“We’ve gotten tremendous deals from friends and stuff from former venues, or [from] touring bands,” Alex said, pointing to the venue’s soundboard. “Once you’re involved in [DIY spaces] enough and know enough people, it’s not hard to find community support in that way.” \u003c/p>\n\u003ch2>Everyone is a star\u003c/h2>\n\u003cp>The Planetarium has already started to see a “karmic return” in the form of community interest. When asked how they’re connecting with bands and artists, Lexi was quick to note, “We’re not finding them. They’re finding \u003ci>us\u003c/i>.” \u003c/p>\n\u003cp>“There’s a lot of venues closing right now, and every venue that opens doesn’t really fix it. It just sort of fills part of the deficit. The amount of inquiries we got puts us into almost summer with some of our shows,” Alex added. “Bands are desperate for places that they can play.” \u003c/p>\n\u003cfigure id=\"attachment_13985694\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20260116_PLANETARIUMRICHMOND_GC-1-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13985694\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20260116_PLANETARIUMRICHMOND_GC-1-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20260116_PLANETARIUMRICHMOND_GC-1-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20260116_PLANETARIUMRICHMOND_GC-1-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20260116_PLANETARIUMRICHMOND_GC-1-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">From left, Planetarium founders Alex Botkin, Kirk Pearson and Lexi Botkin pose for a photo at the music venue in Richmond on Jan. 16, 2026. \u003ccite>(Gina Castro for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Planetarium could be seen as a new generation’s \u003ca href=\"https://www.kqed.org/arts/12493208/burnt-ramen-long-running-underground-venue-in-richmond-shut-down\">Burnt Ramen\u003c/a>, the Richmond DIY space that closed in 2016, and adds to popular DIY venues such as Gilman in Berkeley and Oakland’s \u003ca href=\"https://www.instagram.com/staygoldoakland/?hl=en\">Stay Gold Deli\u003c/a> and \u003ca href=\"https://tamarackoakland.com/calendar\">Tamarack\u003c/a>. The venue will decidedly not host any punishing “elder bar rock.” Adds Pearson: “If you are a band of 17-year-olds or 18-year-olds, you can play here.” \u003c/p>\n\u003cp>There’s still plenty of work to do at The Planetarium, from building a proper stage and soundbooth to fixing some busted flooring. The co-founders aren’t worried; “perfect is the enemy of good,” as Pearson noted.\u003c/p>\n\u003cp>And, befitting a place that puts punk bands alongside puppet shows, it’s about more than the music. Lexi said she hopes to host events like clothing swaps and drives, DIY clothing repairs, and “study shares” where attendees tutor each other. Regardless of what may get booked at The Planetarium, all events will share a common perspective.\u003c/p>\n\u003cp>“There’s no attitude in this space. There’s a bunch of fun, colorful lights; there’s already aliens on the wall. This is goofy and silly, and you have to be open to that,” Alex said. “Everyone’s just here and it’s all a level playing field. Nobody is the top dog.” \u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Find \u003ca href=\"https://www.instagram.com/planetariumrichmond/\">details and information about upcoming shows\u003c/a> at the Planetarium on \u003ca href=\"https://www.instagram.com/planetariumrichmond/\">Instagram\u003c/a> or at \u003ca href=\"https://ragtagshows.com/index.html\">Ragtag Productions’ website\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"title": "New All-Ages DIY Venue the Planetarium Opens in Richmond | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As a small crowd gathered in an industrial complex in \u003ca href=\"https://www.kqed.org/arts/tag/richmond\">Richmond\u003c/a> on Friday night, a puppeteer dressed as a molting bird gave birth to a human doll baby, followed by a brief magic show. A ska band ripped through a short set, a sideshow performer swallowed two swords and stuck fishhooks in her eyelids, and another local band \u003ca href=\"https://www.kqed.org/mindshift/37196/a-portal-to-chaos-and-adventure-in-a-playground\">named after a kids’ portal to chaos\u003c/a> closed out the night.\u003c/p>\n\u003cp>Just your average evening at Richmond’s newest DIY, all-ages, substance-free venue, \u003ca href=\"https://ragtagshows.com/\">The Planetarium\u003c/a>.\u003c/p>\n\u003cp>A former karaoke lounge situated inside a maze of \u003ca href=\"https://intergalactic.rocks/\">practice spaces\u003c/a>, The Planetarium serves a city not exactly known for providing opportunities to its younger creative residents. After being open for only a few weeks, it’s already gaining a following.\u003c/p>\n\u003ch2>Finding your people\u003c/h2>\n\u003cp>At Friday’s \u003ca href=\"https://www.instagram.com/p/DTls0sTkn14/\">Cosmik Debris\u003c/a> variety show, one person came for the puppets at the recommendation of someone on their local music Signal chat; another, from Berkeley, wanted to recapture the feeling they had as a teen punk in San Diego. Someone else saw a flyer while helping a friend during their KALX DJ set, and another couple was invited for a friend’s birthday. \u003c/p>\n\u003cfigure id=\"attachment_13985700\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20260116_PLANETARIUMRICHMOND_GC-26-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13985700\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20260116_PLANETARIUMRICHMOND_GC-26-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20260116_PLANETARIUMRICHMOND_GC-26-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20260116_PLANETARIUMRICHMOND_GC-26-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20260116_PLANETARIUMRICHMOND_GC-26-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Adventure Playground performs at the Planetarium in Richmond on Jan. 16, 2026. \u003ccite>(Gina Castro for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I knew we were doing good when I had some guy come to his second show, when we’d only had four,” said Alex Botkin, one of The Planetarium’s co-founders, who grew up half a mile down the road in El Cerrito. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The project of three longtime DIYers who met at the long-running Berkeley punk club \u003ca href=\"https://www.kqed.org/arts/tag/924-gilman\">924 Gilman\u003c/a>, The Planetarium has hosted half a dozen events since its grand opening on Jan. 2. Currently scheduled are 32 additional shows, mostly on Fridays, Saturdays and Sundays, through May. Booking as Ragtag Productions, the trio caters to smaller, younger bands, touring acts, and transgressive performance art — all communities in which the founders have been involved.\u003c/p>\n\u003cp>“I spent a lot of time traveling between weird performance art worlds in the East Bay in search of community,” said Plantearium co-founder Kirk Pearson, a New York native who moved to the Bay about 10 years ago. “I found all of these groups of people, several of which were incredibly good performers, but with absolutely no venue that was suited for them to perform. So that’s at least part of my excitement [with The Plantarium].” \u003c/p>\n\u003cfigure id=\"attachment_13985695\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20260116_PLANETARIUMRICHMOND_GC-4-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13985695\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20260116_PLANETARIUMRICHMOND_GC-4-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20260116_PLANETARIUMRICHMOND_GC-4-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20260116_PLANETARIUMRICHMOND_GC-4-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20260116_PLANETARIUMRICHMOND_GC-4-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Risa Lenore performs a puppet show at the Planetarium in Richmond on Jan. 16, 2026. \u003ccite>(Gina Castro for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tickets to a Planetarium show will hover between $10 and $15 to encourage artistic discovery without a hefty price tag. “By having that openness to variety and all the bands that are having a great time, you’ll probably have a good time,” Alex said. \u003c/p>\n\u003ch2>Roots in DIY\u003c/h2>\n\u003cp>Community begets community, and The Planetarium is proof of the East Bay’s deep DIY and punk roots. Pearson is a composer and sound designer who founded \u003ca href=\"https://dogbotic.com/\">Dogbotic\u003c/a> and previously did sound at Gilman. Botkin, a musician with the band awakebutstillinbed (who also played with Friday’s ska band, Sad Snack), books shows and ran a record label in addition to years of volunteer work at Gilman. His partner Lexi Botkin grew up going to shows and volunteering at Gilman, in addition to playing bass and selling merch for bands. \u003c/p>\n\u003cp>“I was just a show rat. I was at everything and talking to everybody, and helping out however I could,” said Lexi, a Berkeley educator who grew up in Pleasanton and San Jose. “Ever since I was a kid, my dream was to have a business where I could help foster art communities and creativity.” \u003c/p>\n\u003cfigure id=\"attachment_13985701\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20260116_PLANETARIUMRICHMOND_GC-29-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13985701\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20260116_PLANETARIUMRICHMOND_GC-29-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20260116_PLANETARIUMRICHMOND_GC-29-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20260116_PLANETARIUMRICHMOND_GC-29-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20260116_PLANETARIUMRICHMOND_GC-29-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Attendees dance as Adventure Playground performs at the Planetarium in Richmond on Jan. 16, 2026. \u003ccite>(Gina Castro for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With a good deal on rent from their friends in \u003ca href=\"https://www.instagram.com/middleagedqueers/\">Middle-Aged Queers\u003c/a> — who purchased the building with the intention of opening a venue but lacked the time — and a lot of help from their community, The Planetarium was born. The room that would become the venue was in decent shape, with cool lighting in place and some supplies to spruce things up. It was already permitted for noise with the city of Richmond. \u003c/p>\n\u003cp>“We’ve gotten tremendous deals from friends and stuff from former venues, or [from] touring bands,” Alex said, pointing to the venue’s soundboard. “Once you’re involved in [DIY spaces] enough and know enough people, it’s not hard to find community support in that way.” \u003c/p>\n\u003ch2>Everyone is a star\u003c/h2>\n\u003cp>The Planetarium has already started to see a “karmic return” in the form of community interest. When asked how they’re connecting with bands and artists, Lexi was quick to note, “We’re not finding them. They’re finding \u003ci>us\u003c/i>.” \u003c/p>\n\u003cp>“There’s a lot of venues closing right now, and every venue that opens doesn’t really fix it. It just sort of fills part of the deficit. The amount of inquiries we got puts us into almost summer with some of our shows,” Alex added. “Bands are desperate for places that they can play.” \u003c/p>\n\u003cfigure id=\"attachment_13985694\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20260116_PLANETARIUMRICHMOND_GC-1-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13985694\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20260116_PLANETARIUMRICHMOND_GC-1-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20260116_PLANETARIUMRICHMOND_GC-1-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20260116_PLANETARIUMRICHMOND_GC-1-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/20260116_PLANETARIUMRICHMOND_GC-1-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">From left, Planetarium founders Alex Botkin, Kirk Pearson and Lexi Botkin pose for a photo at the music venue in Richmond on Jan. 16, 2026. \u003ccite>(Gina Castro for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Planetarium could be seen as a new generation’s \u003ca href=\"https://www.kqed.org/arts/12493208/burnt-ramen-long-running-underground-venue-in-richmond-shut-down\">Burnt Ramen\u003c/a>, the Richmond DIY space that closed in 2016, and adds to popular DIY venues such as Gilman in Berkeley and Oakland’s \u003ca href=\"https://www.instagram.com/staygoldoakland/?hl=en\">Stay Gold Deli\u003c/a> and \u003ca href=\"https://tamarackoakland.com/calendar\">Tamarack\u003c/a>. The venue will decidedly not host any punishing “elder bar rock.” Adds Pearson: “If you are a band of 17-year-olds or 18-year-olds, you can play here.” \u003c/p>\n\u003cp>There’s still plenty of work to do at The Planetarium, from building a proper stage and soundbooth to fixing some busted flooring. The co-founders aren’t worried; “perfect is the enemy of good,” as Pearson noted.\u003c/p>\n\u003cp>And, befitting a place that puts punk bands alongside puppet shows, it’s about more than the music. Lexi said she hopes to host events like clothing swaps and drives, DIY clothing repairs, and “study shares” where attendees tutor each other. Regardless of what may get booked at The Planetarium, all events will share a common perspective.\u003c/p>\n\u003cp>“There’s no attitude in this space. There’s a bunch of fun, colorful lights; there’s already aliens on the wall. This is goofy and silly, and you have to be open to that,” Alex said. “Everyone’s just here and it’s all a level playing field. Nobody is the top dog.” \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Find \u003ca href=\"https://www.instagram.com/planetariumrichmond/\">details and information about upcoming shows\u003c/a> at the Planetarium on \u003ca href=\"https://www.instagram.com/planetariumrichmond/\">Instagram\u003c/a> or at \u003ca href=\"https://ragtagshows.com/index.html\">Ragtag Productions’ website\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "mosswood-iggy-pop-bikini-kill-dead-milkmen-otoboke-beaver-lineup-oakland-2026",
"title": "Mosswood Lineup Announced: Iggy Pop, Bikini Kill, Dead Milkmen, Otoboke Beaver, More",
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"headTitle": "Mosswood Lineup Announced: Iggy Pop, Bikini Kill, Dead Milkmen, Otoboke Beaver, More | KQED",
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"content": "\u003cp>The lineup for this year’s \u003ca href=\"https://www.kqed.org/arts/tag/mosswood-meltdown\">Mosswood Meltdown\u003c/a> festival in Oakland is here. Iggy Pop and Bikini Kill are headliners, along with a stacked schedule of openers that includes Otoboke Beaver, the Dead Milkmen, Corin Tucker and Carrie Brownstein of Sleater-Kinney with Fred Armisen, Scowl, Frightwig, the Dirtbombs and more.\u003c/p>\n\u003cp>Add the already announced \u003ca href=\"https://www.kqed.org/arts/13985125/pavement-mosswood-meltdown-2026\">festival “pre-party” with Pavement\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13978802/mosswood-meltdown-2025-john-waters-devo-bratmobile\">annual host John Waters\u003c/a>, and it’s safe to say: this is the biggest and most impressive Mosswood lineup yet.\u003c/p>\n\u003cp>Both Iggy Pop and Bikini Kill are returning to the annual trash-rock soirée in Mosswood Park. Perpetually shirtless \u003ca href=\"https://www.kqed.org/arts/13569504/burger-boogaloo-breakdown-lots-of-sun-and-hubbub-at-mosswood-park\">Iggy Pop played the park\u003c/a> in 2017, while \u003ca href=\"https://www.kqed.org/arts/13915779/mosswood-meltdown-2022-bikini-kill-kim-gordon\">Bikini Kill last appeared\u003c/a> in 2022. (Onstage, singer Kathleen Hanna, who also led a set by Le Tigre the following year, expressed special gratitude for the festival’s deliberate inclusivity.)\u003c/p>\n\u003cfigure id=\"attachment_13915728\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13915728\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bikini Kill headline Mosswood Meltdown in Oakland on Sunday, July 3, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Otoboke Beaver, four women from Kyoto, are \u003ca href=\"https://youtu.be/GBBpLwGy6mY?si=khFfCdLoJ5rs4S07\">one of the most exciting live bands on the planet\u003c/a>, and the Dead Milkmen, four men from Pennsylvania, are one of the funniest \u003ca href=\"https://www.tiktok.com/@buhrigit/video/7591536803849489694\">Camaro-driving\u003c/a> bands to ever sing about \u003ca href=\"https://youtu.be/fEp0aKCsrig?si=Z2BMtG8hov8XQ2BD\">what the queers are doing to the soil\u003c/a>. Meanwhile, under the name “The Return of Jackie & Judy,” Carrie Brownstein and Corin Tucker team up with drummer and funnyman Fred Armisen for \u003ca href=\"https://www.youtube.com/shorts/2mQEdAI7cdc\">a set of Ramones covers\u003c/a>. And Scowl? The Dirtbombs? \u003ca href=\"https://www.kqed.org/arts/13935330/frightwig-40th-anniversary-album-san-francisco-punk-rock-riot-grrrl\">Frightwig\u003c/a>? It’s nuts.\u003c/p>\n\u003cp>If there’s anything missing this year, it’s the festival’s welcome tradition of undersung ’80s rap hitmakers; in recent years, that’s meant sets by L’Trimm, Egyptian Lover and J.J. Fad. \u003ca href=\"https://www.youtube.com/watch?v=2m-jzUyUQg4\">Maybe next year we can have Oaktown’s 3.5.7\u003c/a>. In the meantime, though, this is a damn fine lineup. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>General admission tickets, on sale now, are $129 for Saturday and $89 for Sunday; a weekend pass is $179. VIP tickets for the fancypants cost more, and the tickets to Pavement on Friday night are sold separately.\u003c/p>\n\u003cp>[aside postID='arts_13978802']For tickets and more information, see the \u003ca href=\"https://mosswoodmeltdown.com/\">Mosswood Meltdown site\u003c/a>, and peep the full lineup and poster by the great \u003ca href=\"https://www.instagram.com/janelleblarg/\">Janelle Blarg\u003c/a> below. \u003c/p>\n\u003cp>\u003cstrong>Friday, July 17 (“Pre-party”) \u003c/strong>\u003cbr>\nPavement\u003cbr>\nWednesday\u003cbr>\nVivian Girls \u003c/p>\n\u003cp>\u003cstrong>Saturday, July 18 \u003c/strong>\u003cbr>\nIggy Pop\u003cbr>\nOtoboke Beaver\u003cbr>\nScowl\u003cbr>\nThe Spits\u003cbr>\nThe Dirtbombs\u003cbr>\nThe Fadeaways\u003cbr>\nPrimitive Ring \u003c/p>\n\u003cp>\u003cstrong>Sunday, July 19\u003c/strong>\u003cbr>\nBikini Kill\u003cbr>\nThe Return of Jackie and Judy\u003cbr>\nThe Dead Milkmen\u003cbr>\nFrankie and the Witch Fingers\u003cbr>\nFrightwig\u003cbr>\nLas Nubes \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/1.15.26-Mosswood-Meltdown-Lineup-Announce.jpg\" alt=\"\" width=\"1579\" height=\"2000\" class=\"aligncenter size-full wp-image-13985443\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/1.15.26-Mosswood-Meltdown-Lineup-Announce.jpg 1579w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/1.15.26-Mosswood-Meltdown-Lineup-Announce-160x203.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/1.15.26-Mosswood-Meltdown-Lineup-Announce-768x973.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/1.15.26-Mosswood-Meltdown-Lineup-Announce-1213x1536.jpg 1213w\" sizes=\"auto, (max-width: 1579px) 100vw, 1579px\">\u003c/p>\n\n",
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"excerpt": "Along with a Pavement ‘pre-party,’ this year's Mosswood Meltdown is the biggest and most impressive yet.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The lineup for this year’s \u003ca href=\"https://www.kqed.org/arts/tag/mosswood-meltdown\">Mosswood Meltdown\u003c/a> festival in Oakland is here. Iggy Pop and Bikini Kill are headliners, along with a stacked schedule of openers that includes Otoboke Beaver, the Dead Milkmen, Corin Tucker and Carrie Brownstein of Sleater-Kinney with Fred Armisen, Scowl, Frightwig, the Dirtbombs and more.\u003c/p>\n\u003cp>Add the already announced \u003ca href=\"https://www.kqed.org/arts/13985125/pavement-mosswood-meltdown-2026\">festival “pre-party” with Pavement\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13978802/mosswood-meltdown-2025-john-waters-devo-bratmobile\">annual host John Waters\u003c/a>, and it’s safe to say: this is the biggest and most impressive Mosswood lineup yet.\u003c/p>\n\u003cp>Both Iggy Pop and Bikini Kill are returning to the annual trash-rock soirée in Mosswood Park. Perpetually shirtless \u003ca href=\"https://www.kqed.org/arts/13569504/burger-boogaloo-breakdown-lots-of-sun-and-hubbub-at-mosswood-park\">Iggy Pop played the park\u003c/a> in 2017, while \u003ca href=\"https://www.kqed.org/arts/13915779/mosswood-meltdown-2022-bikini-kill-kim-gordon\">Bikini Kill last appeared\u003c/a> in 2022. (Onstage, singer Kathleen Hanna, who also led a set by Le Tigre the following year, expressed special gratitude for the festival’s deliberate inclusivity.)\u003c/p>\n\u003cfigure id=\"attachment_13915728\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13915728\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/Bikini-Kill-headline-Mosswood-Meltdown-in-Oakland-on-Sunday-July-3-2022.-001-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bikini Kill headline Mosswood Meltdown in Oakland on Sunday, July 3, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Otoboke Beaver, four women from Kyoto, are \u003ca href=\"https://youtu.be/GBBpLwGy6mY?si=khFfCdLoJ5rs4S07\">one of the most exciting live bands on the planet\u003c/a>, and the Dead Milkmen, four men from Pennsylvania, are one of the funniest \u003ca href=\"https://www.tiktok.com/@buhrigit/video/7591536803849489694\">Camaro-driving\u003c/a> bands to ever sing about \u003ca href=\"https://youtu.be/fEp0aKCsrig?si=Z2BMtG8hov8XQ2BD\">what the queers are doing to the soil\u003c/a>. Meanwhile, under the name “The Return of Jackie & Judy,” Carrie Brownstein and Corin Tucker team up with drummer and funnyman Fred Armisen for \u003ca href=\"https://www.youtube.com/shorts/2mQEdAI7cdc\">a set of Ramones covers\u003c/a>. And Scowl? The Dirtbombs? \u003ca href=\"https://www.kqed.org/arts/13935330/frightwig-40th-anniversary-album-san-francisco-punk-rock-riot-grrrl\">Frightwig\u003c/a>? It’s nuts.\u003c/p>\n\u003cp>If there’s anything missing this year, it’s the festival’s welcome tradition of undersung ’80s rap hitmakers; in recent years, that’s meant sets by L’Trimm, Egyptian Lover and J.J. Fad. \u003ca href=\"https://www.youtube.com/watch?v=2m-jzUyUQg4\">Maybe next year we can have Oaktown’s 3.5.7\u003c/a>. In the meantime, though, this is a damn fine lineup. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>General admission tickets, on sale now, are $129 for Saturday and $89 for Sunday; a weekend pass is $179. VIP tickets for the fancypants cost more, and the tickets to Pavement on Friday night are sold separately.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>For tickets and more information, see the \u003ca href=\"https://mosswoodmeltdown.com/\">Mosswood Meltdown site\u003c/a>, and peep the full lineup and poster by the great \u003ca href=\"https://www.instagram.com/janelleblarg/\">Janelle Blarg\u003c/a> below. \u003c/p>\n\u003cp>\u003cstrong>Friday, July 17 (“Pre-party”) \u003c/strong>\u003cbr>\nPavement\u003cbr>\nWednesday\u003cbr>\nVivian Girls \u003c/p>\n\u003cp>\u003cstrong>Saturday, July 18 \u003c/strong>\u003cbr>\nIggy Pop\u003cbr>\nOtoboke Beaver\u003cbr>\nScowl\u003cbr>\nThe Spits\u003cbr>\nThe Dirtbombs\u003cbr>\nThe Fadeaways\u003cbr>\nPrimitive Ring \u003c/p>\n\u003cp>\u003cstrong>Sunday, July 19\u003c/strong>\u003cbr>\nBikini Kill\u003cbr>\nThe Return of Jackie and Judy\u003cbr>\nThe Dead Milkmen\u003cbr>\nFrankie and the Witch Fingers\u003cbr>\nFrightwig\u003cbr>\nLas Nubes \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/1.15.26-Mosswood-Meltdown-Lineup-Announce.jpg\" alt=\"\" width=\"1579\" height=\"2000\" class=\"aligncenter size-full wp-image-13985443\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/1.15.26-Mosswood-Meltdown-Lineup-Announce.jpg 1579w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/1.15.26-Mosswood-Meltdown-Lineup-Announce-160x203.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/1.15.26-Mosswood-Meltdown-Lineup-Announce-768x973.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/1.15.26-Mosswood-Meltdown-Lineup-Announce-1213x1536.jpg 1213w\" sizes=\"auto, (max-width: 1579px) 100vw, 1579px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Preteen Punk Band From Mill Valley Takes on AI",
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"content": "\u003cp>On a rainy November Thursday, a familiar suburban scene is playing out in a Mill Valley basement: Three blonde boys are bashing away on guitar, bass and drums, working on a new song called “Mr. America.”\u003c/p>\n\u003cblockquote>\u003cp>You can’t call this the land of the free\u003cbr>\nIf you’re only free if you look like me\u003cbr>\nJustice is a joke and you can never win\u003cbr>\nYou can’t call this the home of the brave\u003cbr>\nToo many guns, too many graves\u003cbr>\nWe shouldn’t have to fear that the end is always near\u003c/p>\u003c/blockquote>\n\u003cp>Heady stuff from three kids who aren’t even close to being able to drive.\u003c/p>\n\u003cp>Knights of Molino are a new punk band composed of middle schoolers Erik and Tommy Birmingham, 11 and 13, and Rowan Campbell, 12. They recently reached moderate viral fame for another track in which they didn’t shy away from speaking their minds. In October, their scathing takedown of generative AI, “\u003ca href=\"https://www.tiktok.com/@knightsofmolino/video/7556750486297218335?_r=1&_t=ZT-91axRVdrNVn\">Take Back Control,\u003c/a>” went spinning across Bay Area and punk-rock TikTok. It’s currently at 240,000 views and 2,500 comments: definitely not Mr. Beast numbers, but pretty impressive when you consider none of them even are allowed on TikTok yet.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@knightsofmolino/video/7556750486297218335\" data-video-id=\"7556750486297218335\">\n\u003csection>\u003ca title=\"@knightsofmolino\" href=\"https://www.tiktok.com/@knightsofmolino?refer=embed\" target=\"_blank\" rel=\"noopener\">@knightsofmolino\u003c/a> TAKE BACK CONTROL – an original song we wrote about artificial intelligence in music and art. We are really proud of this song – please listen to the whole song and let us know what you think! \u003ca title=\"punk\" href=\"https://www.tiktok.com/tag/punk?refer=embed\" target=\"_blank\" rel=\"noopener\">#punk\u003c/a> \u003ca title=\"punkrock\" href=\"https://www.tiktok.com/tag/punkrock?refer=embed\" target=\"_blank\" rel=\"noopener\">#punkrock\u003c/a> \u003ca title=\"originalmusic\" href=\"https://www.tiktok.com/tag/originalmusic?refer=embed\" target=\"_blank\" rel=\"noopener\">#originalmusic\u003c/a> \u003ca title=\"teenband\" href=\"https://www.tiktok.com/tag/teenband?refer=embed\" target=\"_blank\" rel=\"noopener\">#teenband\u003c/a> \u003ca title=\"standupforwhatsright\" href=\"https://www.tiktok.com/tag/standupforwhatsright?refer=embed\" target=\"_blank\" rel=\"noopener\">#standupforwhatsright\u003c/a> \u003ca title=\"♬ original sound - Knights of Molino\" href=\"https://www.tiktok.com/music/original-sound-7556750494434102046?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – Knights of Molino\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>[tiktok]\u003c/p>\n\u003cp>But those interactions aren’t from their peers (at Mill Valley Middle School, rock is out and pop and rap are in, they say). They’re mostly from adults inspired to see young people picking up the Bay Area punk torch and rejecting the creep of technology. “AI is taking over the arts and it is vile,” agrees one comment. Another: “We need more of this human creativity and true punk.” More still are various versions of “the kids are alright.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Take Back Control” is just one of just a handful of songs Knights of Molino have written in their short career. The product of one of the Bay Area’s many rock-centric music programs, \u003ca href=\"https://www.wowmusicstudios.com/\">WOW Music Studios\u003c/a>, the band formed when Tommy and Erik started playing music, back when they were single-digit ages. During pandemic shutdowns, the brothers took online lessons, and within about a year Tommy was writing lyrics. They officially became Knights of Molino when they added Rowan last year.\u003c/p>\n\u003cfigure id=\"attachment_13983936\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983936\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-23-BL-KQED.jpg\" alt=\"Three young musicians sit on the couch and look into the camera. \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-23-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-23-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-23-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-23-BL-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Members of the punk rock band Knights of Molino pose for a photo at their practice in Mill Valley on Nov. 13, 2025. Members include (from left) Tommy, 11, on drums and vocals, Erik, 13, on guitar and vocals, and Rowan, 12, on bass. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was quickly apparent to their parents that these guys were good. \u003cem>Really\u003c/em> good. “They’ll do a song, and I’ll be like, ‘That’s amazing. That’s it. I mean, there’s no way they’ll be able to write another one,’” says Erik and Tommy’s dad, Gavin. “And then they’ll just write another one. And I’m like, how do you do this?…[And] you haven’t even started, like, living life yet.”\u003c/p>\n\u003cp>This summer, Knights of Molino started booking shows at venues and festivals even adults are trying to break into: Porchfest in San Rafael and San Francisco, Petaluma’s Phoenix Theatre and San Francisco’s Hotel Utah.\u003c/p>\n\u003cfigure id=\"attachment_13983935\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983935\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-15-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-15-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-15-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-15-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-15-BL-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Rowan, 12, practices with the punk rock band Knights of Molino in Mill Valley on Nov. 13, 2025. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then came “Take Back Control” and a deluge of attention. It wasn’t the first time they’d posted the video — “We always made a joke [that it was] the algorithm stopping it,” cracks Erik — but this time, TikTok surfaced it to the right crowd. “We look at the demographics … and it’s white men in their 50s; the original punks in the ’70s, ’80s and ’90s,” says Gavin.\u003c/p>\n\u003cp>“Take Back Control” comes at a time when people are starting to question AI’s integration into every aspect of daily life, from word-processing software to refrigerators. There’s been much \u003ca href=\"https://www.latimes.com/business/story/2025-11-20/is-there-ai-bubble-has-it-started-to-burst\">speculation in the media\u003c/a> recently about a potential \u003ca href=\"https://theconversation.com/is-the-ai-bubble-about-to-burst-what-to-watch-for-as-the-markets-wobble-270113\">AI bubble burst\u003c/a>. Locally, commuters on San Francisco streets have been \u003ca href=\"https://www.tiktok.com/@dj_dumpling/video/7571697217690520863\">puzzling\u003c/a> on social media about the \u003ca href=\"https://www.tiktok.com/@livinggoodwithjana/video/7573436537929469196\">nearly-nonsensical AI billboards\u003c/a> that dot the city’s landscape. [aside postid='arts_13982572']\u003c/p>\n\u003cp>Knights of Molino’s biggest concern is AI’s slow encroachment onto the very teenage endeavor of writing songs in your bedroom. \u003ca href=\"https://www.kqed.org/arts/13982572/ai-is-coming-for-the-music-industry-how-will-artists-adapt\">AI-created music is on the rise\u003c/a>, hitting Billboard charts and even cutting record deals. In a genre that prizes authenticity and earnestness, Knights of Molino see it as an affront to their creative process. “People have been creating music for like 40,000 years or something like that, and it’s just made to be created by humans,” says Rowan.\u003c/p>\n\u003cp>For the record, they’re not totally anti-AI (“It has [some] good uses,” admits Erik), but they’re increasingly horrified by its infiltration of music and the inability of many to discern it from the real thing. “The problem is not many people can recognize AI as fake,” Erik continues. “And I feel like that’s one of the reasons we made the song, [to] help people realize that AI’s stealing human thoughts and emotions, and, like, human hard work and time.”\u003c/p>\n\u003cfigure id=\"attachment_13983937\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983937\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-24-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-24-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-24-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-24-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-24-BL-KQED-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Lyrics sit on a music stand during a practice of the punk rock band Knights of Molino in Mill Valley on Nov. 13, 2025. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We put emotion and feeling, heart, experiences and all that into writing these songs. But when AI does it, it has nothing to go off of,” Tommy adds. “’Cause it’s not human. Robot on a screen. How is it supposed to connect with humans?”\u003c/p>\n\u003cp>Once again: They are 11, 12 and 13 years old.\u003c/p>\n\u003cp>But don’t mistake Knights of Molino’s existence for a “cute kid” story. They’re shockingly eloquent, sharply informed and, when it comes to running band practice the day of our interview, as put-together as many adults. (“It goes pre-chorus,” begins Erik as he demonstrates a new riff to Rowan. “I’ll count you in. It starts with the verse.”)\u003c/p>\n\u003cfigure id=\"attachment_13983932\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983932\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-01-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-01-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-01-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-01-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-01-BL-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Tommy, 11, plays drums during practice with the punk rock band Knights of Molino in Mill Valley on Nov. 13, 2025. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Their hard work and beyond-their-years professionalism is paying off: In January they’ll record their first EP at the recently-reopened \u003ca href=\"https://www.kqed.org/arts/12374448/running-the-record-plant-part-1-the-early-years\">Plant in Sausalito\u003c/a>. Yes, \u003cem>that\u003c/em> Plant, the place where Stevie Wonder, Fleetwood Mac and Huey Lewis and the News cut classic albums. They’re also in talks about booking a show at 924 Gilman, the legendary, all-ages punk venue in Berkeley. “Just, like, seeing that’s where Green Day got famous, and bands like that, I feel like that’d be a good next step,” says Erik, adding that Knights of Molino see themselves making music together for a long time. “Just playing as many shows as we can, just to get better.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>But that’s for later. After practice, Rowan and Tommy rush out the side door to go play on the trampoline. Erik has homework.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On a rainy November Thursday, a familiar suburban scene is playing out in a Mill Valley basement: Three blonde boys are bashing away on guitar, bass and drums, working on a new song called “Mr. America.”\u003c/p>\n\u003cblockquote>\u003cp>You can’t call this the land of the free\u003cbr>\nIf you’re only free if you look like me\u003cbr>\nJustice is a joke and you can never win\u003cbr>\nYou can’t call this the home of the brave\u003cbr>\nToo many guns, too many graves\u003cbr>\nWe shouldn’t have to fear that the end is always near\u003c/p>\u003c/blockquote>\n\u003cp>Heady stuff from three kids who aren’t even close to being able to drive.\u003c/p>\n\u003cp>Knights of Molino are a new punk band composed of middle schoolers Erik and Tommy Birmingham, 11 and 13, and Rowan Campbell, 12. They recently reached moderate viral fame for another track in which they didn’t shy away from speaking their minds. In October, their scathing takedown of generative AI, “\u003ca href=\"https://www.tiktok.com/@knightsofmolino/video/7556750486297218335?_r=1&_t=ZT-91axRVdrNVn\">Take Back Control,\u003c/a>” went spinning across Bay Area and punk-rock TikTok. It’s currently at 240,000 views and 2,500 comments: definitely not Mr. Beast numbers, but pretty impressive when you consider none of them even are allowed on TikTok yet.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@knightsofmolino/video/7556750486297218335\" data-video-id=\"7556750486297218335\">\n\u003csection>\u003ca title=\"@knightsofmolino\" href=\"https://www.tiktok.com/@knightsofmolino?refer=embed\" target=\"_blank\" rel=\"noopener\">@knightsofmolino\u003c/a> TAKE BACK CONTROL – an original song we wrote about artificial intelligence in music and art. We are really proud of this song – please listen to the whole song and let us know what you think! \u003ca title=\"punk\" href=\"https://www.tiktok.com/tag/punk?refer=embed\" target=\"_blank\" rel=\"noopener\">#punk\u003c/a> \u003ca title=\"punkrock\" href=\"https://www.tiktok.com/tag/punkrock?refer=embed\" target=\"_blank\" rel=\"noopener\">#punkrock\u003c/a> \u003ca title=\"originalmusic\" href=\"https://www.tiktok.com/tag/originalmusic?refer=embed\" target=\"_blank\" rel=\"noopener\">#originalmusic\u003c/a> \u003ca title=\"teenband\" href=\"https://www.tiktok.com/tag/teenband?refer=embed\" target=\"_blank\" rel=\"noopener\">#teenband\u003c/a> \u003ca title=\"standupforwhatsright\" href=\"https://www.tiktok.com/tag/standupforwhatsright?refer=embed\" target=\"_blank\" rel=\"noopener\">#standupforwhatsright\u003c/a> \u003ca title=\"♬ original sound - Knights of Molino\" href=\"https://www.tiktok.com/music/original-sound-7556750494434102046?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – Knights of Molino\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But those interactions aren’t from their peers (at Mill Valley Middle School, rock is out and pop and rap are in, they say). They’re mostly from adults inspired to see young people picking up the Bay Area punk torch and rejecting the creep of technology. “AI is taking over the arts and it is vile,” agrees one comment. Another: “We need more of this human creativity and true punk.” More still are various versions of “the kids are alright.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Take Back Control” is just one of just a handful of songs Knights of Molino have written in their short career. The product of one of the Bay Area’s many rock-centric music programs, \u003ca href=\"https://www.wowmusicstudios.com/\">WOW Music Studios\u003c/a>, the band formed when Tommy and Erik started playing music, back when they were single-digit ages. During pandemic shutdowns, the brothers took online lessons, and within about a year Tommy was writing lyrics. They officially became Knights of Molino when they added Rowan last year.\u003c/p>\n\u003cfigure id=\"attachment_13983936\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983936\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-23-BL-KQED.jpg\" alt=\"Three young musicians sit on the couch and look into the camera. \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-23-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-23-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-23-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-23-BL-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Members of the punk rock band Knights of Molino pose for a photo at their practice in Mill Valley on Nov. 13, 2025. Members include (from left) Tommy, 11, on drums and vocals, Erik, 13, on guitar and vocals, and Rowan, 12, on bass. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was quickly apparent to their parents that these guys were good. \u003cem>Really\u003c/em> good. “They’ll do a song, and I’ll be like, ‘That’s amazing. That’s it. I mean, there’s no way they’ll be able to write another one,’” says Erik and Tommy’s dad, Gavin. “And then they’ll just write another one. And I’m like, how do you do this?…[And] you haven’t even started, like, living life yet.”\u003c/p>\n\u003cp>This summer, Knights of Molino started booking shows at venues and festivals even adults are trying to break into: Porchfest in San Rafael and San Francisco, Petaluma’s Phoenix Theatre and San Francisco’s Hotel Utah.\u003c/p>\n\u003cfigure id=\"attachment_13983935\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983935\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-15-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-15-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-15-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-15-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-15-BL-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Rowan, 12, practices with the punk rock band Knights of Molino in Mill Valley on Nov. 13, 2025. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then came “Take Back Control” and a deluge of attention. It wasn’t the first time they’d posted the video — “We always made a joke [that it was] the algorithm stopping it,” cracks Erik — but this time, TikTok surfaced it to the right crowd. “We look at the demographics … and it’s white men in their 50s; the original punks in the ’70s, ’80s and ’90s,” says Gavin.\u003c/p>\n\u003cp>“Take Back Control” comes at a time when people are starting to question AI’s integration into every aspect of daily life, from word-processing software to refrigerators. There’s been much \u003ca href=\"https://www.latimes.com/business/story/2025-11-20/is-there-ai-bubble-has-it-started-to-burst\">speculation in the media\u003c/a> recently about a potential \u003ca href=\"https://theconversation.com/is-the-ai-bubble-about-to-burst-what-to-watch-for-as-the-markets-wobble-270113\">AI bubble burst\u003c/a>. Locally, commuters on San Francisco streets have been \u003ca href=\"https://www.tiktok.com/@dj_dumpling/video/7571697217690520863\">puzzling\u003c/a> on social media about the \u003ca href=\"https://www.tiktok.com/@livinggoodwithjana/video/7573436537929469196\">nearly-nonsensical AI billboards\u003c/a> that dot the city’s landscape. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Knights of Molino’s biggest concern is AI’s slow encroachment onto the very teenage endeavor of writing songs in your bedroom. \u003ca href=\"https://www.kqed.org/arts/13982572/ai-is-coming-for-the-music-industry-how-will-artists-adapt\">AI-created music is on the rise\u003c/a>, hitting Billboard charts and even cutting record deals. In a genre that prizes authenticity and earnestness, Knights of Molino see it as an affront to their creative process. “People have been creating music for like 40,000 years or something like that, and it’s just made to be created by humans,” says Rowan.\u003c/p>\n\u003cp>For the record, they’re not totally anti-AI (“It has [some] good uses,” admits Erik), but they’re increasingly horrified by its infiltration of music and the inability of many to discern it from the real thing. “The problem is not many people can recognize AI as fake,” Erik continues. “And I feel like that’s one of the reasons we made the song, [to] help people realize that AI’s stealing human thoughts and emotions, and, like, human hard work and time.”\u003c/p>\n\u003cfigure id=\"attachment_13983937\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983937\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-24-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-24-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-24-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-24-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-24-BL-KQED-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Lyrics sit on a music stand during a practice of the punk rock band Knights of Molino in Mill Valley on Nov. 13, 2025. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We put emotion and feeling, heart, experiences and all that into writing these songs. But when AI does it, it has nothing to go off of,” Tommy adds. “’Cause it’s not human. Robot on a screen. How is it supposed to connect with humans?”\u003c/p>\n\u003cp>Once again: They are 11, 12 and 13 years old.\u003c/p>\n\u003cp>But don’t mistake Knights of Molino’s existence for a “cute kid” story. They’re shockingly eloquent, sharply informed and, when it comes to running band practice the day of our interview, as put-together as many adults. (“It goes pre-chorus,” begins Erik as he demonstrates a new riff to Rowan. “I’ll count you in. It starts with the verse.”)\u003c/p>\n\u003cfigure id=\"attachment_13983932\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983932\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-01-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-01-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-01-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-01-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-01-BL-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Tommy, 11, plays drums during practice with the punk rock band Knights of Molino in Mill Valley on Nov. 13, 2025. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Their hard work and beyond-their-years professionalism is paying off: In January they’ll record their first EP at the recently-reopened \u003ca href=\"https://www.kqed.org/arts/12374448/running-the-record-plant-part-1-the-early-years\">Plant in Sausalito\u003c/a>. Yes, \u003cem>that\u003c/em> Plant, the place where Stevie Wonder, Fleetwood Mac and Huey Lewis and the News cut classic albums. They’re also in talks about booking a show at 924 Gilman, the legendary, all-ages punk venue in Berkeley. “Just, like, seeing that’s where Green Day got famous, and bands like that, I feel like that’d be a good next step,” says Erik, adding that Knights of Molino see themselves making music together for a long time. “Just playing as many shows as we can, just to get better.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But that’s for later. After practice, Rowan and Tommy rush out the side door to go play on the trampoline. Erik has homework.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Poised to Blow Up, Spiritual Cramp Is Bringing San Francisco Along for the Ride",
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"content": "\u003cp>If you watch one music video from a San Francisco band this year, make it Spiritual Cramp’s “\u003ca href=\"https://youtu.be/vd3FHvPtsRU?si=4_7yIt1tVbC74dgt\">At My Funeral\u003c/a>.” It begins with gold-toothed singer Michael Bingham strutting through Clarion Alley toting a block rocker boombox. He then hauls it along to dance his ass off with punk panache to frenetic riffs and sinister drums in front of the Painted Ladies, the Ocean Beach seawall, Bernal Hill, a wedding on the City Hall steps, Kilowatt, Green Apple Books and the Brian Wilson plaque at Oracle Park. \u003c/p>\n\u003cp>While the lyrics are self-deprecating (“At my funeral, nobody came / They all had plans, couldn’t remember my name”) the video resoundingly celebrates the city where the band was formed. San Francisco’s culture and soul are embedded in Bingham’s heart and exalted throughout the band’s new album, \u003cem>Rude\u003c/em>. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vd3FHvPtsRU\u003c/p>\n\u003cp>But the thing is, Bingham has been living in Los Angeles since 2021, when his wife, who is a hairstylist, followed a big career opportunity. (“She’s hitting grand slams,” he says.) And while the move has also been a boon for the band, Bingham still grapples with impostor syndrome. “What if I went back home to the Bay where I belong?” he sings on “True Love (Is Hard To Find),” the key question to the album. \u003c/p>\n\u003cp>“That question plays in my head every day,” Bingham says on a Zoom call from his Los Angeles apartment. “Eventually I want to make my way back to Frisco, but everything’s going so good it’s infuriating. I have all these problems and they’re problems I begged to God for.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Now on their second album (out Oct. 24), Spiritual Cramp have a lot of elements in place for a proper blow up. \u003cem>Rude\u003c/em> is produced by John Congleton, noted for his guiding hand on breakout records from the likes of St. Vincent, Thao & The Get Down Stay Down and Sharon Van Etten. The album is mixed by Paramore producer Carlos de La Garza, features a duet with Van Etten (“You’ve Got My Number”) and comes out on the Blue Grape Music label, founded by alums of trailblazing hard rock label Roadrunner Records. \u003c/p>\n\u003cp>Spiritual Cramp recently \u003ca href=\"https://www.altpress.com/spiritual-cramp-rude-interview/\">graced the cover\u003c/a> of Alternative Press magazine (who’ll be presenting the band’s U.S. tour in early 2026), and are co-managed by San Francisco’s Brilliant Corners, which also has Death Cab For Cutie and Toro y Moi on its roster. A few weeks after the album drops, the band is headed to Europe for a tour with decorated Swedish punk band The Hives. \u003c/p>\n\u003cp>It’s an impressive laundry list of accomplishments, especially for a band from San Francisco. \u003cem>Rude\u003c/em> is forged on elated new wave punk, with hardcore and dancehall brushstrokes — somewhere between The Clash and Turnstile. The album plays like a ride or die homage to SF and leaves no question what scene Bingham and company represent. “Just another warm San Francisco night, where every day is the best day of my life,” Bingham sings on “Young Offenders.”\u003c/p>\n\u003cfigure id=\"attachment_13982836\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Spiritual-Cramp-w-Daniel-lurie-_Sarah-Davis_2000.jpg\" alt=\"Mayor Daniel Lurie on cell phone looks at six-member band on steps\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13982836\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Spiritual-Cramp-w-Daniel-lurie-_Sarah-Davis_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Spiritual-Cramp-w-Daniel-lurie-_Sarah-Davis_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Spiritual-Cramp-w-Daniel-lurie-_Sarah-Davis_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Spiritual-Cramp-w-Daniel-lurie-_Sarah-Davis_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Spiritual Cramp got a surprise visitor at their photoshoot on the steps of San Francisco’s City Hall. \u003ccite>(Sarah Davis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Often heard more frequently in hip-hop circles, the term “loyal to the soil” comes to mind when talking to Bingham. His allegiance isn’t much different from Pinole rapper \u003ca href=\"https://www.kqed.org/arts/tag/p-lo\">P-Lo\u003c/a>, who also calls LA home, but reps Bay Area culture everywhere he goes, Warriors games and concert appearances alike. \u003c/p>\n\u003cp>“I’d love to say that it hasn’t improved the business of the band,” Bingham says. “But it’s not true. Living in LA is good for business.” \u003c/p>\n\u003cp>The members of Spiritual Cramp met in and around the San Francisco punk scene in 2017, yet the six-piece is now fully spread out geographically. Drummer Julian Smith and guitarist Orville Neeley also live in Los Angeles, guitarist Nate Punty is in the Mission, bassist Nate Fenton is in Mendocino County, and percussionist Jose Luna lives in New York. Welcome to being in a band in 2025. \u003c/p>\n\u003cp>Sessions with Congleton happened at the producer’s studio in LA. Bingham had acted as the band’s producer until this point, but he credits Congleton’s “any idea is worth exploring” approach. “He challenged me in every way and forced me to stand by my decisions,” Bingham says.\u003c/p>\n\u003cp>Bingham and Van Etten forged a friendship in LA over the years that led to her appearance on “You’ve Got My Number,” a pop-polished waxing on constantly being on the road and incessantly missing someone. Rhythmically, it’s a dynamic foil to “Violence In The Supermarket,” which calls to mind The Specials’ ska-dub classic “Ghost Town” and rings in disgust at yuppies on a shopping run complaining about minutiae — one of the album’s many not-so-subtle jabs at certain LA denizens. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=mVBpaXiH1RY\u003c/p>\n\u003cp>There’s a palpable push-pull on \u003cem>Rude\u003c/em>; San Francisco tugs at Bingham’s heartstrings even as he and the band experience growth (amid his own discomfort) in LA. Sometimes, he gets the best of both worlds. He describes being in his element on sunny walks through the Mission from his friend’s apartment above Kilowatt to Different Fur Studios for \u003cem>Rude\u003c/em>’s pre-production sessions. Then back in LA, he bumped into Tim Armstrong at an LA coffee shop, where the Rancid frontman commended Spiritual Cramp’s recent success. \u003c/p>\n\u003cp>The balance of it all never escapes him. Still, it’s clear to Bingham which city is truly fueling the band’s ascent. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“When we started the band, everyone lived here and we came together in the punk scene in the most SF way,” Bingham says. “We practiced at Polk and Bush, our first show was at the Hemlock. I want to project images of that place that’s still in my heart.” \u003c/p>\n\n",
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"headline": "Poised to Blow Up, Spiritual Cramp Is Bringing San Francisco Along for the Ride",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you watch one music video from a San Francisco band this year, make it Spiritual Cramp’s “\u003ca href=\"https://youtu.be/vd3FHvPtsRU?si=4_7yIt1tVbC74dgt\">At My Funeral\u003c/a>.” It begins with gold-toothed singer Michael Bingham strutting through Clarion Alley toting a block rocker boombox. He then hauls it along to dance his ass off with punk panache to frenetic riffs and sinister drums in front of the Painted Ladies, the Ocean Beach seawall, Bernal Hill, a wedding on the City Hall steps, Kilowatt, Green Apple Books and the Brian Wilson plaque at Oracle Park. \u003c/p>\n\u003cp>While the lyrics are self-deprecating (“At my funeral, nobody came / They all had plans, couldn’t remember my name”) the video resoundingly celebrates the city where the band was formed. San Francisco’s culture and soul are embedded in Bingham’s heart and exalted throughout the band’s new album, \u003cem>Rude\u003c/em>. \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/vd3FHvPtsRU'\n title='//www.youtube.com/embed/vd3FHvPtsRU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But the thing is, Bingham has been living in Los Angeles since 2021, when his wife, who is a hairstylist, followed a big career opportunity. (“She’s hitting grand slams,” he says.) And while the move has also been a boon for the band, Bingham still grapples with impostor syndrome. “What if I went back home to the Bay where I belong?” he sings on “True Love (Is Hard To Find),” the key question to the album. \u003c/p>\n\u003cp>“That question plays in my head every day,” Bingham says on a Zoom call from his Los Angeles apartment. “Eventually I want to make my way back to Frisco, but everything’s going so good it’s infuriating. I have all these problems and they’re problems I begged to God for.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Now on their second album (out Oct. 24), Spiritual Cramp have a lot of elements in place for a proper blow up. \u003cem>Rude\u003c/em> is produced by John Congleton, noted for his guiding hand on breakout records from the likes of St. Vincent, Thao & The Get Down Stay Down and Sharon Van Etten. The album is mixed by Paramore producer Carlos de La Garza, features a duet with Van Etten (“You’ve Got My Number”) and comes out on the Blue Grape Music label, founded by alums of trailblazing hard rock label Roadrunner Records. \u003c/p>\n\u003cp>Spiritual Cramp recently \u003ca href=\"https://www.altpress.com/spiritual-cramp-rude-interview/\">graced the cover\u003c/a> of Alternative Press magazine (who’ll be presenting the band’s U.S. tour in early 2026), and are co-managed by San Francisco’s Brilliant Corners, which also has Death Cab For Cutie and Toro y Moi on its roster. A few weeks after the album drops, the band is headed to Europe for a tour with decorated Swedish punk band The Hives. \u003c/p>\n\u003cp>It’s an impressive laundry list of accomplishments, especially for a band from San Francisco. \u003cem>Rude\u003c/em> is forged on elated new wave punk, with hardcore and dancehall brushstrokes — somewhere between The Clash and Turnstile. The album plays like a ride or die homage to SF and leaves no question what scene Bingham and company represent. “Just another warm San Francisco night, where every day is the best day of my life,” Bingham sings on “Young Offenders.”\u003c/p>\n\u003cfigure id=\"attachment_13982836\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Spiritual-Cramp-w-Daniel-lurie-_Sarah-Davis_2000.jpg\" alt=\"Mayor Daniel Lurie on cell phone looks at six-member band on steps\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13982836\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Spiritual-Cramp-w-Daniel-lurie-_Sarah-Davis_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Spiritual-Cramp-w-Daniel-lurie-_Sarah-Davis_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Spiritual-Cramp-w-Daniel-lurie-_Sarah-Davis_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Spiritual-Cramp-w-Daniel-lurie-_Sarah-Davis_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Spiritual Cramp got a surprise visitor at their photoshoot on the steps of San Francisco’s City Hall. \u003ccite>(Sarah Davis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Often heard more frequently in hip-hop circles, the term “loyal to the soil” comes to mind when talking to Bingham. His allegiance isn’t much different from Pinole rapper \u003ca href=\"https://www.kqed.org/arts/tag/p-lo\">P-Lo\u003c/a>, who also calls LA home, but reps Bay Area culture everywhere he goes, Warriors games and concert appearances alike. \u003c/p>\n\u003cp>“I’d love to say that it hasn’t improved the business of the band,” Bingham says. “But it’s not true. Living in LA is good for business.” \u003c/p>\n\u003cp>The members of Spiritual Cramp met in and around the San Francisco punk scene in 2017, yet the six-piece is now fully spread out geographically. Drummer Julian Smith and guitarist Orville Neeley also live in Los Angeles, guitarist Nate Punty is in the Mission, bassist Nate Fenton is in Mendocino County, and percussionist Jose Luna lives in New York. Welcome to being in a band in 2025. \u003c/p>\n\u003cp>Sessions with Congleton happened at the producer’s studio in LA. Bingham had acted as the band’s producer until this point, but he credits Congleton’s “any idea is worth exploring” approach. “He challenged me in every way and forced me to stand by my decisions,” Bingham says.\u003c/p>\n\u003cp>Bingham and Van Etten forged a friendship in LA over the years that led to her appearance on “You’ve Got My Number,” a pop-polished waxing on constantly being on the road and incessantly missing someone. Rhythmically, it’s a dynamic foil to “Violence In The Supermarket,” which calls to mind The Specials’ ska-dub classic “Ghost Town” and rings in disgust at yuppies on a shopping run complaining about minutiae — one of the album’s many not-so-subtle jabs at certain LA denizens. \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/mVBpaXiH1RY'\n title='//www.youtube.com/embed/mVBpaXiH1RY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There’s a palpable push-pull on \u003cem>Rude\u003c/em>; San Francisco tugs at Bingham’s heartstrings even as he and the band experience growth (amid his own discomfort) in LA. Sometimes, he gets the best of both worlds. He describes being in his element on sunny walks through the Mission from his friend’s apartment above Kilowatt to Different Fur Studios for \u003cem>Rude\u003c/em>’s pre-production sessions. Then back in LA, he bumped into Tim Armstrong at an LA coffee shop, where the Rancid frontman commended Spiritual Cramp’s recent success. \u003c/p>\n\u003cp>The balance of it all never escapes him. Still, it’s clear to Bingham which city is truly fueling the band’s ascent. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“When we started the band, everyone lived here and we came together in the punk scene in the most SF way,” Bingham says. “We practiced at Polk and Bush, our first show was at the Hemlock. I want to project images of that place that’s still in my heart.” \u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "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. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
},
"link": "/podcasts/rightnowish",
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