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
Legendary SF Punk Club Mabuhay Gardens Is on the Verge of Reopening
He’s Saving 20,000 Tapes of Underground Music and Making it Free to All
The Furious Tits Rage at the Climate Apocalypse
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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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"title": "Legendary SF Punk Club Mabuhay Gardens Is on the Verge of Reopening",
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"content": "\u003cp>Few institutions in San Francisco are as crucial to \u003ca href=\"https://www.kqed.org/arts/tag/punk\">punk\u003c/a> as Mabuhay Gardens.\u003c/p>\n\u003cp>The legendary venue and Filipino restaurant at 435-443 Broadway was ground zero for the\u003ca href=\"https://www.kqed.org/arts/13938024/old-san-francisco-punk-venues-deaf-club-farm-sound-music-tool-die\"> Bay’s burgeoning punk scene\u003c/a> in the 1970s and ’80s. The lower level of the two-story, 12,000-square-foot venue featured local acts like the Avengers, Dead Kennedys, the Nuns, and touring forces such as Devo, Iggy Pop, the Cramps and many more until its closure in 1987 – a foundational punk club that’s \u003ca href=\"https://www.kqed.org/arts/13930570/hit-girls-bay-area-punk-avengers-frightwig-penelope-houston-jen-larson-sfpl\">been\u003c/a> \u003ca href=\"https://www.kqed.org/arts/13962592/raymond-pettibon-auction-black-flag-fliers-punk-rock-ephemera-fab-mab-on-broadway\">widely\u003c/a> \u003ca href=\"https://www.kqed.org/arts/10963517/in-the-beginning-ruby-ray-discusses-the-earliest-days-of-sf-punk\">documented\u003c/a> \u003ca href=\"https://www.kqed.org/arts/13961071/san-francisco-punk-photography-70s-80s-haight-street-art-center\">and\u003c/a> \u003ca href=\"https://www.kqed.org/arts/13961071/san-francisco-punk-photography-70s-80s-haight-street-art-center\">revered\u003c/a> since.\u003c/p>\n\u003cp>Although the building has hosted dinner theater, \u003ca href=\"https://brokeassstuart.com/2022/03/28/historic-punk-venue-mabuhay-gardens-becoming-underground-comedy-hotspot/\">underground comedy\u003c/a>, a monthly morning dance party and more as \u003ca href=\"https://famevenue.com/\">Fame Venue\u003c/a>, the “Fab Mab,” as it was known, never returned to its musical roots – until now. \u003c/p>\n\u003cfigure id=\"attachment_10963533\" class=\"wp-caption aligncenter\" style=\"max-width: 920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/RRaycrimedrop.jpg\" alt=\"Crime at the Mabuhay Gardens\" width=\"920\" height=\"619\" class=\"size-full wp-image-10963533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/RRaycrimedrop.jpg 920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/RRaycrimedrop-400x269.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/RRaycrimedrop-800x538.jpg 800w\" sizes=\"auto, (max-width: 920px) 100vw, 920px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco punk band Crime at Mabuhay Gardens. \u003ccite>(Ruby Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A group of local investors, nightlife veterans and North Beach neighbors are currently working to revive the property as a multi-use space with a focus on music, including but not limited to punk shows. On Aug. 25, they \u003ca href=\"https://www.gofundme.com/f/bringing-back-the-fab-mab\">launched a crowdfunding campaign\u003c/a> to support the purchase of the venue, which would once again be called Mabuhay Gardens.\u003c/p>\n\u003cp>The group’s first show will be held on Sept. 6, featuring local singer and guitarist \u003ca href=\"https://www.instagram.com/anthonyjadearya/?hl=en\">Anthony Arya\u003c/a>. Singer-songwriter \u003ca href=\"https://www.instagram.com/kelleystoltz/?hl=en\">Kelley Stoltz\u003c/a>, Portland’s \u003ca href=\"https://federalepdx.com/\">Federale\u003c/a>, and locals \u003ca href=\"https://www.instagram.com/the.boars.sf/?hl=en\">The Boars\u003c/a> are set to perform on Oct. 3. Musicians will play on the original Mabuhay stage downstairs, as well as the ballroom stage on the second floor.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We’re going for it; we’re not holding back,” says Tom Watson, the designer and civil engineer leading The Mab revival. “[Mabuhay Gardens] was such an important venue for so many people, and so bringing that back as soon as we can is the least we can do for our community here.”\u003c/p>\n\u003cp>While these shows will softly herald the return of The Mab, they function as proofs of concept. The building hasn’t been a music venue in years. It will require equipment upgrades and proper staffing, though the site retains proper event permits, Watson says. \u003c/p>\n\u003cfigure id=\"attachment_13980626\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Mabuhay.ballroom-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13980626\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Mabuhay.ballroom-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Mabuhay.ballroom-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Mabuhay.ballroom-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Mabuhay.ballroom-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Mabuhay.ballroom-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Mabuhay.ballroom-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">The upstairs ballroom space above the former Mabuhay Gardens site, on Broadway in San Francisco. \u003ccite>(Stefanie Atkinson Schwartz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’re going to spin up and activate as quickly as possible. And we’ll learn from some of those events,” Watson says, adding that the space will be used for co-working during \u003ca href=\"https://www.tech-week.com/\">Tech Week \u003c/a>in early October. “We need to get people in through the doors, and get them to experience the space and figure out how they might like to use it.”\u003c/p>\n\u003cp>Vesuvio Cafe manager and veteran booker Joanna Blanche Lioce will book one show a month at The Mab. She sees the potential it could bring to the neighborhood. “There really isn’t any live music venue in North Beach that is of that size still operating continuously,” says Lioce, who booked the Oct. 3 show.\u003c/p>\n\u003cp>[aside postID='arts_13938024']Indeed, with the recent \u003ca href=\"https://missionlocal.org/2025/08/edinburgh-castle-pub-closed-dive-bar/\">eviction of Edinburgh Castle\u003c/a> and \u003ca href=\"https://missionlocal.org/2025/08/sf-punk-rock-thee-parkside-may-close-new-landlord/\">impending sale of Thee Parkside to a developer\u003c/a>, clubs with a historically punk clientele have faced jeopardy citywide. \u003c/p>\n\u003cp>“The Bay has been losing live performance venues and creative talent for a long time,” says The Crucible founder \u003ca href=\"https://www.thecrucible.org/person/michael-sturtz/\">Michael Sturtz\u003c/a>, who invested in and is advising the project. “The Mab has an amazing history. Now it has a top-notch leadership team.”\u003c/p>\n\u003cfigure id=\"attachment_13962609\" class=\"wp-caption aligncenter\" style=\"max-width: 1578px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/black-flag-mabuhay.png\" alt=\"A flier featuring black and white art of a woman sneaking into the room of a sleeping man. She is holding a gun.\" width=\"1578\" height=\"1212\" class=\"size-full wp-image-13962609\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/black-flag-mabuhay.png 1578w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/black-flag-mabuhay-800x614.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/black-flag-mabuhay-1020x783.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/black-flag-mabuhay-160x123.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/black-flag-mabuhay-768x590.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/black-flag-mabuhay-1536x1180.png 1536w\" sizes=\"auto, (max-width: 1578px) 100vw, 1578px\">\u003cfigcaption class=\"wp-caption-text\">A 1980 Raymond Pettibon flyer for Black Flag, The Enemy, The Cosmetics and Social Unrest at Mabuhay Gardens in San Francisco. \u003ccite>(Courtesy of Specific Object/ Wright Auction House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Watson and his group of investors, advisors and supporters – which includes Sturtz, Bobby Fishkin, \u003ca href=\"https://www.youtube.com/watch?v=f7RwANj9z-c\">Jesse Elliott\u003c/a>, former director of Fort Collins, CO’s Music District, Stanford Design lecturer Patrick Fenton, event producer \u003ca href=\"https://hoodline.com/2015/05/the-emerald-tablet-creativity-salon-closing-this-month-due-to-rent-increase/\">Lapo Guzzini\u003c/a> and artist \u003ca href=\"https://url.us.m.mimecastprotect.com/s/4c8MCL9PNwTXloB6TBf5syqcBu?domain=members.cruzio.com\">David Fleming\u003c/a> – have been hosting meetings with up to 20 like-minded people to develop the space. Their chief priority is honoring the wishes and vision of late owner Francesca Valdez, who took over the building in 1989 and \u003ca href=\"https://www.legacy.com/us/obituaries/sfgate/name/francesca-valdez-obituary?id=59045371#:~:text=The%20Queen%20of%20Broadway%2C%20Francesca,%2C%20fearless%2C%20independent%20and%20empowered.\">died on July 21\u003c/a> at age 71.\u003c/p>\n\u003cp>“[It was her] vision that prevented the place from being simply sold for commercial interests,” says Guzzini. “Instead, people are talking to each other and trying to figure out how best to populate the space.”\u003c/p>\n\u003cp>Watson, a San Francisco resident since 2011 who studied at Stanford’s design program, met Valdez several years ago and developed a close friendship. Valdez had offered Watson the opportunity to purchase 49 percent of the building, but the sale was not completed before her death. Valdez’s sister is now handling the building sale. \u003c/p>\n\u003cfigure id=\"attachment_13980625\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Mabuhay.Tom_-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1920\" class=\"size-full wp-image-13980625\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Mabuhay.Tom_-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Mabuhay.Tom_-2000x1500.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Mabuhay.Tom_-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Mabuhay.Tom_-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Mabuhay.Tom_-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Mabuhay.Tom_-2048x1536.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Tom Watson with Francesca Valdez, who took over the former Mabuhay Gardens property in 1987. She and Watson became close in the years before her death, in July 2025, at age 71. \u003ccite>(Tom Watson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Watson says “about 10 people” had invested an undisclosed amount of money in the project; \u003ca href=\"https://www.gofundme.com/f/bringing-back-the-fab-mab\">their GoFundMe campaign\u003c/a> aims to raise $4.5 million to “acquire 435–443 Broadway and reopen it as a nonprofit arts and culture space, reviving the legendary Mabuhay Gardens.”\u003c/p>\n\u003cp>Valdez put in place three LLCs: one owns the building, and the other two own each floor. Watson and Fishkin set up a nonprofit, M4A Foundation, with the goal of acquiring those LLCs in part or in whole; funds raised would also allow investors to be paid back. Watson suggested that crowd-raised funds could be matched by an organization like the San Francisco Foundation. \u003c/p>\n\u003cp>“We are getting it at a very good price, and there are many other people who are circling trying to buy the building,” Watson adds.\u003c/p>\n\u003cp>The ownership group’s ideal vision for the new Mab is similar to Watson’s \u003ca href=\"https://www.instagram.com/garageost.leipzig/\">Garage Ost\u003c/a>. The renovated historical building in Liepzeg, Germany is a “creative community space” that hosts workshops, food pop-ups, music and whatever else its patrons desire. The communal vision for the new Mab includes a venue, recording studio, listening lounge, and record label that would be “a whole circle for musicians.” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s not my space, it’s the community space,” Watson says. “These buildings tell you what they want to be.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Few institutions in San Francisco are as crucial to \u003ca href=\"https://www.kqed.org/arts/tag/punk\">punk\u003c/a> as Mabuhay Gardens.\u003c/p>\n\u003cp>The legendary venue and Filipino restaurant at 435-443 Broadway was ground zero for the\u003ca href=\"https://www.kqed.org/arts/13938024/old-san-francisco-punk-venues-deaf-club-farm-sound-music-tool-die\"> Bay’s burgeoning punk scene\u003c/a> in the 1970s and ’80s. The lower level of the two-story, 12,000-square-foot venue featured local acts like the Avengers, Dead Kennedys, the Nuns, and touring forces such as Devo, Iggy Pop, the Cramps and many more until its closure in 1987 – a foundational punk club that’s \u003ca href=\"https://www.kqed.org/arts/13930570/hit-girls-bay-area-punk-avengers-frightwig-penelope-houston-jen-larson-sfpl\">been\u003c/a> \u003ca href=\"https://www.kqed.org/arts/13962592/raymond-pettibon-auction-black-flag-fliers-punk-rock-ephemera-fab-mab-on-broadway\">widely\u003c/a> \u003ca href=\"https://www.kqed.org/arts/10963517/in-the-beginning-ruby-ray-discusses-the-earliest-days-of-sf-punk\">documented\u003c/a> \u003ca href=\"https://www.kqed.org/arts/13961071/san-francisco-punk-photography-70s-80s-haight-street-art-center\">and\u003c/a> \u003ca href=\"https://www.kqed.org/arts/13961071/san-francisco-punk-photography-70s-80s-haight-street-art-center\">revered\u003c/a> since.\u003c/p>\n\u003cp>Although the building has hosted dinner theater, \u003ca href=\"https://brokeassstuart.com/2022/03/28/historic-punk-venue-mabuhay-gardens-becoming-underground-comedy-hotspot/\">underground comedy\u003c/a>, a monthly morning dance party and more as \u003ca href=\"https://famevenue.com/\">Fame Venue\u003c/a>, the “Fab Mab,” as it was known, never returned to its musical roots – until now. \u003c/p>\n\u003cfigure id=\"attachment_10963533\" class=\"wp-caption aligncenter\" style=\"max-width: 920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/RRaycrimedrop.jpg\" alt=\"Crime at the Mabuhay Gardens\" width=\"920\" height=\"619\" class=\"size-full wp-image-10963533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/RRaycrimedrop.jpg 920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/RRaycrimedrop-400x269.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/RRaycrimedrop-800x538.jpg 800w\" sizes=\"auto, (max-width: 920px) 100vw, 920px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco punk band Crime at Mabuhay Gardens. \u003ccite>(Ruby Ray)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A group of local investors, nightlife veterans and North Beach neighbors are currently working to revive the property as a multi-use space with a focus on music, including but not limited to punk shows. On Aug. 25, they \u003ca href=\"https://www.gofundme.com/f/bringing-back-the-fab-mab\">launched a crowdfunding campaign\u003c/a> to support the purchase of the venue, which would once again be called Mabuhay Gardens.\u003c/p>\n\u003cp>The group’s first show will be held on Sept. 6, featuring local singer and guitarist \u003ca href=\"https://www.instagram.com/anthonyjadearya/?hl=en\">Anthony Arya\u003c/a>. Singer-songwriter \u003ca href=\"https://www.instagram.com/kelleystoltz/?hl=en\">Kelley Stoltz\u003c/a>, Portland’s \u003ca href=\"https://federalepdx.com/\">Federale\u003c/a>, and locals \u003ca href=\"https://www.instagram.com/the.boars.sf/?hl=en\">The Boars\u003c/a> are set to perform on Oct. 3. Musicians will play on the original Mabuhay stage downstairs, as well as the ballroom stage on the second floor.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We’re going for it; we’re not holding back,” says Tom Watson, the designer and civil engineer leading The Mab revival. “[Mabuhay Gardens] was such an important venue for so many people, and so bringing that back as soon as we can is the least we can do for our community here.”\u003c/p>\n\u003cp>While these shows will softly herald the return of The Mab, they function as proofs of concept. The building hasn’t been a music venue in years. It will require equipment upgrades and proper staffing, though the site retains proper event permits, Watson says. \u003c/p>\n\u003cfigure id=\"attachment_13980626\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Mabuhay.ballroom-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13980626\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Mabuhay.ballroom-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Mabuhay.ballroom-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Mabuhay.ballroom-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Mabuhay.ballroom-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Mabuhay.ballroom-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Mabuhay.ballroom-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">The upstairs ballroom space above the former Mabuhay Gardens site, on Broadway in San Francisco. \u003ccite>(Stefanie Atkinson Schwartz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’re going to spin up and activate as quickly as possible. And we’ll learn from some of those events,” Watson says, adding that the space will be used for co-working during \u003ca href=\"https://www.tech-week.com/\">Tech Week \u003c/a>in early October. “We need to get people in through the doors, and get them to experience the space and figure out how they might like to use it.”\u003c/p>\n\u003cp>Vesuvio Cafe manager and veteran booker Joanna Blanche Lioce will book one show a month at The Mab. She sees the potential it could bring to the neighborhood. “There really isn’t any live music venue in North Beach that is of that size still operating continuously,” says Lioce, who booked the Oct. 3 show.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Indeed, with the recent \u003ca href=\"https://missionlocal.org/2025/08/edinburgh-castle-pub-closed-dive-bar/\">eviction of Edinburgh Castle\u003c/a> and \u003ca href=\"https://missionlocal.org/2025/08/sf-punk-rock-thee-parkside-may-close-new-landlord/\">impending sale of Thee Parkside to a developer\u003c/a>, clubs with a historically punk clientele have faced jeopardy citywide. \u003c/p>\n\u003cp>“The Bay has been losing live performance venues and creative talent for a long time,” says The Crucible founder \u003ca href=\"https://www.thecrucible.org/person/michael-sturtz/\">Michael Sturtz\u003c/a>, who invested in and is advising the project. “The Mab has an amazing history. Now it has a top-notch leadership team.”\u003c/p>\n\u003cfigure id=\"attachment_13962609\" class=\"wp-caption aligncenter\" style=\"max-width: 1578px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/black-flag-mabuhay.png\" alt=\"A flier featuring black and white art of a woman sneaking into the room of a sleeping man. She is holding a gun.\" width=\"1578\" height=\"1212\" class=\"size-full wp-image-13962609\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/black-flag-mabuhay.png 1578w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/black-flag-mabuhay-800x614.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/black-flag-mabuhay-1020x783.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/black-flag-mabuhay-160x123.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/black-flag-mabuhay-768x590.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/black-flag-mabuhay-1536x1180.png 1536w\" sizes=\"auto, (max-width: 1578px) 100vw, 1578px\">\u003cfigcaption class=\"wp-caption-text\">A 1980 Raymond Pettibon flyer for Black Flag, The Enemy, The Cosmetics and Social Unrest at Mabuhay Gardens in San Francisco. \u003ccite>(Courtesy of Specific Object/ Wright Auction House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Watson and his group of investors, advisors and supporters – which includes Sturtz, Bobby Fishkin, \u003ca href=\"https://www.youtube.com/watch?v=f7RwANj9z-c\">Jesse Elliott\u003c/a>, former director of Fort Collins, CO’s Music District, Stanford Design lecturer Patrick Fenton, event producer \u003ca href=\"https://hoodline.com/2015/05/the-emerald-tablet-creativity-salon-closing-this-month-due-to-rent-increase/\">Lapo Guzzini\u003c/a> and artist \u003ca href=\"https://url.us.m.mimecastprotect.com/s/4c8MCL9PNwTXloB6TBf5syqcBu?domain=members.cruzio.com\">David Fleming\u003c/a> – have been hosting meetings with up to 20 like-minded people to develop the space. Their chief priority is honoring the wishes and vision of late owner Francesca Valdez, who took over the building in 1989 and \u003ca href=\"https://www.legacy.com/us/obituaries/sfgate/name/francesca-valdez-obituary?id=59045371#:~:text=The%20Queen%20of%20Broadway%2C%20Francesca,%2C%20fearless%2C%20independent%20and%20empowered.\">died on July 21\u003c/a> at age 71.\u003c/p>\n\u003cp>“[It was her] vision that prevented the place from being simply sold for commercial interests,” says Guzzini. “Instead, people are talking to each other and trying to figure out how best to populate the space.”\u003c/p>\n\u003cp>Watson, a San Francisco resident since 2011 who studied at Stanford’s design program, met Valdez several years ago and developed a close friendship. Valdez had offered Watson the opportunity to purchase 49 percent of the building, but the sale was not completed before her death. Valdez’s sister is now handling the building sale. \u003c/p>\n\u003cfigure id=\"attachment_13980625\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Mabuhay.Tom_-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1920\" class=\"size-full wp-image-13980625\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Mabuhay.Tom_-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Mabuhay.Tom_-2000x1500.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Mabuhay.Tom_-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Mabuhay.Tom_-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Mabuhay.Tom_-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Mabuhay.Tom_-2048x1536.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Tom Watson with Francesca Valdez, who took over the former Mabuhay Gardens property in 1987. She and Watson became close in the years before her death, in July 2025, at age 71. \u003ccite>(Tom Watson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Watson says “about 10 people” had invested an undisclosed amount of money in the project; \u003ca href=\"https://www.gofundme.com/f/bringing-back-the-fab-mab\">their GoFundMe campaign\u003c/a> aims to raise $4.5 million to “acquire 435–443 Broadway and reopen it as a nonprofit arts and culture space, reviving the legendary Mabuhay Gardens.”\u003c/p>\n\u003cp>Valdez put in place three LLCs: one owns the building, and the other two own each floor. Watson and Fishkin set up a nonprofit, M4A Foundation, with the goal of acquiring those LLCs in part or in whole; funds raised would also allow investors to be paid back. Watson suggested that crowd-raised funds could be matched by an organization like the San Francisco Foundation. \u003c/p>\n\u003cp>“We are getting it at a very good price, and there are many other people who are circling trying to buy the building,” Watson adds.\u003c/p>\n\u003cp>The ownership group’s ideal vision for the new Mab is similar to Watson’s \u003ca href=\"https://www.instagram.com/garageost.leipzig/\">Garage Ost\u003c/a>. The renovated historical building in Liepzeg, Germany is a “creative community space” that hosts workshops, food pop-ups, music and whatever else its patrons desire. The communal vision for the new Mab includes a venue, recording studio, listening lounge, and record label that would be “a whole circle for musicians.” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s not my space, it’s the community space,” Watson says. “These buildings tell you what they want to be.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "sacramento-music-archive-shayne-stacy-punk-metal-cassettes-vhs-demos-concerts",
"title": "He’s Saving 20,000 Tapes of Underground Music and Making it Free to All",
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"content": "\u003cfigure id=\"attachment_13979219\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979219\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-10-KQED.jpg\" alt=\"A man in his 50s wearing a polo shirt and beige shorts sits at a cluttered desk, his arm leaned upon a vintage analog tape machine\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-10-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-10-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-10-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-10-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shayne Stacy, founder of the Sacramento Music Archive, works among his collection of analog recordings of concert videos and cassettes in Orangevale, Calif. on July 24, 2025. Stacy has spent years digitizing underground music from Sacramento, the Bay Area and across Northern California, making rare recordings freely accessible online. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a suburban backyard outside of \u003ca href=\"https://www.kqed.org/arts/tag/sacramento\">Sacramento\u003c/a>, I open the door to a giant shed, step inside and get smacked in the face by floor-to-ceiling shelves of music history.\u003c/p>\n\u003cp>VHS tapes. Cassette tapes. Reel-to-reels. DATs. Other formats I don’t recognize, and can’t pronounce. Nearly 20,000 of them, all filled with live shows, demo recordings and concert footage.\u003c/p>\n\u003cp>Down a narrow path through this obsolete physical media, I turn a corner to find Shayne Stacy, 57, sitting at a desk with three monitors and occasionally fiddling with a nearby U-matic machine, an out-of-date piece of video hardware used by TV stations. On the screen, viewed for the first time in 40 years, is a 1980s new wave band performing on a long-lost cable access show from the Central Valley.\u003c/p>\n\u003cp>On any given day, this is where you’ll find Stacy, the founder of the nonprofit \u003ca href=\"https://sacramentomusicarchive.com/\">Sacramento Music Archive\u003c/a>. Just a half-hour’s drive from Sutter’s Mill and its famous California discovery, Stacy tends methodically to his own goldmine: a mass of underground music from Sacramento, the Bay Area and beyond that he’s gradually digitizing and sharing with the world, including rare \u003ca href=\"https://sacramentomusicarchive.com/1990/02/12/nirvana-cattle-club-sacramento-ca-02-12-1990-2-cam-mix/\">early footage of Nirvana\u003c/a>, \u003ca href=\"https://sacramentomusicarchive.com/1994/07/23/metallica-cal-expo-amphitheatre-sacramento-ca-7-23-94-xfer-from-master-tape-enhanced-live/\">Metallica\u003c/a> and \u003ca href=\"https://sacramentomusicarchive.com/1991/10/03/green-day-berkeley-square-10-3-91-xfer-from-master-vhs-tape-complete-show-enhanced/\">Green Day\u003c/a>.\u003c/p>\n\u003cp>“You’d think it’s like this big rock and roll party in here. It’s like this. It’s very quiet, with me working at a keyboard,” Stacy says with a laugh.\u003c/p>\n\u003cfigure id=\"attachment_13979226\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979226\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SacramentoMusicArchive-18_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SacramentoMusicArchive-18_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SacramentoMusicArchive-18_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SacramentoMusicArchive-18_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SacramentoMusicArchive-18_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Sacramento Music Archive began with Shayne Stacy’s own concert recordings of Nirvana, Yo La Tengo, Green Day, Christ on Parade and more, as pictured in Orangevale, Calif. on July 24, 2025. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I first became aware of Stacy’s work during the pandemic, when I noticed people posting video footage of punk shows held 30 years ago that I’d attended, or, even more irresistible, that I’d heard about but been too young to see. I soon found that for those of a certain age and musical bent, scrolling the Sacramento Music Archive was like watching one’s life flash before their eyes: a young \u003ca href=\"https://sacramentomusicarchive.com/1993/05/28/rancid-berkeley-square-berkeley-ca-5-28-93-xfer-from-vhs-c-master-punk-partial-set/\">Rancid finding their footing at Berkeley Square\u003c/a>, \u003ca href=\"https://youtu.be/NxQGByCjPdI?feature=shared&t=484\">Mr. Bungle covering Top 40 radio hits from 1989\u003c/a> in Guerneville, or \u003cem>Maximum Rocknroll\u003c/em> founder \u003ca href=\"https://youtu.be/Pb5X2LrTpjs?feature=shared&t=385\">Tim Yohannon throwing pies at Screeching Weasel\u003c/a> at 924 Gilman.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As for shows that had been uploaded before, like \u003ca href=\"https://sacramentomusicarchive.com/1989/05/28/operation-ivy-924-gilman-berkeley-ca-5-28-89-multicam-w-sony-d6-audio/\">Operation Ivy’s final show\u003c/a>? Stacy consistently seemed to have the best sources, and sometimes from multiple camera angles, too. What’s more, he had over 5,000 shows from all over Northern California from the past 50 years, by punk, metal, modern rock, funk, thrash and indie bands — famous names and obscure footnotes alike. And, remarkably, it was evident he still went out to shows, and filmed new bands.\u003c/p>\n\u003cp>Who was this one-man Library of Congress for West Coast Gen Xers? I had to find out.\u003c/p>\n\u003ch2>Preserving punk history\u003c/h2>\n\u003cp>Born in Auburn in 1967, Stacy had a typical 1970s childhood of watching \u003cem>Scooby Doo\u003c/em> and collecting sports cards. When he was 15, he went by himself to see Iron Maiden and the Scorpions at the Sacramento Memorial Stadium, in 1982, and he still remembers its impact. “As soon as I felt that sound pressure hitting my chest, I’m like, ‘This is the best thing I’ve ever seen,’” he says.\u003c/p>\n\u003cfigure id=\"attachment_13979223\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979223\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-24-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-24-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-24-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-24-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-24-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The boxes of VHS tapes, reel-to-reels and cassettes at the Sacramento Music Archive may seem haphazardly organized, but Shayne Stacy keeps a reliable mental inventory of each tapes’ location. Particularly valuable masters are kept in a 1,000-lb. fire-resistant safe. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Bay Area was a cradle of \u003ca href=\"https://www.kqed.org/arts/10834160/five-of-the-bay-areas-raddest-metal-bands-from-the-80s\">thrash metal\u003c/a> at the time, with bands like Exodus, Possessed and Metallica just starting out. Soon, Stacy was bringing cheap tape recorders to shows, and sharing the results with other fans who traded tapes through the classifieds in the backs of fan magazines. In 1987, after witnessing the El Sobrante punk band Isocracy, who routinely threw heaps of garbage all over the crowd, Stacy had an epiphany.\u003c/p>\n\u003cp>“There’s paper all over the floor, and it’s just a chaotic environment, and I said to myself, ‘I have to buy a video camera to document this stuff,’” Stacy remembers. “I stopped all of my excess expenditures, making five bucks an hour, and saved for four months to buy my own video camera.”\u003c/p>\n\u003cp>Between 1988 and 1992, Stacy estimates, he filmed 240 shows, driving to venues in Sacramento or the Bay Area every weekend. Trading with others through the mail, he amassed even more tapes. But there was a downside: he began seeing his own footage, of shows by \u003ca href=\"https://sacramentomusicarchive.com/1989/08/26/primus-cattle-club-sacramento-ca-8-26-89-xfer-from-8mm-master-live-enhanced/\">Primus\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=KVvJQfgRl7o\">Nirvana\u003c/a> playing at the Cattle Club in Sacramento, bootlegged and sold by others for profit.\u003c/p>\n\u003cp>“It was like, no fun anymore,” Stacy says. “This was supposed to be a hobby I enjoyed, and it turned into this point of frustration. And so I quit. I quit for 10 years.”\u003c/p>\n\u003cfigure id=\"attachment_13979222\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979222\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-22-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-22-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-22-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-22-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-22-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shayne Stacy started out recording metal bands, and once lost a valuable tape of him and a friend hanging out with Slayer backstage in 1988 at The Stone in San Francisco. Miraculously, thanks to the tape-trading circuit, he \u003ca href=\"https://sacramentomusicarchive.com/1988/08/12/slayer-backstage-the-stone-san-francisco-ca-8-12-88/\">got his hands on a copy of it again\u003c/a>. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>YouTube brought him back. Stacy says it “liberated” everything: the fans didn’t have to pay $30 for a grainy VHS tape anymore, the copyright holders got paid — not enough, but something — and he got to enjoy his hobby again. He rushed out and bought the best cassette decks and VCRs he could find, and got to work.\u003c/p>\n\u003cp>One person who noticed the quality of Stacy’s work early on is Wayne Vanderkuil. “I work at Stanford in visual preservation, reformatting, and he had similar equipment to what we have here,” Vanderkuil says. “I was incredibly impressed.”\u003c/p>\n\u003cp>During the tape-trading days, Vanderkuil amassed his own collection of metal bands playing at Ruthie’s Inn, Wolfgang’s or the On Broadway. They sat in storage for 25 years, untouched, he says. “I thought, ‘No one’s ever gonna hear these. I’ll drop dead tomorrow, and there goes history.’”\u003c/p>\n\u003cp>Instead, he donated his tapes to Stacy. Vanderkuil is now president of the board of the Sacramento Music Archive, newly incorporated as a nonprofit, which will allow Stacy — who worked at Intel for 27 years and recently accepted an “incredibly generous” buyout offer — to \u003ca href=\"https://www.patreon.com/c/sacramentomusicarchive/membership\">take donations\u003c/a> and apply for grants. Most importantly, it’ll set up his life’s work to continue into the future. As it stands, only about 5% of the tapes in the archive have been preserved digitally so far.\u003c/p>\n\u003cp>“This is clearly becoming a bigger project than I’ve got time left,” says Stacy.\u003c/p>\n\u003cfigure id=\"attachment_13979220\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979220\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-11-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-11-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-11-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-11-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-11-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shayne Stacy, founder of the Sacramento Music Archive, futzes with a vintage U-matic player in order to get a stubborn TV station cartridge of a Sacramento band to play correctly. ‘Sometimes you get to see me fight with this thing and curse a lot,’ he jokes. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘He really is the go-to’\u003c/h2>\n\u003cp>Publicity and word-of-mouth creates another problem: the piles are growing. Everyone, it seems, has old tapes they want to donate. Waiting to be digitized in the archive are 500 cassettes of free jazz, reel-to-reels of D.R.I. rehearsals at \u003ca href=\"https://www.sfgate.com/sf-culture/article/strangest-200-dollar-apartments-sf-history-20381556.php\">The Vats\u003c/a> and hundreds of videos and soundboard recordings from 924 Gilman. Stacy now has \u003ca href=\"https://sacramentomusicarchive.com/collections/\">over 25 different collections\u003c/a> from DJs, sound engineers, record store owners, zine editors, promoters, cable access hosts and fans.\u003c/p>\n\u003cp>One of them is Arica Pelino, who recently traveled from three states away to Stacy’s archive with a suitcase full of tapes. Pelino toured with Green Day in 1991, and filmed many of their early shows, along with dozens of other bands from the East Bay like Econochrist and Lungbutter. Her tapes sat in storage for more than 20 years, unseen.\u003c/p>\n\u003cp>“If I didn’t meet Shayne, it would still be sitting in boxes,” she says.\u003c/p>\n\u003cp>[aside postID=arts_13968840 hero='https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_03.jpg']She and Stacy spent two days going through her collection, including 22 early Green Day shows that no one had ever seen before, she says, along with \u003ca href=\"https://sacramentomusicarchive.com/1991/09/28/green-day-phoenix-theater-petaluma-ca-9-28-91-uncirculated-preshow-clip-xfer-f-vhs-master-enhanced/\">backstage footage\u003c/a> and \u003ca href=\"https://sacramentomusicarchive.com/1990/01/01/sweet-children-green-day-billie-joes-tape-to-arica-demo-and-7-sessions-tape-complete/\">early demos\u003c/a>.\u003c/p>\n\u003cp>“Shayne really is the owner and the keeper for all of us,” Pelino says. “There’s no one I’d rather do it with. He does a great job, he’s extremely detail-oriented and he puts his all into cleaning up the audio and video. He really is the go-to archive for Northern California, and has captured a significant part of the music scene.”\u003c/p>\n\u003cp>Another donor, Rick Sylvain, who in his 12 years working at Berkeley radio station KALX helped start the long-running \u003cem>KALX Live!\u003c/em> show, with bands playing in the cramped studio.\u003c/p>\n\u003cp>“It was kind of stinky sometimes — they spilled a lot of beer in there — but it was fun, and I taped everything,” he says. “Some of these little bands, it was their one big moment in the sun, and I wanted them to feel like they were stars.”\u003c/p>\n\u003cp>One little band that fulfilled that promise of stardom was AFI, who would go on to headline arenas. Thanks to the Sacramento Music Archive, Sylvain’s cassette of \u003ca href=\"https://sacramentomusicarchive.com/1994/10/07/afi-kalx-live-in-studio-berkeley-ca-10-7-94-xfer-from-pre-fm-master-cassette-a-fire-inside-a-f-i/\">AFI’s 1994 visit to KALX\u003c/a> is now the band’s earliest live recording on YouTube.\u003c/p>\n\u003cfigure id=\"attachment_13979224\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979224\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-28-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-28-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-28-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-28-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-28-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shayne Stacy uploads videos twice a day from his growing collection in a cluttered, air-conditioned shed. ‘I promised my wife that I would digitize this stuff and then get rid of the tapes,’ he says, ‘and I’m having trouble doing that, to be quite frank.’ \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Large companies and record labels have taken notice, and Stacy’s provided them with material for a Nirvana box set, a Pavement film, and various documentaries. He talks just as enthusiastically, however, about forgotten bands like \u003ca href=\"https://sacramentomusicarchive.com/2000/04/12/donner-party-slims-sf-4-12-00-sam-coomes-from-quasis-early-band/\">The Donner Party\u003c/a> or the \u003ca href=\"https://sacramentomusicarchive.com/1987/04/11/slambodians-sproul-plaza-berkeley-ca-4-11-87-xfer-from-master-vhs-tape-east-bay-punk/\">Slambodians\u003c/a>. He’s especially excited about a recent estate sale find of reel-to-reels from a member of Red Asphalt, the early punk band, who lived in Sacramento.\u003c/p>\n\u003cp>And that brings him back to the original purpose of the archive, one it’s clearly outgrown: to legitimize and honor Sacramento as its own distinct music scene. He accepts that “Sacramento Music Archive” is a bit of a misnomer for a massive collection covering the the Bay Area and Northern California.\u003c/p>\n\u003cp>But he likes the name.\u003c/p>\n\u003cp>“I’ve always felt like Sacramento has always been the red-headed stepchild of California,” he says. “The Lakers make fun of the Kings, Southern California makes fun of Sacramento. It’s a cow town, right? So having something that’s culturally enriching, that has the Sacramento label on it, I’m fine with it.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The Sacramento Music Archive can be found at its \u003ca href=\"https://sacramentomusicarchive.com/\">official website\u003c/a> and \u003ca href=\"https://www.youtube.com/@sacramentomusicarchive/videos\">YouTube channel\u003c/a>. Subscribers can \u003ca href=\"https://www.patreon.com/SacramentoMusicArchive\">join the archive’s Patreon\u003c/a> to vote which shows in the archive will get digitized or posted next, or to arrange filming a concert from scratch. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13979219\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979219\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-10-KQED.jpg\" alt=\"A man in his 50s wearing a polo shirt and beige shorts sits at a cluttered desk, his arm leaned upon a vintage analog tape machine\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-10-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-10-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-10-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-10-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shayne Stacy, founder of the Sacramento Music Archive, works among his collection of analog recordings of concert videos and cassettes in Orangevale, Calif. on July 24, 2025. Stacy has spent years digitizing underground music from Sacramento, the Bay Area and across Northern California, making rare recordings freely accessible online. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a suburban backyard outside of \u003ca href=\"https://www.kqed.org/arts/tag/sacramento\">Sacramento\u003c/a>, I open the door to a giant shed, step inside and get smacked in the face by floor-to-ceiling shelves of music history.\u003c/p>\n\u003cp>VHS tapes. Cassette tapes. Reel-to-reels. DATs. Other formats I don’t recognize, and can’t pronounce. Nearly 20,000 of them, all filled with live shows, demo recordings and concert footage.\u003c/p>\n\u003cp>Down a narrow path through this obsolete physical media, I turn a corner to find Shayne Stacy, 57, sitting at a desk with three monitors and occasionally fiddling with a nearby U-matic machine, an out-of-date piece of video hardware used by TV stations. On the screen, viewed for the first time in 40 years, is a 1980s new wave band performing on a long-lost cable access show from the Central Valley.\u003c/p>\n\u003cp>On any given day, this is where you’ll find Stacy, the founder of the nonprofit \u003ca href=\"https://sacramentomusicarchive.com/\">Sacramento Music Archive\u003c/a>. Just a half-hour’s drive from Sutter’s Mill and its famous California discovery, Stacy tends methodically to his own goldmine: a mass of underground music from Sacramento, the Bay Area and beyond that he’s gradually digitizing and sharing with the world, including rare \u003ca href=\"https://sacramentomusicarchive.com/1990/02/12/nirvana-cattle-club-sacramento-ca-02-12-1990-2-cam-mix/\">early footage of Nirvana\u003c/a>, \u003ca href=\"https://sacramentomusicarchive.com/1994/07/23/metallica-cal-expo-amphitheatre-sacramento-ca-7-23-94-xfer-from-master-tape-enhanced-live/\">Metallica\u003c/a> and \u003ca href=\"https://sacramentomusicarchive.com/1991/10/03/green-day-berkeley-square-10-3-91-xfer-from-master-vhs-tape-complete-show-enhanced/\">Green Day\u003c/a>.\u003c/p>\n\u003cp>“You’d think it’s like this big rock and roll party in here. It’s like this. It’s very quiet, with me working at a keyboard,” Stacy says with a laugh.\u003c/p>\n\u003cfigure id=\"attachment_13979226\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979226\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SacramentoMusicArchive-18_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SacramentoMusicArchive-18_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SacramentoMusicArchive-18_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SacramentoMusicArchive-18_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SacramentoMusicArchive-18_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Sacramento Music Archive began with Shayne Stacy’s own concert recordings of Nirvana, Yo La Tengo, Green Day, Christ on Parade and more, as pictured in Orangevale, Calif. on July 24, 2025. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I first became aware of Stacy’s work during the pandemic, when I noticed people posting video footage of punk shows held 30 years ago that I’d attended, or, even more irresistible, that I’d heard about but been too young to see. I soon found that for those of a certain age and musical bent, scrolling the Sacramento Music Archive was like watching one’s life flash before their eyes: a young \u003ca href=\"https://sacramentomusicarchive.com/1993/05/28/rancid-berkeley-square-berkeley-ca-5-28-93-xfer-from-vhs-c-master-punk-partial-set/\">Rancid finding their footing at Berkeley Square\u003c/a>, \u003ca href=\"https://youtu.be/NxQGByCjPdI?feature=shared&t=484\">Mr. Bungle covering Top 40 radio hits from 1989\u003c/a> in Guerneville, or \u003cem>Maximum Rocknroll\u003c/em> founder \u003ca href=\"https://youtu.be/Pb5X2LrTpjs?feature=shared&t=385\">Tim Yohannon throwing pies at Screeching Weasel\u003c/a> at 924 Gilman.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As for shows that had been uploaded before, like \u003ca href=\"https://sacramentomusicarchive.com/1989/05/28/operation-ivy-924-gilman-berkeley-ca-5-28-89-multicam-w-sony-d6-audio/\">Operation Ivy’s final show\u003c/a>? Stacy consistently seemed to have the best sources, and sometimes from multiple camera angles, too. What’s more, he had over 5,000 shows from all over Northern California from the past 50 years, by punk, metal, modern rock, funk, thrash and indie bands — famous names and obscure footnotes alike. And, remarkably, it was evident he still went out to shows, and filmed new bands.\u003c/p>\n\u003cp>Who was this one-man Library of Congress for West Coast Gen Xers? I had to find out.\u003c/p>\n\u003ch2>Preserving punk history\u003c/h2>\n\u003cp>Born in Auburn in 1967, Stacy had a typical 1970s childhood of watching \u003cem>Scooby Doo\u003c/em> and collecting sports cards. When he was 15, he went by himself to see Iron Maiden and the Scorpions at the Sacramento Memorial Stadium, in 1982, and he still remembers its impact. “As soon as I felt that sound pressure hitting my chest, I’m like, ‘This is the best thing I’ve ever seen,’” he says.\u003c/p>\n\u003cfigure id=\"attachment_13979223\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979223\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-24-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-24-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-24-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-24-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-24-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The boxes of VHS tapes, reel-to-reels and cassettes at the Sacramento Music Archive may seem haphazardly organized, but Shayne Stacy keeps a reliable mental inventory of each tapes’ location. Particularly valuable masters are kept in a 1,000-lb. fire-resistant safe. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Bay Area was a cradle of \u003ca href=\"https://www.kqed.org/arts/10834160/five-of-the-bay-areas-raddest-metal-bands-from-the-80s\">thrash metal\u003c/a> at the time, with bands like Exodus, Possessed and Metallica just starting out. Soon, Stacy was bringing cheap tape recorders to shows, and sharing the results with other fans who traded tapes through the classifieds in the backs of fan magazines. In 1987, after witnessing the El Sobrante punk band Isocracy, who routinely threw heaps of garbage all over the crowd, Stacy had an epiphany.\u003c/p>\n\u003cp>“There’s paper all over the floor, and it’s just a chaotic environment, and I said to myself, ‘I have to buy a video camera to document this stuff,’” Stacy remembers. “I stopped all of my excess expenditures, making five bucks an hour, and saved for four months to buy my own video camera.”\u003c/p>\n\u003cp>Between 1988 and 1992, Stacy estimates, he filmed 240 shows, driving to venues in Sacramento or the Bay Area every weekend. Trading with others through the mail, he amassed even more tapes. But there was a downside: he began seeing his own footage, of shows by \u003ca href=\"https://sacramentomusicarchive.com/1989/08/26/primus-cattle-club-sacramento-ca-8-26-89-xfer-from-8mm-master-live-enhanced/\">Primus\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=KVvJQfgRl7o\">Nirvana\u003c/a> playing at the Cattle Club in Sacramento, bootlegged and sold by others for profit.\u003c/p>\n\u003cp>“It was like, no fun anymore,” Stacy says. “This was supposed to be a hobby I enjoyed, and it turned into this point of frustration. And so I quit. I quit for 10 years.”\u003c/p>\n\u003cfigure id=\"attachment_13979222\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979222\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-22-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-22-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-22-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-22-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-22-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shayne Stacy started out recording metal bands, and once lost a valuable tape of him and a friend hanging out with Slayer backstage in 1988 at The Stone in San Francisco. Miraculously, thanks to the tape-trading circuit, he \u003ca href=\"https://sacramentomusicarchive.com/1988/08/12/slayer-backstage-the-stone-san-francisco-ca-8-12-88/\">got his hands on a copy of it again\u003c/a>. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>YouTube brought him back. Stacy says it “liberated” everything: the fans didn’t have to pay $30 for a grainy VHS tape anymore, the copyright holders got paid — not enough, but something — and he got to enjoy his hobby again. He rushed out and bought the best cassette decks and VCRs he could find, and got to work.\u003c/p>\n\u003cp>One person who noticed the quality of Stacy’s work early on is Wayne Vanderkuil. “I work at Stanford in visual preservation, reformatting, and he had similar equipment to what we have here,” Vanderkuil says. “I was incredibly impressed.”\u003c/p>\n\u003cp>During the tape-trading days, Vanderkuil amassed his own collection of metal bands playing at Ruthie’s Inn, Wolfgang’s or the On Broadway. They sat in storage for 25 years, untouched, he says. “I thought, ‘No one’s ever gonna hear these. I’ll drop dead tomorrow, and there goes history.’”\u003c/p>\n\u003cp>Instead, he donated his tapes to Stacy. Vanderkuil is now president of the board of the Sacramento Music Archive, newly incorporated as a nonprofit, which will allow Stacy — who worked at Intel for 27 years and recently accepted an “incredibly generous” buyout offer — to \u003ca href=\"https://www.patreon.com/c/sacramentomusicarchive/membership\">take donations\u003c/a> and apply for grants. Most importantly, it’ll set up his life’s work to continue into the future. As it stands, only about 5% of the tapes in the archive have been preserved digitally so far.\u003c/p>\n\u003cp>“This is clearly becoming a bigger project than I’ve got time left,” says Stacy.\u003c/p>\n\u003cfigure id=\"attachment_13979220\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979220\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-11-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-11-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-11-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-11-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-11-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shayne Stacy, founder of the Sacramento Music Archive, futzes with a vintage U-matic player in order to get a stubborn TV station cartridge of a Sacramento band to play correctly. ‘Sometimes you get to see me fight with this thing and curse a lot,’ he jokes. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘He really is the go-to’\u003c/h2>\n\u003cp>Publicity and word-of-mouth creates another problem: the piles are growing. Everyone, it seems, has old tapes they want to donate. Waiting to be digitized in the archive are 500 cassettes of free jazz, reel-to-reels of D.R.I. rehearsals at \u003ca href=\"https://www.sfgate.com/sf-culture/article/strangest-200-dollar-apartments-sf-history-20381556.php\">The Vats\u003c/a> and hundreds of videos and soundboard recordings from 924 Gilman. Stacy now has \u003ca href=\"https://sacramentomusicarchive.com/collections/\">over 25 different collections\u003c/a> from DJs, sound engineers, record store owners, zine editors, promoters, cable access hosts and fans.\u003c/p>\n\u003cp>One of them is Arica Pelino, who recently traveled from three states away to Stacy’s archive with a suitcase full of tapes. Pelino toured with Green Day in 1991, and filmed many of their early shows, along with dozens of other bands from the East Bay like Econochrist and Lungbutter. Her tapes sat in storage for more than 20 years, unseen.\u003c/p>\n\u003cp>“If I didn’t meet Shayne, it would still be sitting in boxes,” she says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>She and Stacy spent two days going through her collection, including 22 early Green Day shows that no one had ever seen before, she says, along with \u003ca href=\"https://sacramentomusicarchive.com/1991/09/28/green-day-phoenix-theater-petaluma-ca-9-28-91-uncirculated-preshow-clip-xfer-f-vhs-master-enhanced/\">backstage footage\u003c/a> and \u003ca href=\"https://sacramentomusicarchive.com/1990/01/01/sweet-children-green-day-billie-joes-tape-to-arica-demo-and-7-sessions-tape-complete/\">early demos\u003c/a>.\u003c/p>\n\u003cp>“Shayne really is the owner and the keeper for all of us,” Pelino says. “There’s no one I’d rather do it with. He does a great job, he’s extremely detail-oriented and he puts his all into cleaning up the audio and video. He really is the go-to archive for Northern California, and has captured a significant part of the music scene.”\u003c/p>\n\u003cp>Another donor, Rick Sylvain, who in his 12 years working at Berkeley radio station KALX helped start the long-running \u003cem>KALX Live!\u003c/em> show, with bands playing in the cramped studio.\u003c/p>\n\u003cp>“It was kind of stinky sometimes — they spilled a lot of beer in there — but it was fun, and I taped everything,” he says. “Some of these little bands, it was their one big moment in the sun, and I wanted them to feel like they were stars.”\u003c/p>\n\u003cp>One little band that fulfilled that promise of stardom was AFI, who would go on to headline arenas. Thanks to the Sacramento Music Archive, Sylvain’s cassette of \u003ca href=\"https://sacramentomusicarchive.com/1994/10/07/afi-kalx-live-in-studio-berkeley-ca-10-7-94-xfer-from-pre-fm-master-cassette-a-fire-inside-a-f-i/\">AFI’s 1994 visit to KALX\u003c/a> is now the band’s earliest live recording on YouTube.\u003c/p>\n\u003cfigure id=\"attachment_13979224\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979224\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-28-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-28-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-28-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-28-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-28-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shayne Stacy uploads videos twice a day from his growing collection in a cluttered, air-conditioned shed. ‘I promised my wife that I would digitize this stuff and then get rid of the tapes,’ he says, ‘and I’m having trouble doing that, to be quite frank.’ \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Large companies and record labels have taken notice, and Stacy’s provided them with material for a Nirvana box set, a Pavement film, and various documentaries. He talks just as enthusiastically, however, about forgotten bands like \u003ca href=\"https://sacramentomusicarchive.com/2000/04/12/donner-party-slims-sf-4-12-00-sam-coomes-from-quasis-early-band/\">The Donner Party\u003c/a> or the \u003ca href=\"https://sacramentomusicarchive.com/1987/04/11/slambodians-sproul-plaza-berkeley-ca-4-11-87-xfer-from-master-vhs-tape-east-bay-punk/\">Slambodians\u003c/a>. He’s especially excited about a recent estate sale find of reel-to-reels from a member of Red Asphalt, the early punk band, who lived in Sacramento.\u003c/p>\n\u003cp>And that brings him back to the original purpose of the archive, one it’s clearly outgrown: to legitimize and honor Sacramento as its own distinct music scene. He accepts that “Sacramento Music Archive” is a bit of a misnomer for a massive collection covering the the Bay Area and Northern California.\u003c/p>\n\u003cp>But he likes the name.\u003c/p>\n\u003cp>“I’ve always felt like Sacramento has always been the red-headed stepchild of California,” he says. “The Lakers make fun of the Kings, Southern California makes fun of Sacramento. It’s a cow town, right? So having something that’s culturally enriching, that has the Sacramento label on it, I’m fine with it.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The Sacramento Music Archive can be found at its \u003ca href=\"https://sacramentomusicarchive.com/\">official website\u003c/a> and \u003ca href=\"https://www.youtube.com/@sacramentomusicarchive/videos\">YouTube channel\u003c/a>. Subscribers can \u003ca href=\"https://www.patreon.com/SacramentoMusicArchive\">join the archive’s Patreon\u003c/a> to vote which shows in the archive will get digitized or posted next, or to arrange filming a concert from scratch. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "the-furious-tits-queer-climate-punk-band-san-francisco-oakland",
"title": "The Furious Tits Rage at the Climate Apocalypse",
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"headTitle": "The Furious Tits Rage at the Climate Apocalypse | KQED",
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"content": "\u003cp>During an angry shower early in the pandemic, Zoe Young began spitting lyrics about \u003ca href=\"https://www.kqed.org/news/tag/climate-change\">the state of the planet\u003c/a>.\u003c/p>\n\u003cp>The San Francisco musician with short platinum hair and dark roots was thinking about the “scariest night” of her life when, back in 2017, she convinced her stubborn father to evacuate his home in Ojai as the \u003ca href=\"https://www.kqed.org/news/11636206/thomas-fire-becomes-5th-largest-in-state-history\">Thomas Fire\u003c/a> approached.\u003c/p>\n\u003cp>It was the first time our altered Earth had a clear impact on her life. Zoe needed an outlet, so she started a punk band, \u003ca href=\"https://furioustits.com/\">The Furious Tits\u003c/a>.\u003c/p>\n\u003cp>“A lot of what came out of my brain was based on climate, and they turned into these punk songs,” said Zoe, who was previously a writer for a large environmental organization.\u003c/p>\n\u003cp>The Furious Tits, whose members are mostly queer, blend lyrics about climate chaos with irreverent humor and sexuality. In “Cougar Town,” Zoe sings about P-22, a\u003ca href=\"https://www.npr.org/2023/03/07/1161569051/tribes-bury-p-22-southern-californias-famed-mountain-lion\"> deceased wild mountain lion\u003c/a> in Los Angeles, and dating older women. “Desperate Pleasures” is about finding love in a time of climate change and swipe-left culture, with lyrics like “we don’t need to break the ice because it’s breaking up on its own.” Their diss track about golf was inspired by a trip to Las Vegas last year, where they noticed a lush, green, empty golf course in the middle of the desert, watered by “ancient aquifers.” Their newest song, “\u003ca href=\"https://www.kqed.org/news/tag/microplastics\">Microplastics\u003c/a>,” details how scientists have found synthetic bits in human brains.\u003c/p>\n\u003cfigure id=\"attachment_13979090\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979090\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250718_CLIMATEPUNK_023_BF_KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250718_CLIMATEPUNK_023_BF_KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250718_CLIMATEPUNK_023_BF_KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250718_CLIMATEPUNK_023_BF_KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250718_CLIMATEPUNK_023_BF_KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Furious Tits performed live in San Francisco at the Castro Night Market on Friday, July 18, 2025. \u003ccite>(Brian Frank/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While the \u003ca href=\"https://www.kqed.org/science/1997477/fishnets-and-fossil-fuels-meet-3-bay-area-climate-conscious-drag-artists\">links between climate, queerness\u003c/a> and punk may not be obvious, Zoe points to how the state of our warming planet affects, well, everything. “Climate change is coming for every aspect of our lives, including our sex lives,” said Zoe, whose bandmates lovingly refer to as the Band Domme. “You can’t hook up in your house if it’s burned down.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In mid-July, The Furious Tits performed at the Castro Night Market to a relatively wholesome crowd of kids, people eating barbecue and their diehard fans, who showed up in cropped black T-shirts emblazoned with different-sized cartoon breasts. Their usual venues, however, are more of a scene: dark dive bars, queer landmarks like El Rio and kinky events like San Francisco’s famed Folsom Street Fair.\u003c/p>\n\u003cp>“We found that it turns out the kinksters care about our planet,” said Miju, the band’s bassist, whose nickname is Punk Jesus. She took the stage in black boots and a black latex one-piece at last year’s festival. “I don’t think it was a bait-and-switch to play climate songs at Folsom. Kinky people care about other people.”\u003c/p>\n\u003cfigure id=\"attachment_13979083\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979083\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250718_CLIMATEPUNK_004_BF_KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250718_CLIMATEPUNK_004_BF_KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250718_CLIMATEPUNK_004_BF_KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250718_CLIMATEPUNK_004_BF_KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250718_CLIMATEPUNK_004_BF_KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A Furious Tits fan at the Castro Night Market on Friday, July 18, 2025. \u003ccite>(Brian Frank/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Furious Tits create space for concert-goers to let out their frustration and anxiety about orange sky days and flash floods, inviting them to “tenderly mosh” to their songs. “It’s been amazing to look into the mosh pit and see the audience jump and elbow each other along to a song about how golf is unsustainable,” Zoe said.\u003c/p>\n\u003cp>For drummer William Renauld, whose alias is Will Yummy, joining The Furious Tits provided him a place to “push anger and aggression” about the climate crisis out of his body and into \u003ca href=\"https://www.kqed.org/science/1978547/writing-music-about-climate-change-oakland-artist-reclaims-feminine-power\">music that has the potential to sway culture\u003c/a>.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/track=1962210910/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>“It’s this beautiful ball of angry, horny, hilarious joy that we just get to serve up to the people who listen to our music,” Will said. “Punk can be so gloriously scrappy, and I envision a climate future where that kind of resourcefulness and that kind of resilience is gonna be an absolute necessity.”\u003c/p>\n\u003cp>The band’s first climate song, “Desperate Pleasures,” came to lead guitarist David Griswold, known as Daddy in the band, as he was pondering online dating culture and the apocalypse. He came up with the lyric “desperate times call for desperate pleasures” to show listeners that “in the midst of these desperate times,” they have to find joy.\u003c/p>\n\u003cfigure id=\"attachment_13979242\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979242\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250721-ClimatePunk-06-BL_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250721-ClimatePunk-06-BL_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250721-ClimatePunk-06-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250721-ClimatePunk-06-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250721-ClimatePunk-06-BL_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The climate punk band The Furious Tits play at their practice space in Oakland on July 21, 2025. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Furious Tits are currently writing a climate-themed album they plan to release in early 2026.\u003c/p>\n\u003cp>“What’s queer about our climate songs is that we’re talking about changing culture,” Miju said. “Queer people have always had to make new culture because it hasn’t existed before. That means we don’t always have role models. We have to chart our own course.”\u003c/p>\n\u003cp>As The Furious Tits think about the future, they ponder the higher purpose of their activism: Ensuring their families — and chosen families — are safe as wildfires rage, flooding increases and air quality worsens. [aside postid='science_1997477']\u003c/p>\n\u003cp>“It’s so overwhelming thinking about how I can leave my children a functional world where they can feel safe and experience joy amid all these overlapping crises,” David said. “Art is what continues to give me hope.”\u003c/p>\n\u003cp>As the band sets their sights on completing the album, Zoe and Miju want to explore a song about endangered coral reefs. Miju recalls a scene from the \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=aGGBGcjdjXA\">Chasing Coral\u003c/a>\u003c/em> documentary on Netflix, featuring an aerial view of fluorescent coral in shades of purple, blue and green. In the film, the documentarian notes the vibrant colors represent “the incredibly beautiful phase of death,” as if “the corals are saying, ‘Look at me, please notice.’”\u003c/p>\n\u003cp>Miju’s son burst into tears during the clip.\u003c/p>\n\u003cp>“I was like, ‘Holy cow, that’s the right response,’” Miju said.\u003c/p>\n\u003cp>Will, the drummer, dreams of turning lyrics about airplane emissions into the band’s “next hit song” as a way to explore his fears about the planet his future children will inherit.\u003c/p>\n\u003cfigure id=\"attachment_13979244\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979244\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250721-ClimatePunk-14-BL_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250721-ClimatePunk-14-BL_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250721-ClimatePunk-14-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250721-ClimatePunk-14-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250721-ClimatePunk-14-BL_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Furious Tits play at their practice space in Oakland on July 21, 2025. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It feels so existentially grounding and artistically meaningful to throw these musical darts at these large climate targets,” said Will, “and eke out the hilarity and the joy while doing it.”\u003c/p>\n\u003cp>Sitting on mismatched couches in the band’s Oakland practice space, surrounded by gear and relics from previous tenants — lamps made from laced-up heels and lyric-filled white boards — Zoe and her bandmates reflect on how music can foster the kind of solidarity needed to survive the climate crisis.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“We rely on each other, and that can be a model for the climate movement,” Zoe said. “This is a long fight, and we don’t even get the clean apocalypse where we’re all gonna die. We’re going to have to figure out how to live through it. There’s no way to do it if we don’t do it together.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>During an angry shower early in the pandemic, Zoe Young began spitting lyrics about \u003ca href=\"https://www.kqed.org/news/tag/climate-change\">the state of the planet\u003c/a>.\u003c/p>\n\u003cp>The San Francisco musician with short platinum hair and dark roots was thinking about the “scariest night” of her life when, back in 2017, she convinced her stubborn father to evacuate his home in Ojai as the \u003ca href=\"https://www.kqed.org/news/11636206/thomas-fire-becomes-5th-largest-in-state-history\">Thomas Fire\u003c/a> approached.\u003c/p>\n\u003cp>It was the first time our altered Earth had a clear impact on her life. Zoe needed an outlet, so she started a punk band, \u003ca href=\"https://furioustits.com/\">The Furious Tits\u003c/a>.\u003c/p>\n\u003cp>“A lot of what came out of my brain was based on climate, and they turned into these punk songs,” said Zoe, who was previously a writer for a large environmental organization.\u003c/p>\n\u003cp>The Furious Tits, whose members are mostly queer, blend lyrics about climate chaos with irreverent humor and sexuality. In “Cougar Town,” Zoe sings about P-22, a\u003ca href=\"https://www.npr.org/2023/03/07/1161569051/tribes-bury-p-22-southern-californias-famed-mountain-lion\"> deceased wild mountain lion\u003c/a> in Los Angeles, and dating older women. “Desperate Pleasures” is about finding love in a time of climate change and swipe-left culture, with lyrics like “we don’t need to break the ice because it’s breaking up on its own.” Their diss track about golf was inspired by a trip to Las Vegas last year, where they noticed a lush, green, empty golf course in the middle of the desert, watered by “ancient aquifers.” Their newest song, “\u003ca href=\"https://www.kqed.org/news/tag/microplastics\">Microplastics\u003c/a>,” details how scientists have found synthetic bits in human brains.\u003c/p>\n\u003cfigure id=\"attachment_13979090\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979090\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250718_CLIMATEPUNK_023_BF_KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250718_CLIMATEPUNK_023_BF_KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250718_CLIMATEPUNK_023_BF_KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250718_CLIMATEPUNK_023_BF_KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250718_CLIMATEPUNK_023_BF_KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Furious Tits performed live in San Francisco at the Castro Night Market on Friday, July 18, 2025. \u003ccite>(Brian Frank/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While the \u003ca href=\"https://www.kqed.org/science/1997477/fishnets-and-fossil-fuels-meet-3-bay-area-climate-conscious-drag-artists\">links between climate, queerness\u003c/a> and punk may not be obvious, Zoe points to how the state of our warming planet affects, well, everything. “Climate change is coming for every aspect of our lives, including our sex lives,” said Zoe, whose bandmates lovingly refer to as the Band Domme. “You can’t hook up in your house if it’s burned down.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In mid-July, The Furious Tits performed at the Castro Night Market to a relatively wholesome crowd of kids, people eating barbecue and their diehard fans, who showed up in cropped black T-shirts emblazoned with different-sized cartoon breasts. Their usual venues, however, are more of a scene: dark dive bars, queer landmarks like El Rio and kinky events like San Francisco’s famed Folsom Street Fair.\u003c/p>\n\u003cp>“We found that it turns out the kinksters care about our planet,” said Miju, the band’s bassist, whose nickname is Punk Jesus. She took the stage in black boots and a black latex one-piece at last year’s festival. “I don’t think it was a bait-and-switch to play climate songs at Folsom. Kinky people care about other people.”\u003c/p>\n\u003cfigure id=\"attachment_13979083\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979083\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250718_CLIMATEPUNK_004_BF_KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250718_CLIMATEPUNK_004_BF_KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250718_CLIMATEPUNK_004_BF_KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250718_CLIMATEPUNK_004_BF_KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250718_CLIMATEPUNK_004_BF_KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A Furious Tits fan at the Castro Night Market on Friday, July 18, 2025. \u003ccite>(Brian Frank/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Furious Tits create space for concert-goers to let out their frustration and anxiety about orange sky days and flash floods, inviting them to “tenderly mosh” to their songs. “It’s been amazing to look into the mosh pit and see the audience jump and elbow each other along to a song about how golf is unsustainable,” Zoe said.\u003c/p>\n\u003cp>For drummer William Renauld, whose alias is Will Yummy, joining The Furious Tits provided him a place to “push anger and aggression” about the climate crisis out of his body and into \u003ca href=\"https://www.kqed.org/science/1978547/writing-music-about-climate-change-oakland-artist-reclaims-feminine-power\">music that has the potential to sway culture\u003c/a>.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/track=1962210910/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>“It’s this beautiful ball of angry, horny, hilarious joy that we just get to serve up to the people who listen to our music,” Will said. “Punk can be so gloriously scrappy, and I envision a climate future where that kind of resourcefulness and that kind of resilience is gonna be an absolute necessity.”\u003c/p>\n\u003cp>The band’s first climate song, “Desperate Pleasures,” came to lead guitarist David Griswold, known as Daddy in the band, as he was pondering online dating culture and the apocalypse. He came up with the lyric “desperate times call for desperate pleasures” to show listeners that “in the midst of these desperate times,” they have to find joy.\u003c/p>\n\u003cfigure id=\"attachment_13979242\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979242\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250721-ClimatePunk-06-BL_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250721-ClimatePunk-06-BL_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250721-ClimatePunk-06-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250721-ClimatePunk-06-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250721-ClimatePunk-06-BL_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The climate punk band The Furious Tits play at their practice space in Oakland on July 21, 2025. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Furious Tits are currently writing a climate-themed album they plan to release in early 2026.\u003c/p>\n\u003cp>“What’s queer about our climate songs is that we’re talking about changing culture,” Miju said. “Queer people have always had to make new culture because it hasn’t existed before. That means we don’t always have role models. We have to chart our own course.”\u003c/p>\n\u003cp>As The Furious Tits think about the future, they ponder the higher purpose of their activism: Ensuring their families — and chosen families — are safe as wildfires rage, flooding increases and air quality worsens. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s so overwhelming thinking about how I can leave my children a functional world where they can feel safe and experience joy amid all these overlapping crises,” David said. “Art is what continues to give me hope.”\u003c/p>\n\u003cp>As the band sets their sights on completing the album, Zoe and Miju want to explore a song about endangered coral reefs. Miju recalls a scene from the \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=aGGBGcjdjXA\">Chasing Coral\u003c/a>\u003c/em> documentary on Netflix, featuring an aerial view of fluorescent coral in shades of purple, blue and green. In the film, the documentarian notes the vibrant colors represent “the incredibly beautiful phase of death,” as if “the corals are saying, ‘Look at me, please notice.’”\u003c/p>\n\u003cp>Miju’s son burst into tears during the clip.\u003c/p>\n\u003cp>“I was like, ‘Holy cow, that’s the right response,’” Miju said.\u003c/p>\n\u003cp>Will, the drummer, dreams of turning lyrics about airplane emissions into the band’s “next hit song” as a way to explore his fears about the planet his future children will inherit.\u003c/p>\n\u003cfigure id=\"attachment_13979244\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979244\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250721-ClimatePunk-14-BL_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250721-ClimatePunk-14-BL_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250721-ClimatePunk-14-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250721-ClimatePunk-14-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250721-ClimatePunk-14-BL_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Furious Tits play at their practice space in Oakland on July 21, 2025. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It feels so existentially grounding and artistically meaningful to throw these musical darts at these large climate targets,” said Will, “and eke out the hilarity and the joy while doing it.”\u003c/p>\n\u003cp>Sitting on mismatched couches in the band’s Oakland practice space, surrounded by gear and relics from previous tenants — lamps made from laced-up heels and lyric-filled white boards — Zoe and her bandmates reflect on how music can foster the kind of solidarity needed to survive the climate crisis.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We rely on each other, and that can be a model for the climate movement,” Zoe said. “This is a long fight, and we don’t even get the clean apocalypse where we’re all gonna die. We’re going to have to figure out how to live through it. There’s no way to do it if we don’t do it together.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
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"order": 19
},
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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},
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
},
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},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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},
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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},
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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},
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"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
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"officialWebsiteLink": "http://freakonomics.com/",
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"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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},
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"id": "fresh-air",
"title": "Fresh Air",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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},
"hidden-brain": {
"id": "hidden-brain",
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
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"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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},
"jerrybrown": {
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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