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"content": "\u003cp>Fat Mike is not my favorite person. Let’s just get that out of the way. While his band \u003ca href=\"https://www.kqed.org/arts/11531393/san-francisco-punks-nofx-add-best-selling-book-to-list-of-achievements\">NOFX\u003c/a> is undoubtedly one of the most iconic of ’90s and early-aughts pop punk — and they long ago mastered the art of fun, unpredictable live shows — anyone with longterm involvements with \u003ca href=\"https://www.kqed.org/arts/tag/bay-area-punk\">punk\u003c/a>, Bay Area or otherwise, has been witness to the front man’s air of entitlement in one form or another.\u003c/p>\n\u003cp>[aside postid='arts_13927278']Some of my issues with Fat Mike (real name: Mike Burkett) are petty — like the time I saw him skip to the front of a very long bathroom line at a show and respond to objectors with the words “But I’m Fat Mike.” Some of the things that turned me off were full-blown controversies — like the time he gave his own audience shots of tequila that \u003ca href=\"https://www.avclub.com/turns-out-you-probably-didnt-drink-fat-mikes-piss-at-1798220189\">may or may not\u003c/a> have contained his pee. Or the time he publicly \u003ca href=\"https://www.kqed.org/arts/13833821/nofxs-fat-mike-under-fire-for-tasteless-joke-about-las-vegas-massacre\">made a tasteless joke about a Las Vegas mass shooting\u003c/a>.\u003c/p>\n\u003cp>Truthfully, most of the things that have soured me on the vocalist/bassist are behind-the-scenes tales that I’ll not risk writing about here because I am aware that NOFX as a unit can be rather litigious. (I once received a “cease and desist” notice from the band’s lawyer for attempting to sell a punk rock dog hoodie on Etsy that included one of their patches.) Refreshingly, NOFX’s penchant for legal wrangling is reflected immediately in the band’s new documentary — an honest move, given that they produced \u003ca href=\"https://www.40yearsoffuckinup.com/\">\u003cem>40 Years of Fuckin’ Up\u003c/em>\u003c/a> themselves.\u003c/p>\n\u003cp>The first words the viewer sees on screen are as follows:\u003c/p>\n\u003cblockquote>\u003cp>In 2024, the punk rock band NOFX ended their 40 year career after a worldwide final tour. At the time of filming, some of the band’s members were no longer speaking and involved in legal disputes. This is the last time they will ever be seen on film together.\u003c/p>\u003c/blockquote>\n\u003cp>This is in reference to the fact that guitarist Eric Melvin served Fat Mike with legal papers requesting financial records to make sure he had been paid appropriately for his work. Or, as Fat Mike puts it in \u003cem>40 Years\u003c/em>, Melvin accused the front man of “skimming millions of dollars from NOFX.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>40 Years\u003c/em>, then, does a decent job of reflecting the messy goings-on in this band. The film is not a tell-all, exactly — despite some revealing moments in one of Fat Mike’s BDSM closets and some graphic cell phone footage of the night he almost died — but it is a good summary of much of what they’ve been through together. A lot of which appears to revolve around Fat Mike’s long-documented dependencies on drugs and alcohol. (“They act like they’re worried about my health which is total fucking bullshit,” he says at one point. “They’re worried about their fucking paychecks.”)\u003c/p>\n\u003cp>[aside postid='arts_13984438']The movie is broken down into five broad chapters. The first covers NOFX’s earliest days, slogging it out in a van with small audiences and even smaller financial returns. The second sees the band turning a corner and takes the viewer behind the scenes for the recording of 1994’s \u003cem>Punk in Drublic\u003c/em>, the quartet’s breakthrough album. The third documents NOFX’s marriage to a DIY ethos and their reasons for actively swerving major label interest. The fourth is almost entirely about drugs and health problems. The fifth covers NOFX’s emotional final shows. Throughout it all, Fat Mike is portrayed as a savvy businessman, despite his many issues.\u003c/p>\n\u003cp>If there is a hero of the piece, it turns out to be NOFX drummer, Erik “Smelly” Sandin. His recovery in the band’s early days, from a serious heroin addiction (“a bottomless pit of misery,” he reflects) makes for one of the most engrossing portions of \u003cem>40 Years\u003c/em>. Possibly because of that personal experience, Smelly now seems like the most level-headed person in his band. There is gravitas to his words when he talks of Fat Mike’s predilection for inhaling substances. “When you’re doing drugs, you’re stuffing your internal voices that are telling you you’re not worthy,” he says. “You’re a scared little boy.”\u003c/p>\n\u003cfigure id=\"attachment_13989594\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989594\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Movie-Still_Fat-Mike.jpeg\" alt=\"A white man with a green mohawk stands wearing a black rubber suit and dog collar with his arms and neck tethered to the wall via chains.\" width=\"2000\" height=\"1054\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Movie-Still_Fat-Mike.jpeg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Movie-Still_Fat-Mike-160x84.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Movie-Still_Fat-Mike-768x405.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Movie-Still_Fat-Mike-1536x809.jpeg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Fat Mike at his home, in ‘40 Years of Fuckin’ Up.’ \u003ccite>(Pyramid Productions Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fat Mike’s own words in \u003cem>40 Years\u003c/em> reflect this at times. “I don’t like performing anymore,” he says, “I don’t want to be the center of attention.” (Which is an odd thing to assert for someone who spends ample time on camera here, indulging in bondage-related situations.) In another interview, the front man reiterates: “I can’t pretend to rock out to these songs I’ve been playing for 40 years unless I’m loaded.” (In the next breath, he refers to NOFX’s stage shows as “absolutely authentic.” Make of that what you will.)\u003c/p>\n\u003cp>Regardless of the band’s inherent messiness, the sheer number of very famous punk musicians featured in the film reflects the fact that there remains a mountain of goodwill towards everyone in NOFX. Interviewees include members of The Offspring, Descendents, Youth Brigade, Against Me!, The Vandals, Less Than Jake, Bad Religion, Fishbone, RKL, The Exploited, Good Riddance, Bad Cop/Bad Cop, Hi-Standard and Pennywise. (Wil Wheaton also shows up for some reason.)\u003c/p>\n\u003cp>It’s an inescapable fact that a lot of bands have longterm careers because of Fat Wreck Chords, the San Francisco-based record label that Fat Mike co-founded with his then-wife Erin Burkett back in 1990. The fact that Fat Wreck’s impact doesn’t feature more directly in this documentary is a little confounding. Especially considering that half of NOFX’s back catalog was released through the label.\u003c/p>\n\u003cp>[aside postid='arts_13953628']\u003cem>40 Years\u003c/em> is — unsurprisingly for a movie about pop punk — an overwhelmingly male affair. \u003ca href=\"https://www.kqed.org/arts/13976994/dance-hall-crashers-reunion-interview\">Dance Hall Crashers\u003c/a>’ Karina Denike appears only briefly, despite being referred to as “the actual 5th member of NOFX” in the movie’s credits. \u003cem>40 Years\u003c/em> would have benefited greatly from hearing her perspectives on the band, especially as she performed alongside them on their (clearly fraught, at times) final tour.\u003c/p>\n\u003cp>One of the most remarkable things about \u003cem>40 Years of Fuckin’ Up\u003c/em> is that it is wildly entertaining throughout, whether or not you find Fat Mike profoundly irritating. (This offers a clue to their sustained success.) Whichever way you slice it, NOFX’s history makes for fascinating — and if you’re a DIY musician, educational — viewing.\u003c/p>\n\u003cp>By the end of the two-hour film, you’ll wonder how this band didn’t slide off the rails and burst into flames many, many years ago. But you’ll also appreciate the fact that they had the good sense to document the bedlam.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://sfdocfest2026.eventive.org/films/69c588aecb08015dcc67a5ac\">40 Years of Fuckin’ Up\u003c/a>’ screens May 28, 2026 at the Roxie (3117 16th St., San Francisco) as part of the 25th \u003ca href=\"https://sfdocfest2026.eventive.org/welcome\">San Francisco Documentary Festival\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fat Mike is not my favorite person. Let’s just get that out of the way. While his band \u003ca href=\"https://www.kqed.org/arts/11531393/san-francisco-punks-nofx-add-best-selling-book-to-list-of-achievements\">NOFX\u003c/a> is undoubtedly one of the most iconic of ’90s and early-aughts pop punk — and they long ago mastered the art of fun, unpredictable live shows — anyone with longterm involvements with \u003ca href=\"https://www.kqed.org/arts/tag/bay-area-punk\">punk\u003c/a>, Bay Area or otherwise, has been witness to the front man’s air of entitlement in one form or another.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Some of my issues with Fat Mike (real name: Mike Burkett) are petty — like the time I saw him skip to the front of a very long bathroom line at a show and respond to objectors with the words “But I’m Fat Mike.” Some of the things that turned me off were full-blown controversies — like the time he gave his own audience shots of tequila that \u003ca href=\"https://www.avclub.com/turns-out-you-probably-didnt-drink-fat-mikes-piss-at-1798220189\">may or may not\u003c/a> have contained his pee. Or the time he publicly \u003ca href=\"https://www.kqed.org/arts/13833821/nofxs-fat-mike-under-fire-for-tasteless-joke-about-las-vegas-massacre\">made a tasteless joke about a Las Vegas mass shooting\u003c/a>.\u003c/p>\n\u003cp>Truthfully, most of the things that have soured me on the vocalist/bassist are behind-the-scenes tales that I’ll not risk writing about here because I am aware that NOFX as a unit can be rather litigious. (I once received a “cease and desist” notice from the band’s lawyer for attempting to sell a punk rock dog hoodie on Etsy that included one of their patches.) Refreshingly, NOFX’s penchant for legal wrangling is reflected immediately in the band’s new documentary — an honest move, given that they produced \u003ca href=\"https://www.40yearsoffuckinup.com/\">\u003cem>40 Years of Fuckin’ Up\u003c/em>\u003c/a> themselves.\u003c/p>\n\u003cp>The first words the viewer sees on screen are as follows:\u003c/p>\n\u003cblockquote>\u003cp>In 2024, the punk rock band NOFX ended their 40 year career after a worldwide final tour. At the time of filming, some of the band’s members were no longer speaking and involved in legal disputes. This is the last time they will ever be seen on film together.\u003c/p>\u003c/blockquote>\n\u003cp>This is in reference to the fact that guitarist Eric Melvin served Fat Mike with legal papers requesting financial records to make sure he had been paid appropriately for his work. Or, as Fat Mike puts it in \u003cem>40 Years\u003c/em>, Melvin accused the front man of “skimming millions of dollars from NOFX.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>40 Years\u003c/em>, then, does a decent job of reflecting the messy goings-on in this band. The film is not a tell-all, exactly — despite some revealing moments in one of Fat Mike’s BDSM closets and some graphic cell phone footage of the night he almost died — but it is a good summary of much of what they’ve been through together. A lot of which appears to revolve around Fat Mike’s long-documented dependencies on drugs and alcohol. (“They act like they’re worried about my health which is total fucking bullshit,” he says at one point. “They’re worried about their fucking paychecks.”)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The movie is broken down into five broad chapters. The first covers NOFX’s earliest days, slogging it out in a van with small audiences and even smaller financial returns. The second sees the band turning a corner and takes the viewer behind the scenes for the recording of 1994’s \u003cem>Punk in Drublic\u003c/em>, the quartet’s breakthrough album. The third documents NOFX’s marriage to a DIY ethos and their reasons for actively swerving major label interest. The fourth is almost entirely about drugs and health problems. The fifth covers NOFX’s emotional final shows. Throughout it all, Fat Mike is portrayed as a savvy businessman, despite his many issues.\u003c/p>\n\u003cp>If there is a hero of the piece, it turns out to be NOFX drummer, Erik “Smelly” Sandin. His recovery in the band’s early days, from a serious heroin addiction (“a bottomless pit of misery,” he reflects) makes for one of the most engrossing portions of \u003cem>40 Years\u003c/em>. Possibly because of that personal experience, Smelly now seems like the most level-headed person in his band. There is gravitas to his words when he talks of Fat Mike’s predilection for inhaling substances. “When you’re doing drugs, you’re stuffing your internal voices that are telling you you’re not worthy,” he says. “You’re a scared little boy.”\u003c/p>\n\u003cfigure id=\"attachment_13989594\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13989594\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Movie-Still_Fat-Mike.jpeg\" alt=\"A white man with a green mohawk stands wearing a black rubber suit and dog collar with his arms and neck tethered to the wall via chains.\" width=\"2000\" height=\"1054\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Movie-Still_Fat-Mike.jpeg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Movie-Still_Fat-Mike-160x84.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Movie-Still_Fat-Mike-768x405.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Movie-Still_Fat-Mike-1536x809.jpeg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Fat Mike at his home, in ‘40 Years of Fuckin’ Up.’ \u003ccite>(Pyramid Productions Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fat Mike’s own words in \u003cem>40 Years\u003c/em> reflect this at times. “I don’t like performing anymore,” he says, “I don’t want to be the center of attention.” (Which is an odd thing to assert for someone who spends ample time on camera here, indulging in bondage-related situations.) In another interview, the front man reiterates: “I can’t pretend to rock out to these songs I’ve been playing for 40 years unless I’m loaded.” (In the next breath, he refers to NOFX’s stage shows as “absolutely authentic.” Make of that what you will.)\u003c/p>\n\u003cp>Regardless of the band’s inherent messiness, the sheer number of very famous punk musicians featured in the film reflects the fact that there remains a mountain of goodwill towards everyone in NOFX. Interviewees include members of The Offspring, Descendents, Youth Brigade, Against Me!, The Vandals, Less Than Jake, Bad Religion, Fishbone, RKL, The Exploited, Good Riddance, Bad Cop/Bad Cop, Hi-Standard and Pennywise. (Wil Wheaton also shows up for some reason.)\u003c/p>\n\u003cp>It’s an inescapable fact that a lot of bands have longterm careers because of Fat Wreck Chords, the San Francisco-based record label that Fat Mike co-founded with his then-wife Erin Burkett back in 1990. The fact that Fat Wreck’s impact doesn’t feature more directly in this documentary is a little confounding. Especially considering that half of NOFX’s back catalog was released through the label.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>40 Years\u003c/em> is — unsurprisingly for a movie about pop punk — an overwhelmingly male affair. \u003ca href=\"https://www.kqed.org/arts/13976994/dance-hall-crashers-reunion-interview\">Dance Hall Crashers\u003c/a>’ Karina Denike appears only briefly, despite being referred to as “the actual 5th member of NOFX” in the movie’s credits. \u003cem>40 Years\u003c/em> would have benefited greatly from hearing her perspectives on the band, especially as she performed alongside them on their (clearly fraught, at times) final tour.\u003c/p>\n\u003cp>One of the most remarkable things about \u003cem>40 Years of Fuckin’ Up\u003c/em> is that it is wildly entertaining throughout, whether or not you find Fat Mike profoundly irritating. (This offers a clue to their sustained success.) Whichever way you slice it, NOFX’s history makes for fascinating — and if you’re a DIY musician, educational — viewing.\u003c/p>\n\u003cp>By the end of the two-hour film, you’ll wonder how this band didn’t slide off the rails and burst into flames many, many years ago. But you’ll also appreciate the fact that they had the good sense to document the bedlam.\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>‘\u003ca href=\"https://sfdocfest2026.eventive.org/films/69c588aecb08015dcc67a5ac\">40 Years of Fuckin’ Up\u003c/a>’ screens May 28, 2026 at the Roxie (3117 16th St., San Francisco) as part of the 25th \u003ca href=\"https://sfdocfest2026.eventive.org/welcome\">San Francisco Documentary Festival\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Inside The Go-Go’s’ Is a Gritty Little Time Machine Back to the ’80s",
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"content": "\u003cfigure id=\"attachment_13987449\" class=\"wp-caption aligncenter\" style=\"max-width: 1688px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13987449 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/gogos-fam-port.png\" alt=\"A group of five young women in jeans and band t-shirts, at the back of a black broken down van at the side of the freeway, smile for a Polaroid.\" width=\"1688\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/gogos-fam-port.png 1688w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/gogos-fam-port-160x190.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/gogos-fam-port-768x910.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/gogos-fam-port-1296x1536.png 1296w\" sizes=\"auto, (max-width: 1688px) 100vw, 1688px\">\u003cfigcaption class=\"wp-caption-text\">The Go-Go’s posing for a ‘Family Portrait’ on the road, as seen in ‘A View From the Throne: Gina Schock – Inside The Go-Go’s.’ \u003ccite>(Courtesy of the Haight Street Art Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Imagine getting access to your favorite bands’ most personal possessions: private photos, posters, notebooks, tour laminates, equipment, clothing, booking schedules. There are even bus tickets, a hospital birth certificate and snaps of pet dogs. Imagine a dizzying array of their entire career, covered indelibly with their own mucky fingerprints, as well as their greatest glories and messiest misbehavior.\u003c/p>\n\u003cp>[aside postid='arts_13906092']If your favorite band happens to be The Go-Go’s, you’re in luck. Because \u003cem>A View from the Throne: Gina Schock — Inside The Go-Go’s\u003c/em>, is on show now at the Haight Street Art Center, and it provides an all access pass to all of the above. Chronicling the Los Angeles quintet in all of their freespirited, rule-breaking glory, \u003cem>A View from the Throne\u003c/em> isn’t just an essential history of one of rock’s most important female bands, it’s awash with documentation that will thrill fans of all things ’80s.\u003c/p>\n\u003cp>Included here are Polaroids of David Bowie performing so close to the camera you can almost smell his hairspray. There are candid photos of The Police — one of which is carelessly labeled “Sting and Wife.” There’s a shot of \u003ca href=\"https://www.kqed.org/arts/13979143/new-billy-joel-documentary-review-and-so-it-goes-streaming-on-hbo-max\">Billy Joel\u003c/a> clearly caught off guard backstage. Jodie Foster — considered by the band to be “the sixth Go-Go” during their heyday — makes an appearance. Joan Jett, Stewart Copeland and even the cast of \u003ca href=\"https://www.kqed.org/arts/tag/snl\">\u003cem>Saturday Night Live\u003c/em>\u003c/a> (including John Belushi) show up too.\u003c/p>\n\u003cfigure id=\"attachment_13987621\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987621\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Gina-Schock_Inside-the-GoGos_08_Haight-St-Art-Center_@Henrik-Kam-2026.jpg\" alt=\"A gallery wall covered in photos, posters, t-shirts and other ephemera, all about The Go-Go’s.\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Gina-Schock_Inside-the-GoGos_08_Haight-St-Art-Center_@Henrik-Kam-2026.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Gina-Schock_Inside-the-GoGos_08_Haight-St-Art-Center_@Henrik-Kam-2026-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Gina-Schock_Inside-the-GoGos_08_Haight-St-Art-Center_@Henrik-Kam-2026-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Gina-Schock_Inside-the-GoGos_08_Haight-St-Art-Center_@Henrik-Kam-2026-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘Inside The Go-Go’s’ is a little like climbing inside the band’s storage space and getting lost. \u003ccite>(Henrik Kam)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The extraordinarily personal exhibit is the result of the obsessive archiving that drummer Gina Schock did throughout the band’s career. One corner, featuring mind-bending short movies by surrealistic filmmaker \u003ca href=\"https://www.pajamalife.com/\">Relah Eckstein\u003c/a>, as well as ephemera related to Edie and the Eggs, add background about projects Schock was involved with outside of The Go-Go’s, but don’t altogether make sense in the wider context of the exhibit.\u003c/p>\n\u003cp>The Go-Go’s, thankfully, are the real stars of the show. The many photos on display — a lot of which will be familiar to folks who own Schock’s 2021 book, \u003ca href=\"https://www.kqed.org/arts/13906092/gina-schock-the-go-gos-made-in-hollywood-book-exhibit-san-francisco\">\u003cem>Made in Hollywood: All Access With The Go-Go’s\u003c/em>\u003c/a> — viscerally capture what it was like to be in this band. Their little gang is captured next to broken down vans on highways, lounging in cramped backstage rooms and goofing off (hilariously) by the pool. There are even shots of the band partaking of white substances and wrestling in their underwear in cheap motel rooms.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There is prestige here too: statues celebrating the 2021 induction of The Go-Go’s into the Rock & Roll Hall of Fame, a commemoration of the band’s star on the Hollywood Walk of Fame, as well as platinum and gold records.\u003c/p>\n\u003cp>All told, this collection is a joy to behold. It succeeds in marking all of the band’s greatest achievements while never losing sight of their scrappy beginnings. Also indelible? The rollicking sense of humor that vocalist Belinda Carlisle, bassist Kathy Valentine, guitarists Charlotte Caffey and Jane Wiedlin, and Schock all shared. Being on tour with these women was clearly a riot. \u003cem>Inside The Go-Go’s\u003c/em> will make you feel like you were there.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘A View from the Throne: Gina Schock — Inside The Go-Go’s’ is on show at the \u003ca href=\"https://haightstreetart.org/pages/a-view-from-the-throne-gina-schock-inside-the-go-go-s\">Haight Street Art Center\u003c/a> (215 Haight St., San Francisco) through May 16, 2026.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>If your favorite band happens to be The Go-Go’s, you’re in luck. Because \u003cem>A View from the Throne: Gina Schock — Inside The Go-Go’s\u003c/em>, is on show now at the Haight Street Art Center, and it provides an all access pass to all of the above. Chronicling the Los Angeles quintet in all of their freespirited, rule-breaking glory, \u003cem>A View from the Throne\u003c/em> isn’t just an essential history of one of rock’s most important female bands, it’s awash with documentation that will thrill fans of all things ’80s.\u003c/p>\n\u003cp>Included here are Polaroids of David Bowie performing so close to the camera you can almost smell his hairspray. There are candid photos of The Police — one of which is carelessly labeled “Sting and Wife.” There’s a shot of \u003ca href=\"https://www.kqed.org/arts/13979143/new-billy-joel-documentary-review-and-so-it-goes-streaming-on-hbo-max\">Billy Joel\u003c/a> clearly caught off guard backstage. Jodie Foster — considered by the band to be “the sixth Go-Go” during their heyday — makes an appearance. Joan Jett, Stewart Copeland and even the cast of \u003ca href=\"https://www.kqed.org/arts/tag/snl\">\u003cem>Saturday Night Live\u003c/em>\u003c/a> (including John Belushi) show up too.\u003c/p>\n\u003cfigure id=\"attachment_13987621\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13987621\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Gina-Schock_Inside-the-GoGos_08_Haight-St-Art-Center_@Henrik-Kam-2026.jpg\" alt=\"A gallery wall covered in photos, posters, t-shirts and other ephemera, all about The Go-Go’s.\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Gina-Schock_Inside-the-GoGos_08_Haight-St-Art-Center_@Henrik-Kam-2026.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Gina-Schock_Inside-the-GoGos_08_Haight-St-Art-Center_@Henrik-Kam-2026-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Gina-Schock_Inside-the-GoGos_08_Haight-St-Art-Center_@Henrik-Kam-2026-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/03/Gina-Schock_Inside-the-GoGos_08_Haight-St-Art-Center_@Henrik-Kam-2026-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘Inside The Go-Go’s’ is a little like climbing inside the band’s storage space and getting lost. \u003ccite>(Henrik Kam)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The extraordinarily personal exhibit is the result of the obsessive archiving that drummer Gina Schock did throughout the band’s career. One corner, featuring mind-bending short movies by surrealistic filmmaker \u003ca href=\"https://www.pajamalife.com/\">Relah Eckstein\u003c/a>, as well as ephemera related to Edie and the Eggs, add background about projects Schock was involved with outside of The Go-Go’s, but don’t altogether make sense in the wider context of the exhibit.\u003c/p>\n\u003cp>The Go-Go’s, thankfully, are the real stars of the show. The many photos on display — a lot of which will be familiar to folks who own Schock’s 2021 book, \u003ca href=\"https://www.kqed.org/arts/13906092/gina-schock-the-go-gos-made-in-hollywood-book-exhibit-san-francisco\">\u003cem>Made in Hollywood: All Access With The Go-Go’s\u003c/em>\u003c/a> — viscerally capture what it was like to be in this band. Their little gang is captured next to broken down vans on highways, lounging in cramped backstage rooms and goofing off (hilariously) by the pool. There are even shots of the band partaking of white substances and wrestling in their underwear in cheap motel rooms.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There is prestige here too: statues celebrating the 2021 induction of The Go-Go’s into the Rock & Roll Hall of Fame, a commemoration of the band’s star on the Hollywood Walk of Fame, as well as platinum and gold records.\u003c/p>\n\u003cp>All told, this collection is a joy to behold. It succeeds in marking all of the band’s greatest achievements while never losing sight of their scrappy beginnings. Also indelible? The rollicking sense of humor that vocalist Belinda Carlisle, bassist Kathy Valentine, guitarists Charlotte Caffey and Jane Wiedlin, and Schock all shared. Being on tour with these women was clearly a riot. \u003cem>Inside The Go-Go’s\u003c/em> will make you feel like you were there.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘A View from the Throne: Gina Schock — Inside The Go-Go’s’ is on show at the \u003ca href=\"https://haightstreetart.org/pages/a-view-from-the-throne-gina-schock-inside-the-go-go-s\">Haight Street Art Center\u003c/a> (215 Haight St., San Francisco) through May 16, 2026.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Saying Goodbye to Thee Parkside, a ‘Safe Haven’ for San Francisco’s Punks and Rebels",
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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>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>[aside postid='arts_13987283']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>\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>\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>“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",
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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>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>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\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>\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>\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>“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\u003c/div>\u003c/p>",
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"slug": "punk-legend-jello-biafra-hospitalized-after-stroke",
"title": "Punk Legend Jello Biafra Hospitalized After Stroke",
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"headTitle": "Punk Legend Jello Biafra Hospitalized After Stroke | KQED",
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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": "\u003cfigure id=\"attachment_13985242\" class=\"wp-caption aligncenter\" style=\"max-width: 1736px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985242\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/sd-cover.png\" alt=\"A book cover featuring a black and white photograph of a thin, white man, performing on his knees, his face obscured, with a target drawn on his shirtless torso. An audience member's arm reaches out with their hand positioned as if pulling a trigger.\" width=\"1736\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/sd-cover.png 1736w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/sd-cover-160x184.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/sd-cover-768x885.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/sd-cover-1333x1536.png 1333w\" sizes=\"auto, (max-width: 1736px) 100vw, 1736px\">\u003cfigcaption class=\"wp-caption-text\">‘Search & Destroy: The Complete Archive’ edited by V. Vale, Cecily Chen and Mitch Anzuoni. \u003ccite>(Inpatient Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the Sex Pistols closed out their last ever show at San Francisco’s Winterland in January 1978, frontman Johnny Rotten uttered a sardonic phrase that has lived on in the \u003ca href=\"https://www.kqed.org/arts/tag/punk-rock\">punk rock\u003c/a> consciousness ever since: “Ever get the feeling you’ve been cheated?”\u003c/p>\n\u003cp>I couldn’t help but think of the line as I opened the new book \u003cem>Search & Destroy: The Complete Archive\u003c/em>, a collection of every issue of the legendary punk fanzine. \u003cem>Search & Destroy\u003c/em> is an essential piece of underground music history that was founded and created in San Francisco, existed between 1977 and 1979 and featured literally all of the punk greats in its 11 issues.\u003c/p>\n\u003cp>[aside postid='arts_13967703']Being able to finally explore this zine in its entirety — zeitgeist-capturing ads included! — should have been a magnificent gift. Unfortunately, \u003cem>Search & Destroy: The Complete Archive\u003c/em> contains so much minuscule print, reading some sections feels much more like a sight test than a good time. That’s because \u003cem>Search & Destroy\u003c/em>’s original pages measured 11 by 17 inches, but the book is a mere 8 by 12 inches. The decision to shrink down the original is especially disastrous given the fact that most of this book’s target audience is now likely in need of reading glasses.\u003c/p>\n\u003cp>Some spreads are easier to read than others. But there is something torturous about being presented with page after page of fascinating in-depth Q&As with legends — Iggy Pop, Patti Smith, Ramones, Devo, Dead Kennedys, The Damned, Blondie, Talking Heads, Buzzcocks, The Cramps, Siouxsie and the Banshees, Dead Boys, Sham 69, X and the Dickies are all here — only to have to do battle with painfully tiny print.\u003c/p>\n\u003cp>Once you locate the nearest magnifying glass (and it is essential that you do), it’s clear that during its short existence \u003cem>Search & Destroy\u003c/em> did a mind-boggling job of capturing iconic artists at their most unfiltered. One interview with The Clash includes extensive (and very funny) trash talking about The Damned. Another with Patti Smith sees her declaring: “I really would shoot somebody. People who steal rock ‘n’ roll equipment deserve to die!” Elsewhere, David Byrne has harsh words for Talking Heads’ own record label: “I don’t mind anything anybody writes about me or the band, but the record company who’s supposed to be representing us [Sire] could at least do something in cooperation with us instead of whatever they think they can do to make money.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The lack of filtered answers here reflects just how much editor V. Vale and his crew of writers were trusted by the folks they were documenting. Vale, it seems, was so much a part of the punk scene wallpaper that some of the conversations featured in \u003cem>Search & Destroy\u003c/em> all but fell in his lap. The first Iggy Pop interview only happened because the singer randomly showed up at the home of a fans’ house when the writer happened to be there. (Sample Iggy quote from that night: “You’re from San Francisco. Have you seen Jeffrey? He’s a hustler, real good friend of mine, beautiful chap.”)\u003c/p>\n\u003cp>Of course, \u003cem>Search & Destroy\u003c/em> reaches far beyond the biggest punk bands of the day. Bay Area heroes including Avengers, The Dils, Mutants, The Nuns and Crime appear repeatedly. Alternative filmmakers John Waters, Russ Meyer and David Lynch all give interviews. There are “street reports” about scenes overseas and columns about the “politics of punk.” There is also, at one point, a three-line account of the now-infamous time \u003ca href=\"https://www.kqed.org/arts/13967703/the-cramps-the-mutants-live-at-napa-state-hospital-target-video-streaming\">The Cramps and Mutants played a show at the Napa State Asylum\u003c/a>. (“Both groups played well but were upstaged by inmates’ strangely angular dances.”)\u003c/p>\n\u003cp>[aside postid='arts_13980261']An interview with \u003ca href=\"https://www.pbs.org/independentlens/documentaries/william-s-burroughs/\">William Burroughs\u003c/a> (mostly about drugs and politics) is also a reminder of the improbable way that \u003cem>Search & Destroy\u003c/em> got its start. Vale launched the zine while still employed at City Lights, after \u003ca href=\"https://www.kqed.org/perspectives/201307030735\">Allen Ginsberg\u003c/a> donated $100 of his own money to get the publication off the ground.\u003c/p>\n\u003cp>The tome closes out with brand new, refreshingly legible essays by Vale and one-time intern Cecily Chen, as well as an oral history of punk by Jello Biafra, guided by Vale himself. (“We missed the ’60s,” Biafra notes. “We were in such despair. The sex wasn’t as good; the drugs were nowhere near as good … The reason punk felt so good was: not only was music really powerful and exciting again, but it was such a great weapon to attack everyone else with!”) All the closing essays offer intimate perspectives and nostalgic eyes on the zine’s run.\u003c/p>\n\u003cp>If you’ve always imagined \u003cem>Search & Destroy\u003c/em> as a lightning-in-a-bottle piece of punk history, it absolutely is. The writing here is visceral, entirely reflective of an essential moment in rock ‘n’ roll and packed full of fascinating, extraordinarily creative humans. But the format of this book represents a missed opportunity. As a zine that went out of its way to embrace professional print rather than scrappy xeroxing, \u003cem>Search & Destroy\u003c/em> deserved a much more thoughtful print job than this.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://mitpress.mit.edu/9781965874264/search-and-destroy/\">Search & Destroy: The Complete Archive\u003c/a>’ edited by V. Vale, Cecily Chen and Mitch Anzuoni is out on Jan. 20, 2026 from Inpatient Press.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13985242\" class=\"wp-caption aligncenter\" style=\"max-width: 1736px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985242\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/sd-cover.png\" alt=\"A book cover featuring a black and white photograph of a thin, white man, performing on his knees, his face obscured, with a target drawn on his shirtless torso. An audience member's arm reaches out with their hand positioned as if pulling a trigger.\" width=\"1736\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/sd-cover.png 1736w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/sd-cover-160x184.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/sd-cover-768x885.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/sd-cover-1333x1536.png 1333w\" sizes=\"auto, (max-width: 1736px) 100vw, 1736px\">\u003cfigcaption class=\"wp-caption-text\">‘Search & Destroy: The Complete Archive’ edited by V. Vale, Cecily Chen and Mitch Anzuoni. \u003ccite>(Inpatient Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the Sex Pistols closed out their last ever show at San Francisco’s Winterland in January 1978, frontman Johnny Rotten uttered a sardonic phrase that has lived on in the \u003ca href=\"https://www.kqed.org/arts/tag/punk-rock\">punk rock\u003c/a> consciousness ever since: “Ever get the feeling you’ve been cheated?”\u003c/p>\n\u003cp>I couldn’t help but think of the line as I opened the new book \u003cem>Search & Destroy: The Complete Archive\u003c/em>, a collection of every issue of the legendary punk fanzine. \u003cem>Search & Destroy\u003c/em> is an essential piece of underground music history that was founded and created in San Francisco, existed between 1977 and 1979 and featured literally all of the punk greats in its 11 issues.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The lack of filtered answers here reflects just how much editor V. Vale and his crew of writers were trusted by the folks they were documenting. Vale, it seems, was so much a part of the punk scene wallpaper that some of the conversations featured in \u003cem>Search & Destroy\u003c/em> all but fell in his lap. The first Iggy Pop interview only happened because the singer randomly showed up at the home of a fans’ house when the writer happened to be there. (Sample Iggy quote from that night: “You’re from San Francisco. Have you seen Jeffrey? He’s a hustler, real good friend of mine, beautiful chap.”)\u003c/p>\n\u003cp>Of course, \u003cem>Search & Destroy\u003c/em> reaches far beyond the biggest punk bands of the day. Bay Area heroes including Avengers, The Dils, Mutants, The Nuns and Crime appear repeatedly. Alternative filmmakers John Waters, Russ Meyer and David Lynch all give interviews. There are “street reports” about scenes overseas and columns about the “politics of punk.” There is also, at one point, a three-line account of the now-infamous time \u003ca href=\"https://www.kqed.org/arts/13967703/the-cramps-the-mutants-live-at-napa-state-hospital-target-video-streaming\">The Cramps and Mutants played a show at the Napa State Asylum\u003c/a>. (“Both groups played well but were upstaged by inmates’ strangely angular dances.”)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>An interview with \u003ca href=\"https://www.pbs.org/independentlens/documentaries/william-s-burroughs/\">William Burroughs\u003c/a> (mostly about drugs and politics) is also a reminder of the improbable way that \u003cem>Search & Destroy\u003c/em> got its start. Vale launched the zine while still employed at City Lights, after \u003ca href=\"https://www.kqed.org/perspectives/201307030735\">Allen Ginsberg\u003c/a> donated $100 of his own money to get the publication off the ground.\u003c/p>\n\u003cp>The tome closes out with brand new, refreshingly legible essays by Vale and one-time intern Cecily Chen, as well as an oral history of punk by Jello Biafra, guided by Vale himself. (“We missed the ’60s,” Biafra notes. “We were in such despair. The sex wasn’t as good; the drugs were nowhere near as good … The reason punk felt so good was: not only was music really powerful and exciting again, but it was such a great weapon to attack everyone else with!”) All the closing essays offer intimate perspectives and nostalgic eyes on the zine’s run.\u003c/p>\n\u003cp>If you’ve always imagined \u003cem>Search & Destroy\u003c/em> as a lightning-in-a-bottle piece of punk history, it absolutely is. The writing here is visceral, entirely reflective of an essential moment in rock ‘n’ roll and packed full of fascinating, extraordinarily creative humans. But the format of this book represents a missed opportunity. As a zine that went out of its way to embrace professional print rather than scrappy xeroxing, \u003cem>Search & Destroy\u003c/em> deserved a much more thoughtful print job than this.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://mitpress.mit.edu/9781965874264/search-and-destroy/\">Search & Destroy: The Complete Archive\u003c/a>’ edited by V. Vale, Cecily Chen and Mitch Anzuoni is out on Jan. 20, 2026 from Inpatient Press.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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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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"content": "\u003cp>At the end of May, beloved \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco\">San Francisco\u003c/a> collage artist Winston Smith \u003ca href=\"https://www.gofundme.com/f/winstons-heart-needs-your-help-to-heal\">suffered a heart attack\u003c/a> that stopped him in his tracks. At the time, he was due to premiere a show of new and classic works on June 6 at North Beach’s \u003ca href=\"https://www.studiofallout.com/sfnorthbeach\">Studio Fallout\u003c/a>, a gallery that the artist also curates.\u003c/p>\n\u003cp>[aside postid='arts_13980064']With characteristic good humor, Smith told his fans that while he would be resting for the foreseeable future, his “guardian angels were definitely working over-time,” and that the health scare made him feel “just a little bit pregnant.”\u003c/p>\n\u003cp>Smith’s planned show, \u003cem>I Saw But I Did Not See\u003c/em>, will now go up for one night only at \u003ca href=\"https://www.kqed.org/arts/tag/111-minna\">111 Minna\u003c/a> on Aug. 21, accompanied by a punk rock karaoke event. Alongside classic works capturing the pain and absurdity of modern living, there will be a number of new pieces that present — among other things — images of childhood glee and wholesome living corrupted by the presence of cold, hard cash.\u003c/p>\n\u003cfigure id=\"attachment_13980196\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13980196\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/cash-winston-smith.jpg\" alt=\"Two artworks, side-by-side, show pairs of children playing. The old-fashioned illustrations have been altered to include showers of dollar bills raining down on them.\" width=\"2000\" height=\"1238\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/cash-winston-smith.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/cash-winston-smith-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/cash-winston-smith-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/cash-winston-smith-1536x951.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L) ‘WIndfall’ and (R) ‘Girls Just Wanna Have Cash,’ two new works by Winston Smith. \u003ccite>(Courtesy of Fallout Gallery/111 Minna)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Smith is most widely known for his album artwork for likes of \u003ca href=\"https://www.kqed.org/arts/tag/green-day\">Green Day\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13845645/dianne-feinstein-jello-biafra-san-francisco-punk\">Dead Kennedys\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13912863/george-carlin-hbo-american-dream-judd-apatow-documentary-stand-up-comedy\">George Carlin\u003c/a>. This new work continues Smith’s legacy of creating anarchic images that question the status quo, American concepts of progress, and the state of democracy.\u003c/p>\n\u003cp>[aside postid='arts_13979518']One new piece, \u003cem>A Paranoid’s Dilemma\u003c/em>, features the face of a screaming man surrounded on all sides by a confusion of camera lenses. Another, \u003cem>Saint Nick’s Big Bash\u003c/em>, presents Leonardo da Vinci’s \u003cem>The Last Supper\u003c/em> interspersed with ’50s-era partygoers, children carrying firearms and, yes, you’ve guessed it, more cold hard cash.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Since \u003cem>I Saw But I Did Not See\u003c/em> is now a pop-up event, art lovers will be able to buy artworks “off the wall” — something that should make for an amusing BART ride home for anyone who picks one of the 11 artworks rendered directly onto handsaws. (Safety gloves not included.)\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.studiofallout.com/?mc_cid=277e225af7&mc_eid=72f139febb\">I Saw But I Did Not See\u003c/a>’ will be on view at 111 Minna in San Francisco on Aug. 21, 2025. The gallery opens at 5 p.m. Punk rock karaoke will take place 6–8 p.m. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At the end of May, beloved \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco\">San Francisco\u003c/a> collage artist Winston Smith \u003ca href=\"https://www.gofundme.com/f/winstons-heart-needs-your-help-to-heal\">suffered a heart attack\u003c/a> that stopped him in his tracks. At the time, he was due to premiere a show of new and classic works on June 6 at North Beach’s \u003ca href=\"https://www.studiofallout.com/sfnorthbeach\">Studio Fallout\u003c/a>, a gallery that the artist also curates.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>With characteristic good humor, Smith told his fans that while he would be resting for the foreseeable future, his “guardian angels were definitely working over-time,” and that the health scare made him feel “just a little bit pregnant.”\u003c/p>\n\u003cp>Smith’s planned show, \u003cem>I Saw But I Did Not See\u003c/em>, will now go up for one night only at \u003ca href=\"https://www.kqed.org/arts/tag/111-minna\">111 Minna\u003c/a> on Aug. 21, accompanied by a punk rock karaoke event. Alongside classic works capturing the pain and absurdity of modern living, there will be a number of new pieces that present — among other things — images of childhood glee and wholesome living corrupted by the presence of cold, hard cash.\u003c/p>\n\u003cfigure id=\"attachment_13980196\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13980196\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/cash-winston-smith.jpg\" alt=\"Two artworks, side-by-side, show pairs of children playing. The old-fashioned illustrations have been altered to include showers of dollar bills raining down on them.\" width=\"2000\" height=\"1238\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/cash-winston-smith.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/cash-winston-smith-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/cash-winston-smith-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/cash-winston-smith-1536x951.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L) ‘WIndfall’ and (R) ‘Girls Just Wanna Have Cash,’ two new works by Winston Smith. \u003ccite>(Courtesy of Fallout Gallery/111 Minna)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Smith is most widely known for his album artwork for likes of \u003ca href=\"https://www.kqed.org/arts/tag/green-day\">Green Day\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13845645/dianne-feinstein-jello-biafra-san-francisco-punk\">Dead Kennedys\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13912863/george-carlin-hbo-american-dream-judd-apatow-documentary-stand-up-comedy\">George Carlin\u003c/a>. This new work continues Smith’s legacy of creating anarchic images that question the status quo, American concepts of progress, and the state of democracy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>One new piece, \u003cem>A Paranoid’s Dilemma\u003c/em>, features the face of a screaming man surrounded on all sides by a confusion of camera lenses. Another, \u003cem>Saint Nick’s Big Bash\u003c/em>, presents Leonardo da Vinci’s \u003cem>The Last Supper\u003c/em> interspersed with ’50s-era partygoers, children carrying firearms and, yes, you’ve guessed it, more cold hard cash.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Since \u003cem>I Saw But I Did Not See\u003c/em> is now a pop-up event, art lovers will be able to buy artworks “off the wall” — something that should make for an amusing BART ride home for anyone who picks one of the 11 artworks rendered directly onto handsaws. (Safety gloves not included.)\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.studiofallout.com/?mc_cid=277e225af7&mc_eid=72f139febb\">I Saw But I Did Not See\u003c/a>’ will be on view at 111 Minna in San Francisco on Aug. 21, 2025. The gallery opens at 5 p.m. Punk rock karaoke will take place 6–8 p.m. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A New Documentary Tells the True Punk History of Devo",
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"content": "\u003cp>You know the band \u003ca href=\"https://www.kqed.org/arts/10138289\">Devo\u003c/a>, right? The guys with the funny red plastic hats and jumpsuits? The New Wave musicians behind the silly “Whip It” video? They had that odd, spiky ’80s vibe? Well, it turns out you may not know as much as you think.\u003c/p>\n\u003cp>The new Netflix documentary \u003cem>Devo\u003c/em> is an eye-opening examination of an Ohio-born art-rock band that argues they were perhaps the most misunderstood band on the face of the planet. It debuts on the streaming service Tuesday.\u003c/p>\n\u003cp>[aside postid='arts_13979736']“We were trivialized and pigeonholed,” co-founder Gerald Casale tells The Associated Press. “This documentary allows us to talk about what we were thinking and what we are motivated by to create what we created.”\u003c/p>\n\u003cp>Directed by Chris Smith, \u003cem>Devo\u003c/em> uses archival footage and interviews to trace the band’s beginnings, rise and fall, with cameos from fans like David Bowie, Iggy Pop and Neil Young.\u003c/p>\n\u003ch2>‘What we saw was regression’\u003c/h2>\n\u003cp>Devo introduced themselves to the world in 1977 by making a frenetic version of the Rolling Stones’ “(I Can’t Get No) Satisfaction,” which earned them a crucial slot on \u003cem>Saturday Night Live\u003c/em>. On stages, they would wriggle like worms or dress like the guys from \u003cem>Ghostbusters\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QmKQ2Z1odSc&list=RDQmKQ2Z1odSc&start_radio=1\u003c/p>\n\u003cp>They released their Brian Eno-produced debut, \u003cem>Q: Are We Not Men? A: We Are Devo!\u003c/em>, in 1978 and reached platinum status with 1980’s \u003cem>Freedom of Choice\u003c/em>, which featured “Whip It,” a hit just as their label was getting ready to drop them.\u003c/p>\n\u003cp>But behind the odd neck braces and knee pads were powerful art and literary ideas about where the country was going. They named themselves after the idea that modern society was entering a process of “devolution.”\u003c/p>\n\u003cp>“We were seeing a world that was the antitheses of the idealized, promised future ginned up in the ’50s and ’60s.” Casale says in the movie. “What we saw was regression.”\u003c/p>\n\u003cp>[aside postid='arts_13979143']The nucleus of the band was formed from tragedy: Casale and Mark Mothersbaugh met at Kent State University, where they lived through the 1970 killing of four unarmed anti-war student protesters by the National Guard.\u003c/p>\n\u003cp>That tragedy forged in the pair an antiestablishment, anti-capitalist protest, mixing lofty art history with pop culture. They admired Dadaism and Andy Warhol. The factories of Akron inspired their gray overalls and clear plastic face masks — portraying cogs in a machine like in the art movie \u003cem>Metropolis\u003c/em>.\u003c/p>\n\u003cp>“We had a meta-approach,” Casale tells the AP. “It was a multimedia, big idea approach. Music was an element, a layer, a dimension, but it was connected to this big worldview.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4GxetgNVFLE\u003c/p>\n\u003ch2>‘Whip It’ video\u003c/h2>\n\u003cp>Part of Devo’s strength was its visual component and their videos were drenched with political commentary. The upbeat “Beautiful World” featured footage of police violence, the KKK and bombings, while “Freedom of Choice” warned against the dangers of conformity.\u003c/p>\n\u003cp>The song “Whip It” was written after reading Thomas Pynchon’s 760-page postmodern sci-fi tome \u003cem>Gravity’s Rainbow\u003c/em>. The video — featuring cowboys drinking beer, dangerous gunplay and assault — was actually mocking President Ronald Reagan and his macho brand of conservatism.\u003c/p>\n\u003cp>Members of Devo — which also included Mark’s brother, Bob, Gerald’s brother, Bob, and Alan Myers — performed on TV and chatted with talk show hosts like David Letterman but their satire never seemed never to break through.\u003c/p>\n\u003cp>“Nobody wanted to hear us talking about the duality of human nature and the dangers of groupthink and the atrophication of people being able to think logically and think critically,” Casale says. “It was like, ‘That’s a bummer. Just tell us about drugs and sex.’”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=j_QLzthSkfM&list=RDj_QLzthSkfM&start_radio=1\u003c/p>\n\u003ch2>A counterculture legacy\u003c/h2>\n\u003cp>Rock has always needed bands like Devo, a corrective to the corporate machine. You can see an echo of Devo when M.I.A. raised her middle finger during the Super Bowl halftime show in 2012. The members of Devo cite such bands as Rage Against the Machine and System of a Down as keeping the flame alive.\u003c/p>\n\u003cp>“The only thing you can hope is that it will create an awareness and get rid of complacency, but it doesn’t seem to have done that in the past,” Mothersbaugh tells the AP.\u003c/p>\n\u003cp>“I always tried to be optimistic that devolution was something that was going to be corrected and that our message would be not necessary at this point, but unfortunately it’s more real than ever.”\u003c/p>\n\u003cp>After Devo, Casale directed music videos and commercials, while Mothersbaugh scored movies and TV shows such as \u003ca href=\"https://www.kqed.org/arts/13976628/pee-wee-as-himself-documentary-series-review-hbo-max-paul-reubens-tv\">\u003cem>Pee-Wee’s Playhouse\u003c/em>\u003c/a>, \u003ca href=\"https://www.kqed.org/pop/11491/how-wes-anderson-created-the-aesthetic-of-a-generation\">\u003cem>The Life Aquatic with Steve Zissou\u003c/em>\u003c/a>, \u003cem>Rugrats\u003c/em> and \u003cem>Hello Tomorrow!.\u003c/em>\u003c/p>\n\u003cp>[aside postid='arts_13977719']There are signs of optimism when members of Devo play live these days. Mothersbaugh says he sees a lot of young people, who have used their smartphones to bypass media gatekeepers.\u003c/p>\n\u003cp>“We see a lot of people that look like us, with gray hair out there in the audience. But there’s also, there’s also a lot kids, which is kind of surprising to me, but I think it’s only because they have this thing in their hand that they sometimes use to their advantage.”\u003c/p>\n\u003cp>Devo are set to hit the road later this year in a co-headlining tour with the B-52’s. The Cosmic De-Evolution Tour will kick off Sept. 24 in Toronto and wraps Nov. 2 in Houston.\u003c/p>\n\u003cp>You may think of Devo as New Wave or early electronica or synth-pop. but they see themselves differently: “We were true punk, meaning we questioned illegitimate authority and we stayed in our own lane and did our thing, remaining true to our vision,” says Casale. “That’s punk.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Devo’ begins streaming on Netflix on Aug. 19, 2025. Devo plays Shoreline Amphitheater in Mountain View on Oct. 16.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You know the band \u003ca href=\"https://www.kqed.org/arts/10138289\">Devo\u003c/a>, right? The guys with the funny red plastic hats and jumpsuits? The New Wave musicians behind the silly “Whip It” video? They had that odd, spiky ’80s vibe? Well, it turns out you may not know as much as you think.\u003c/p>\n\u003cp>The new Netflix documentary \u003cem>Devo\u003c/em> is an eye-opening examination of an Ohio-born art-rock band that argues they were perhaps the most misunderstood band on the face of the planet. It debuts on the streaming service Tuesday.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“We were trivialized and pigeonholed,” co-founder Gerald Casale tells The Associated Press. “This documentary allows us to talk about what we were thinking and what we are motivated by to create what we created.”\u003c/p>\n\u003cp>Directed by Chris Smith, \u003cem>Devo\u003c/em> uses archival footage and interviews to trace the band’s beginnings, rise and fall, with cameos from fans like David Bowie, Iggy Pop and Neil Young.\u003c/p>\n\u003ch2>‘What we saw was regression’\u003c/h2>\n\u003cp>Devo introduced themselves to the world in 1977 by making a frenetic version of the Rolling Stones’ “(I Can’t Get No) Satisfaction,” which earned them a crucial slot on \u003cem>Saturday Night Live\u003c/em>. On stages, they would wriggle like worms or dress like the guys from \u003cem>Ghostbusters\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/QmKQ2Z1odSc'\n title='//www.youtube.com/embed/QmKQ2Z1odSc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>They released their Brian Eno-produced debut, \u003cem>Q: Are We Not Men? A: We Are Devo!\u003c/em>, in 1978 and reached platinum status with 1980’s \u003cem>Freedom of Choice\u003c/em>, which featured “Whip It,” a hit just as their label was getting ready to drop them.\u003c/p>\n\u003cp>But behind the odd neck braces and knee pads were powerful art and literary ideas about where the country was going. They named themselves after the idea that modern society was entering a process of “devolution.”\u003c/p>\n\u003cp>“We were seeing a world that was the antitheses of the idealized, promised future ginned up in the ’50s and ’60s.” Casale says in the movie. “What we saw was regression.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The nucleus of the band was formed from tragedy: Casale and Mark Mothersbaugh met at Kent State University, where they lived through the 1970 killing of four unarmed anti-war student protesters by the National Guard.\u003c/p>\n\u003cp>That tragedy forged in the pair an antiestablishment, anti-capitalist protest, mixing lofty art history with pop culture. They admired Dadaism and Andy Warhol. The factories of Akron inspired their gray overalls and clear plastic face masks — portraying cogs in a machine like in the art movie \u003cem>Metropolis\u003c/em>.\u003c/p>\n\u003cp>“We had a meta-approach,” Casale tells the AP. “It was a multimedia, big idea approach. Music was an element, a layer, a dimension, but it was connected to this big worldview.”\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/4GxetgNVFLE'\n title='//www.youtube.com/embed/4GxetgNVFLE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>‘Whip It’ video\u003c/h2>\n\u003cp>Part of Devo’s strength was its visual component and their videos were drenched with political commentary. The upbeat “Beautiful World” featured footage of police violence, the KKK and bombings, while “Freedom of Choice” warned against the dangers of conformity.\u003c/p>\n\u003cp>The song “Whip It” was written after reading Thomas Pynchon’s 760-page postmodern sci-fi tome \u003cem>Gravity’s Rainbow\u003c/em>. The video — featuring cowboys drinking beer, dangerous gunplay and assault — was actually mocking President Ronald Reagan and his macho brand of conservatism.\u003c/p>\n\u003cp>Members of Devo — which also included Mark’s brother, Bob, Gerald’s brother, Bob, and Alan Myers — performed on TV and chatted with talk show hosts like David Letterman but their satire never seemed never to break through.\u003c/p>\n\u003cp>“Nobody wanted to hear us talking about the duality of human nature and the dangers of groupthink and the atrophication of people being able to think logically and think critically,” Casale says. “It was like, ‘That’s a bummer. Just tell us about drugs and sex.’”\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/j_QLzthSkfM'\n title='//www.youtube.com/embed/j_QLzthSkfM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>A counterculture legacy\u003c/h2>\n\u003cp>Rock has always needed bands like Devo, a corrective to the corporate machine. You can see an echo of Devo when M.I.A. raised her middle finger during the Super Bowl halftime show in 2012. The members of Devo cite such bands as Rage Against the Machine and System of a Down as keeping the flame alive.\u003c/p>\n\u003cp>“The only thing you can hope is that it will create an awareness and get rid of complacency, but it doesn’t seem to have done that in the past,” Mothersbaugh tells the AP.\u003c/p>\n\u003cp>“I always tried to be optimistic that devolution was something that was going to be corrected and that our message would be not necessary at this point, but unfortunately it’s more real than ever.”\u003c/p>\n\u003cp>After Devo, Casale directed music videos and commercials, while Mothersbaugh scored movies and TV shows such as \u003ca href=\"https://www.kqed.org/arts/13976628/pee-wee-as-himself-documentary-series-review-hbo-max-paul-reubens-tv\">\u003cem>Pee-Wee’s Playhouse\u003c/em>\u003c/a>, \u003ca href=\"https://www.kqed.org/pop/11491/how-wes-anderson-created-the-aesthetic-of-a-generation\">\u003cem>The Life Aquatic with Steve Zissou\u003c/em>\u003c/a>, \u003cem>Rugrats\u003c/em> and \u003cem>Hello Tomorrow!.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There are signs of optimism when members of Devo play live these days. Mothersbaugh says he sees a lot of young people, who have used their smartphones to bypass media gatekeepers.\u003c/p>\n\u003cp>“We see a lot of people that look like us, with gray hair out there in the audience. But there’s also, there’s also a lot kids, which is kind of surprising to me, but I think it’s only because they have this thing in their hand that they sometimes use to their advantage.”\u003c/p>\n\u003cp>Devo are set to hit the road later this year in a co-headlining tour with the B-52’s. The Cosmic De-Evolution Tour will kick off Sept. 24 in Toronto and wraps Nov. 2 in Houston.\u003c/p>\n\u003cp>You may think of Devo as New Wave or early electronica or synth-pop. but they see themselves differently: “We were true punk, meaning we questioned illegitimate authority and we stayed in our own lane and did our thing, remaining true to our vision,” says Casale. “That’s punk.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Devo’ begins streaming on Netflix on Aug. 19, 2025. Devo plays Shoreline Amphitheater in Mountain View on Oct. 16.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It wasn’t the night punk broke, but it was close. Nearly 50 years ago, the \u003ca href=\"https://www.kqed.org/arts/13914295/platinum-jubilee-london-queen-elizabeth-sex-pistols-god-save-the-queen\">Sex Pistols\u003c/a> — then made up of vocalist Johnny Rotten, guitarist Steve Jones, drummer Paul Cook and bassist Glen Matlock — performed at the 100 Club Punk Special in London, a 140-capacity club, alongside Subway Sect, Siouxsie and the Banshees and The Clash.\u003c/p>\n\u003cp>The event marked a shift for the subcultural movement; the bands here would soon bring their underground culture to reach mainstream heights.\u003c/p>\n\u003cp>[aside postid='arts_13961071']Now, the 2025 iteration of the Pistols — Jones, Cook and Matlock joined by frontman Frank Carter (of Gallows, Pure Love and Frank Carter and the Rattlesnakes) — sit in the same venue to discuss their forthcoming North American tour. “This is where it all kicked off, really, all the punk,” says Cook.\u003c/p>\n\u003cp>This fall, the legendary punk band will embark on their first tour of North America since 2003, when they were joined by John Lydon (formerly Rotten). The 2025 run with Carter begins Sept. 16 at the Longhorn Ballroom in Dallas, Texas — the site of a particularly hostile show for the band when it first toured the U.S. in 1978.\u003c/p>\n\u003cp>Jones recalls having “pigs’ hooves and bottles and what not slung at us by cowboys.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It is one of a few dates featured in three \u003cem>Live in the U.S.A.\u003c/em> albums, documenting the band’s ’78 run: Atlanta, Dallas and San Francisco. The latter will release April 25 and captures the show where the band originally called it quits.\u003c/p>\n\u003cp>“We were thinking of breaking up in San Francisco again,” Jones jokes.\u003c/p>\n\u003cp>The 2025 tour is currently scheduled to conclude Oct. 16 at the Hollywood Palladium in Los Angeles. The band will hit Washington; Philadelphia; Brooklyn, New York; Montreal; Toronto; Cleveland; Detroit; Minneapolis; Denver; Seattle and San Francisco. Additional tour dates will be announced later.\u003c/p>\n\u003cp>[aside postid='arts_13914295']Pre-sale opens April 2 and 3. \u003ca href=\"https://events.seated.com/sex-pistols-featuring-frank-carter\">Tickets go on sale April 4\u003c/a> at 10 a.m. local time.\u003c/p>\n\u003cp>They will perform the band’s sole album, 1977’s \u003cem>Never Mind the Bollocks, Here’s the Sex Pistols Album\u003c/em> live in its entirety as well as other material.\u003c/p>\n\u003cp>So, why tour the U.S. and Canada now?\u003c/p>\n\u003cp>“Why not?” says Jones.\u003c/p>\n\u003cp>“I think everybody needs this band right now. I think the world needs this band right now,” says Carter. “And I think definitely America is screaming out for a band like the Sex Pistols.”\u003c/p>\n\u003cp>“At the end of the day, we’re living in a really, really difficult time. So not only do people want to come and just be entertained, they want to enjoy themselves,” he continued. “Punk is an energetic music. It’s one where you can go and vent and let your hair down, hopefully in a safe manner. Fingers crossed, no bottles or pigs’ hooves.”\u003c/p>\n\u003cp>Carter fronted the Sex Pistols last year for a few U.K. dates. The band says they did not reach out to Lydon to see if he wanted to participate in this reunion tour.\u003c/p>\n\u003cp>“The last thing he wants to do is have anything to do with us right now,” says Jones, referring to a previous lawsuit between the singer and the band over music use in their TV series \u003cem>Pistol\u003c/em>. The judge ruled against Lydon’s opposition.\u003c/p>\n\u003cp>“We wish him the best,” Jones said.\u003c/p>\n\u003cp>[aside postid='arts_13967703']“Good luck to him,” adds Matlock. “I wish he thinks, maybe, ‘good luck’ to us. Probably doesn’t. But over the years, John (has had) all our phone numbers, and I can’t see many missed calls from him.”\u003c/p>\n\u003cp>As for the 2025 tour: Fans shouldn’t expect the violence of their 1978 run, but they should anticipate a tighter performance.\u003c/p>\n\u003cp>“We’re a bit older but we play just as well, if not better,” says Matlock. “And I think that’s something that’s got a great deal of aplomb that we’re going to bring to the public over there.”\u003c/p>\n\u003cp>Does this mean there could be new Sex Pistols music in the future? “It’s early days,” says Jones. “Let’s see what happens.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Sex Pistols perform at San Francisco’s Warfield on Oct. 15, 2025. \u003ca href=\"https://www.thewarfieldtheatre.com/events/detail/908696\">Tickets\u003c/a> go on sale at 10 a.m. on April 4, 2025.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It is one of a few dates featured in three \u003cem>Live in the U.S.A.\u003c/em> albums, documenting the band’s ’78 run: Atlanta, Dallas and San Francisco. The latter will release April 25 and captures the show where the band originally called it quits.\u003c/p>\n\u003cp>“We were thinking of breaking up in San Francisco again,” Jones jokes.\u003c/p>\n\u003cp>The 2025 tour is currently scheduled to conclude Oct. 16 at the Hollywood Palladium in Los Angeles. The band will hit Washington; Philadelphia; Brooklyn, New York; Montreal; Toronto; Cleveland; Detroit; Minneapolis; Denver; Seattle and San Francisco. Additional tour dates will be announced later.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Pre-sale opens April 2 and 3. \u003ca href=\"https://events.seated.com/sex-pistols-featuring-frank-carter\">Tickets go on sale April 4\u003c/a> at 10 a.m. local time.\u003c/p>\n\u003cp>They will perform the band’s sole album, 1977’s \u003cem>Never Mind the Bollocks, Here’s the Sex Pistols Album\u003c/em> live in its entirety as well as other material.\u003c/p>\n\u003cp>So, why tour the U.S. and Canada now?\u003c/p>\n\u003cp>“Why not?” says Jones.\u003c/p>\n\u003cp>“I think everybody needs this band right now. I think the world needs this band right now,” says Carter. “And I think definitely America is screaming out for a band like the Sex Pistols.”\u003c/p>\n\u003cp>“At the end of the day, we’re living in a really, really difficult time. So not only do people want to come and just be entertained, they want to enjoy themselves,” he continued. “Punk is an energetic music. It’s one where you can go and vent and let your hair down, hopefully in a safe manner. Fingers crossed, no bottles or pigs’ hooves.”\u003c/p>\n\u003cp>Carter fronted the Sex Pistols last year for a few U.K. dates. The band says they did not reach out to Lydon to see if he wanted to participate in this reunion tour.\u003c/p>\n\u003cp>“The last thing he wants to do is have anything to do with us right now,” says Jones, referring to a previous lawsuit between the singer and the band over music use in their TV series \u003cem>Pistol\u003c/em>. The judge ruled against Lydon’s opposition.\u003c/p>\n\u003cp>“We wish him the best,” Jones said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Good luck to him,” adds Matlock. “I wish he thinks, maybe, ‘good luck’ to us. Probably doesn’t. But over the years, John (has had) all our phone numbers, and I can’t see many missed calls from him.”\u003c/p>\n\u003cp>As for the 2025 tour: Fans shouldn’t expect the violence of their 1978 run, but they should anticipate a tighter performance.\u003c/p>\n\u003cp>“We’re a bit older but we play just as well, if not better,” says Matlock. “And I think that’s something that’s got a great deal of aplomb that we’re going to bring to the public over there.”\u003c/p>\n\u003cp>Does this mean there could be new Sex Pistols music in the future? “It’s early days,” says Jones. “Let’s see what happens.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Sex Pistols perform at San Francisco’s Warfield on Oct. 15, 2025. \u003ca href=\"https://www.thewarfieldtheatre.com/events/detail/908696\">Tickets\u003c/a> go on sale at 10 a.m. on April 4, 2025.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In 1978, Napa’s State Psychiatric Hospital Hosted a Now-Legendary Punk Show",
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"content": "\u003cp>On June 13, 1978, Joe Rees, the videographer that ran Mission District live venue/punk rock archive \u003ca href=\"https://www.kqed.org/arts/13938024/old-san-francisco-punk-venues-deaf-club-farm-sound-music-tool-die\">Target Video\u003c/a>, packed up a portable Sony black-and-white camera and drove to Napa with his cohort, Jill Hoffman-Kowal.\u003c/p>\n\u003cp>The two were hitting the road to film a live show — something they did all the time. As documentarians that saw the importance of capturing every grimy little punk show they could, they were accustomed to making things work under chaotic circumstances.\u003c/p>\n\u003cp>Even by Target Video standards, however, this set would be a little bit different.\u003c/p>\n\u003cp>[aside postid='arts_13967161']That sunny June afternoon, The Cramps would play a free concert at Napa State Hospital, a psychiatric facility that had been around since 1875, and which provided mental health services to resident patients. San Francisco’s The Mutants — easily as anarchic as their New York City stagemates — had agreed to perform too.\u003c/p>\n\u003cp>By the time punk rock got to it, the Napa State Hospital already had quite the reputation. It first opened inside a beautiful brick building, complete with elegant arches and towers, to ease overcrowding at the Stockton State Hospital. But by 1891, Napa State itself housed more than 1,300 psychiatric patients — double the population it was designed for. By 1920, wards meant for 26 people were accommodating as many as 64, and \u003ca href=\"https://www.pbs.org/newshour/health/analysis-californias-forced-sterilization-programs-once-harmed-thousands-especially-latinas\">sterilization procedures became common\u003c/a>. In 1950, the hospital’s gorgeous architecture was demolished to build more practical, utilitarian structures.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That’s what The Cramps and The Mutants encountered in 1978, as they set up their equipment in the courtyard outside the hospital building, next to the gym. How both bands got there was a series of twists masterminded by music impresario Howie Klein. Back then, Klein was best known as the host of punk rock radio show \u003ci>\u003ca href=\"https://radiothrills.com/outcastes.htm\">The Outcastes\u003c/a> \u003c/i>and the founder of \u003ca href=\"https://www.discogs.com/label/16439-415-Records\">415 Records\u003c/a>. When the San Francisco date of their tour fell through, The Cramps approached Klein and asked for advice. He took it upon himself to book the Napa State show and, already a big fan of the local band’s live antics, invited The Mutants along.\u003c/p>\n\u003cfigure id=\"attachment_13968185\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968185\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1170592108.jpg\" alt=\"\" width=\"2000\" height=\"1346\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1170592108.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1170592108-800x538.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1170592108-1020x686.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1170592108-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1170592108-768x517.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1170592108-1536x1034.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1170592108-1920x1292.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Mutants perform live at an outdoor show in the courtyard of Napa State Hospital, a psychiatric hospital in Napa, California, on June 13, 1978. \u003ccite>(Ruby Ray/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>(Remarkably, there was precedence for this in the North Bay: Sebastopol art-punks $27 Snap On Face had \u003ca href=\"https://bohemian.com/what-happened-to-those-guys-1/\">previously played at Sonoma State Hospital for the developmentally disabled\u003c/a>, and included the applause of patients on 1977’s \u003ca href=\"https://www.discogs.com/release/2778143-27-Snap-On-Face-Heterodyne-State-Hospital\">\u003cem>Heterodyne State Hospital\u003c/em>\u003c/a> album.)\u003c/p>\n\u003cp>Sally Webster of The Mutants later stated in 2021 documentary, \u003ca href=\"https://www.youtube.com/watch?v=KwwRQVgW-0g\">\u003cem>We Were There to Be There\u003c/em>\u003c/a>: “We were not thinking of it as ironic or weird or anything like that at the time. This is just an adventure for everyone.” Webster also admitted that she and a number of friends she brought along that day had taken LSD, which gave her a heightened sense of unity with everyone at the show. “It was just an inclusive situation,” she explained, “where the audience and the band were kinda one.”\u003c/p>\n\u003cp>[aside postid='arts_13845645']She may have been intoxicated at the time, but Webster was not exaggerating. During the Cramps’ eight-song set, hospital patients jumped onstage, mimed along, danced with band members and took over the mic and screamed into it. No one seemed at all concerned that some of those patients had come from a special unit at Napa State that housed individuals considered a danger to themselves or others.\u003c/p>\n\u003cp>“It was a beautiful, beautiful thing,” Rees later said of the show. “I mean, you don’t know who’s who in that video. The band members and the mental patients are the same.”\u003c/p>\n\u003cp>“Some people told me you people are crazy,” vocalist Lux Interior stated after The Cramps’ opening song, “Mystery Plane.” “But I’m not so sure about that. You seem to be alright to me…”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-JnkW2JhHJc\u003c/p>\n\u003cp>As can be clearly seen in Rees’ footage above, The Cramps were a hit with the Napa State residents that day.\u003c/p>\n\u003cp>“They were the people that were just discarded,” the filmmaker stated in his \u003cem>We Were There to Be There\u003c/em> interview, “and they were so overwhelmed by someone even caring to put on a show, and they got so into it.”\u003c/p>\n\u003cp>So into it, in fact, that rumors swirled afterward of several successful escape attempts by patients. “I think someone left with us, to be honest,” Webster vaguely recalled.\u003c/p>\n\u003cp>[aside postid='arts_13938024']Klein’s memories of the ride home were more specific. “There was this one woman,” he recalled. “She was basically wearing a nightgown and she was running down the road, and I stopped and she jumped in [the van], and we drove back to San Francisco with her. And she became a stalwart in the San Francisco scene. She became a respected and loved member of the community.”\u003c/p>\n\u003cp>Alan Gill, a psychiatric technician at Napa State throughout the 1970s and ’80s noted that the show was most definitely not a hit with one very specific faction: the administration of the hospital.\u003c/p>\n\u003cp>“There was a lot of pushback,” he remembered. “Administrators obviously are the older folk — the suit-and-tie gang — and they were not at all pleased … I think there might even have been disciplinary action.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Mutants’ set from Napa State is not currently streaming, but can be seen in\u003c/em> ‘\u003cem>\u003ca href=\"https://www.ebay.com/itm/196542461769?chn=ps&norover=1&mkevt=1&mkrid=711-117182-37290-0&mkcid=2&mkscid=101&itemid=196542461769&targetid=2299003535995&device=c&mktype=pla&googleloc=9032200&poi=&campaignid=21203633013&mkgroupid=162035688435&rlsatarget=pla-2299003535995&abcId=9407526&merchantid=101492502&gad_source=1&gclid=Cj0KCQiA_9u5BhCUARIsABbMSPtvlqrnnDOnRx5-MWYhjCC_9kD4bji3zHbAIHVnbFa7k30iRQTNWpcaAqc9EALw_wcB\">The Cramps and the Mutants: The Napa State Tapes\u003c/a>,’ available on DVD.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That sunny June afternoon, The Cramps would play a free concert at Napa State Hospital, a psychiatric facility that had been around since 1875, and which provided mental health services to resident patients. San Francisco’s The Mutants — easily as anarchic as their New York City stagemates — had agreed to perform too.\u003c/p>\n\u003cp>By the time punk rock got to it, the Napa State Hospital already had quite the reputation. It first opened inside a beautiful brick building, complete with elegant arches and towers, to ease overcrowding at the Stockton State Hospital. But by 1891, Napa State itself housed more than 1,300 psychiatric patients — double the population it was designed for. By 1920, wards meant for 26 people were accommodating as many as 64, and \u003ca href=\"https://www.pbs.org/newshour/health/analysis-californias-forced-sterilization-programs-once-harmed-thousands-especially-latinas\">sterilization procedures became common\u003c/a>. In 1950, the hospital’s gorgeous architecture was demolished to build more practical, utilitarian structures.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That’s what The Cramps and The Mutants encountered in 1978, as they set up their equipment in the courtyard outside the hospital building, next to the gym. How both bands got there was a series of twists masterminded by music impresario Howie Klein. Back then, Klein was best known as the host of punk rock radio show \u003ci>\u003ca href=\"https://radiothrills.com/outcastes.htm\">The Outcastes\u003c/a> \u003c/i>and the founder of \u003ca href=\"https://www.discogs.com/label/16439-415-Records\">415 Records\u003c/a>. When the San Francisco date of their tour fell through, The Cramps approached Klein and asked for advice. He took it upon himself to book the Napa State show and, already a big fan of the local band’s live antics, invited The Mutants along.\u003c/p>\n\u003cfigure id=\"attachment_13968185\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968185\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1170592108.jpg\" alt=\"\" width=\"2000\" height=\"1346\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1170592108.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1170592108-800x538.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1170592108-1020x686.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1170592108-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1170592108-768x517.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1170592108-1536x1034.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1170592108-1920x1292.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Mutants perform live at an outdoor show in the courtyard of Napa State Hospital, a psychiatric hospital in Napa, California, on June 13, 1978. \u003ccite>(Ruby Ray/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>(Remarkably, there was precedence for this in the North Bay: Sebastopol art-punks $27 Snap On Face had \u003ca href=\"https://bohemian.com/what-happened-to-those-guys-1/\">previously played at Sonoma State Hospital for the developmentally disabled\u003c/a>, and included the applause of patients on 1977’s \u003ca href=\"https://www.discogs.com/release/2778143-27-Snap-On-Face-Heterodyne-State-Hospital\">\u003cem>Heterodyne State Hospital\u003c/em>\u003c/a> album.)\u003c/p>\n\u003cp>Sally Webster of The Mutants later stated in 2021 documentary, \u003ca href=\"https://www.youtube.com/watch?v=KwwRQVgW-0g\">\u003cem>We Were There to Be There\u003c/em>\u003c/a>: “We were not thinking of it as ironic or weird or anything like that at the time. This is just an adventure for everyone.” Webster also admitted that she and a number of friends she brought along that day had taken LSD, which gave her a heightened sense of unity with everyone at the show. “It was just an inclusive situation,” she explained, “where the audience and the band were kinda one.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>She may have been intoxicated at the time, but Webster was not exaggerating. During the Cramps’ eight-song set, hospital patients jumped onstage, mimed along, danced with band members and took over the mic and screamed into it. No one seemed at all concerned that some of those patients had come from a special unit at Napa State that housed individuals considered a danger to themselves or others.\u003c/p>\n\u003cp>“It was a beautiful, beautiful thing,” Rees later said of the show. “I mean, you don’t know who’s who in that video. The band members and the mental patients are the same.”\u003c/p>\n\u003cp>“Some people told me you people are crazy,” vocalist Lux Interior stated after The Cramps’ opening song, “Mystery Plane.” “But I’m not so sure about that. You seem to be alright to me…”\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/-JnkW2JhHJc'\n title='//www.youtube.com/embed/-JnkW2JhHJc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As can be clearly seen in Rees’ footage above, The Cramps were a hit with the Napa State residents that day.\u003c/p>\n\u003cp>“They were the people that were just discarded,” the filmmaker stated in his \u003cem>We Were There to Be There\u003c/em> interview, “and they were so overwhelmed by someone even caring to put on a show, and they got so into it.”\u003c/p>\n\u003cp>So into it, in fact, that rumors swirled afterward of several successful escape attempts by patients. “I think someone left with us, to be honest,” Webster vaguely recalled.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Klein’s memories of the ride home were more specific. “There was this one woman,” he recalled. “She was basically wearing a nightgown and she was running down the road, and I stopped and she jumped in [the van], and we drove back to San Francisco with her. And she became a stalwart in the San Francisco scene. She became a respected and loved member of the community.”\u003c/p>\n\u003cp>Alan Gill, a psychiatric technician at Napa State throughout the 1970s and ’80s noted that the show was most definitely not a hit with one very specific faction: the administration of the hospital.\u003c/p>\n\u003cp>“There was a lot of pushback,” he remembered. “Administrators obviously are the older folk — the suit-and-tie gang — and they were not at all pleased … I think there might even have been disciplinary action.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Mutants’ set from Napa State is not currently streaming, but can be seen in\u003c/em> ‘\u003cem>\u003ca href=\"https://www.ebay.com/itm/196542461769?chn=ps&norover=1&mkevt=1&mkrid=711-117182-37290-0&mkcid=2&mkscid=101&itemid=196542461769&targetid=2299003535995&device=c&mktype=pla&googleloc=9032200&poi=&campaignid=21203633013&mkgroupid=162035688435&rlsatarget=pla-2299003535995&abcId=9407526&merchantid=101492502&gad_source=1&gclid=Cj0KCQiA_9u5BhCUARIsABbMSPtvlqrnnDOnRx5-MWYhjCC_9kD4bji3zHbAIHVnbFa7k30iRQTNWpcaAqc9EALw_wcB\">The Cramps and the Mutants: The Napa State Tapes\u003c/a>,’ available on DVD.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Hundreds of Raymond Pettibon’s Black Flag Show Fliers Go to Auction",
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"content": "\u003cp>A new auction of Raymond Pettibon’s artwork is about to give punk rock fans a chance to own a piece of Bay Area music history.\u003c/p>\n\u003cp>Pettibon’s signature black and white sketches during the 1980s \u003ca href=\"https://www.kqed.org/arts/13961071/san-francisco-punk-photography-70s-80s-haight-street-art-center\">heyday of California punk\u003c/a> were consistently confrontational and thought-provoking, and often lewd or grotesque. Pettibon’s striking images adorned fliers, posters, album covers, T-shirts, ads and a variety of other ephemera for bands like Black Flag, Flipper and Minutemen. Now, more than 300 of these items are about to go on sale via Wright Auction House in Chicago.\u003c/p>\n\u003cfigure id=\"attachment_13962610\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962610\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Pettibon-scaled-e1723569491786.jpg\" alt=\"A flier featuring black and white drawings of crowds of men in underpants and tank tops.\" width=\"1920\" height=\"1920\">\u003cfigcaption class=\"wp-caption-text\">A 1983 Raymond Pettibon flier advertising Black Flag, Saccharine Trust, NIGhist and Rebel Truth at the On Broadway in San Francisco. \u003ccite>(Courtesy of Specific Object/ Wright Auction House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though phone and online bidding for \u003ca href=\"https://www.wright20.com/auctions/2024/08/raymond-pettibon-the-punk-years-curated-by-specific-object-david-platzker\">\u003cem>Raymond Pettibon: The Punk Years\u003c/em> \u003c/a>officially opens on Aug. 22, advanced bids have already begun rolling in online. Starting bids across the board are $50, and estimated sale prices range between $150 and $1,500. One yellow \u003ca href=\"https://www.wright20.com/auctions/2024/08/raymond-pettibon-the-punk-years-curated-by-specific-object-david-platzker/165\">“Jealous Again” skateboard\u003c/a>, for example, is anticipated to garner as much as $1,000. Pettibon’s art zines are expected to fetch as much as $600 each, even though some of them are already available to \u003ca href=\"https://archive.org/details/raymond-pettibon-captive-chains-1978/mode/2up\">read on the Internet Archive\u003c/a> and \u003ca href=\"https://www.abebooks.com/servlet/BookDetailsPL?bi=30298694462&ref_=ps_ggl_17738760402&cm_mmc=ggl-_-COM_Shopp_Rare-_-product_id=bi%3A%2030298694462-_-keyword=&gclid=Cj0KCQjw5ea1BhC6ARIsAEOG5pyXvpIYYDbjU13JzzkMmXJVWvx_ClE4ojS53oSjQh4EJTAiH0kca28aArBREALw_wcB\">buy online for less\u003c/a>.\u003c/p>\n\u003cp>[aside postid='arts_13938024']The bulk of the Bay Area-related items up for grabs are Pettibon’s Black Flag fliers for shows at Mabuhay Gardens and On Broadway, historic venues in San Francisco’s North Beach. Pettibon’s work for the band was prolific, in part because his brother Greg Ginn is Black Flag’s guitarist. Items promoting other bands are present here too — the likes of Descendents, Meat Puppets and Hüsker Dü playing lesser-known Bay Area clubs like Palo Alto’s Keystone, which closed in 1986.\u003c/p>\n\u003cfigure id=\"attachment_13962611\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962611\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Pettibon-Kennedys-scaled-e1723570000868.jpg\" alt=\"A flier featuring black and white sketches of four people including John F Kennedy and Lee Harvey Oswald.\" width=\"1920\" height=\"1920\">\u003cfigcaption class=\"wp-caption-text\">A 1979 flier for Black Flag and Dead Kennedys at the Mabuhay Gardens by Raymond Pettibon. \u003ccite>(Courtesy of Specific Object/ Wright Auction House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The auction was curated by\u003ca href=\"https://specificobject.com/about.cfm\"> Specific Object\u003c/a>, a New York City gallery and bookstore owned by former MoMA curator David Platzker. There is something profoundly surreal about this particular moment in California underground music being presented and sold in this manner, but it’s also an opportunity to get your hands on Pettibon’s most searing work, presented in its original format. And that’s worth bidding on.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.wright20.com/auctions/2024/08/raymond-pettibon-the-punk-years-curated-by-specific-object-david-platzker\">Raymond Pettibon: The Punk Years\u003c/a>\u003c/em>\u003ca href=\"https://www.wright20.com/auctions/2024/08/raymond-pettibon-the-punk-years-curated-by-specific-object-david-platzker\">, \u003c/a>\u003cem>\u003ca href=\"https://www.wright20.com/auctions/2024/08/raymond-pettibon-the-punk-years-curated-by-specific-object-david-platzker\">Curated by Specific Object\u003c/a>’ is open to online bids now through Aug. 22, 2024.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A new auction of Raymond Pettibon’s artwork is about to give punk rock fans a chance to own a piece of Bay Area music history.\u003c/p>\n\u003cp>Pettibon’s signature black and white sketches during the 1980s \u003ca href=\"https://www.kqed.org/arts/13961071/san-francisco-punk-photography-70s-80s-haight-street-art-center\">heyday of California punk\u003c/a> were consistently confrontational and thought-provoking, and often lewd or grotesque. Pettibon’s striking images adorned fliers, posters, album covers, T-shirts, ads and a variety of other ephemera for bands like Black Flag, Flipper and Minutemen. Now, more than 300 of these items are about to go on sale via Wright Auction House in Chicago.\u003c/p>\n\u003cfigure id=\"attachment_13962610\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962610\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Pettibon-scaled-e1723569491786.jpg\" alt=\"A flier featuring black and white drawings of crowds of men in underpants and tank tops.\" width=\"1920\" height=\"1920\">\u003cfigcaption class=\"wp-caption-text\">A 1983 Raymond Pettibon flier advertising Black Flag, Saccharine Trust, NIGhist and Rebel Truth at the On Broadway in San Francisco. \u003ccite>(Courtesy of Specific Object/ Wright Auction House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though phone and online bidding for \u003ca href=\"https://www.wright20.com/auctions/2024/08/raymond-pettibon-the-punk-years-curated-by-specific-object-david-platzker\">\u003cem>Raymond Pettibon: The Punk Years\u003c/em> \u003c/a>officially opens on Aug. 22, advanced bids have already begun rolling in online. Starting bids across the board are $50, and estimated sale prices range between $150 and $1,500. One yellow \u003ca href=\"https://www.wright20.com/auctions/2024/08/raymond-pettibon-the-punk-years-curated-by-specific-object-david-platzker/165\">“Jealous Again” skateboard\u003c/a>, for example, is anticipated to garner as much as $1,000. Pettibon’s art zines are expected to fetch as much as $600 each, even though some of them are already available to \u003ca href=\"https://archive.org/details/raymond-pettibon-captive-chains-1978/mode/2up\">read on the Internet Archive\u003c/a> and \u003ca href=\"https://www.abebooks.com/servlet/BookDetailsPL?bi=30298694462&ref_=ps_ggl_17738760402&cm_mmc=ggl-_-COM_Shopp_Rare-_-product_id=bi%3A%2030298694462-_-keyword=&gclid=Cj0KCQjw5ea1BhC6ARIsAEOG5pyXvpIYYDbjU13JzzkMmXJVWvx_ClE4ojS53oSjQh4EJTAiH0kca28aArBREALw_wcB\">buy online for less\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The bulk of the Bay Area-related items up for grabs are Pettibon’s Black Flag fliers for shows at Mabuhay Gardens and On Broadway, historic venues in San Francisco’s North Beach. Pettibon’s work for the band was prolific, in part because his brother Greg Ginn is Black Flag’s guitarist. Items promoting other bands are present here too — the likes of Descendents, Meat Puppets and Hüsker Dü playing lesser-known Bay Area clubs like Palo Alto’s Keystone, which closed in 1986.\u003c/p>\n\u003cfigure id=\"attachment_13962611\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962611\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Pettibon-Kennedys-scaled-e1723570000868.jpg\" alt=\"A flier featuring black and white sketches of four people including John F Kennedy and Lee Harvey Oswald.\" width=\"1920\" height=\"1920\">\u003cfigcaption class=\"wp-caption-text\">A 1979 flier for Black Flag and Dead Kennedys at the Mabuhay Gardens by Raymond Pettibon. \u003ccite>(Courtesy of Specific Object/ Wright Auction House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The auction was curated by\u003ca href=\"https://specificobject.com/about.cfm\"> Specific Object\u003c/a>, a New York City gallery and bookstore owned by former MoMA curator David Platzker. There is something profoundly surreal about this particular moment in California underground music being presented and sold in this manner, but it’s also an opportunity to get your hands on Pettibon’s most searing work, presented in its original format. And that’s worth bidding on.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.wright20.com/auctions/2024/08/raymond-pettibon-the-punk-years-curated-by-specific-object-david-platzker\">Raymond Pettibon: The Punk Years\u003c/a>\u003c/em>\u003ca href=\"https://www.wright20.com/auctions/2024/08/raymond-pettibon-the-punk-years-curated-by-specific-object-david-platzker\">, \u003c/a>\u003cem>\u003ca href=\"https://www.wright20.com/auctions/2024/08/raymond-pettibon-the-punk-years-curated-by-specific-object-david-platzker\">Curated by Specific Object\u003c/a>’ is open to online bids now through Aug. 22, 2024.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "review-green-day-fillmore-photos-san-francisco",
"title": "Live Review: Green Day Thrills the Fillmore In an Intimate Two-Hour Show",
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"content": "\u003cp>It wasn’t until we all shuffled down the stairs of the Fillmore, ears ringing from an epic two-hour Green Day set, sweat dripping off our shirts and the cold San Francisco night air hitting our bewildered faces, that I realized just what we’d all just witnessed. \u003c/p>\n\u003cp>After all, it’s not often that Green Day, who \u003ca href=\"https://greenday.com/tour\">headline a tour of huge baseball stadiums\u003c/a> later this summer, play a small show at a 1,300-capacity room like the Fillmore. Outside at the 8 p.m. showtime on Tuesday night, over a dozen people walked the sidewalk with hopeful signs: “Dad who needs 1 ticket,” “Name Your Price,” and “Help! Need a ticket to join my wife and 8-year-old stepson for the show… and it’s our wedding anniversary today! Please!!”\u003c/p>\n\u003cfigure id=\"attachment_13955324\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103.jpg\" alt=\"\" width=\"2560\" height=\"1920\" class=\"size-full wp-image-13955324\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Christian Williams from San Leandro was one of many hopefuls outside the Green Day show at the Fillmore in San Francisco on Tuesday, April 2, 2024. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those who did get in, however, were treated to two hours of the Bay Area’s greatest rock ‘n’ roll export (sorry, Metallica), and at one of the country’s best venues, no less.\u003c/p>\n\u003cp>Here’s what I can say definitively. In the past 35 years — starting in 1989, yeesh — I’ve seen Green Day at youth centers, warehouses, house parties, high schools and Rotary Club halls. And though they know how to rock a stadium just fine, they always thrive in small spaces, face-to-face with the crowd and making the tiniest room feel like the entire universe. \u003c/p>\n\u003cfigure id=\"attachment_13955319\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13955319\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Billie Joe Armstrong performs with Green Day at The Fillmore in San Francisco on Tuesday, April 2, 2024. \u003ccite>(Greg Schneider)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Fillmore show Tuesday night — a benefit for United Nations Human Rights climate justice initiatives and the Recording Academy’s MusiCares charity — was no exception. As Green Day \u003ca href=\"https://www.youtube.com/watch?v=Ecqil_eZgYs\">had announced\u003c/a> the day prior, they played the entirety of their new album \u003cem>Saviors\u003c/em>, and the entirety of their 2004 opus \u003cem>American Idiot\u003c/em>. Big, anthemic stuff. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But without needing to play to the nosebleed seats in Section 327 above third base, they were able to give focus to epic songs like “Jesus of Suburbia” and “Homecoming.” Dressed in a sport jacket and Cramps T-shirt, Billie Joe Armstrong didn’t have to engage in much rockstar cosplay — for a hometown crowd, he still felt like just plain Billie from Rodeo, who you might bump into at Winchell’s after the Corrupted Morals show at Gilman.\u003c/p>\n\u003cfigure id=\"attachment_13955317\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11.jpg\" alt=\"\" width=\"1280\" height=\"1920\" class=\"size-full wp-image-13955317\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Mike Dirnt performs with Green Day at The Fillmore in San Francisco on Tuesday, April 2, 2024. \u003ccite>(Greg Schneider)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What was evident onstage — what he and Mike and Tré have picked up along the way since those early days — is not only a tight musicianship bordering on the miraculous, but a thespian’s skill for selling their songs and connecting with an audience.\u003c/p>\n\u003cp>[aside postID='arts_13950877']During the \u003cem>Saviors\u003c/em> track “Bobby Sox,” a fan in the second row waved a bisexual flag in fervent recognition of \u003ca href=\"https://americansongwriter.com/billie-joe-armstrong-opens-up-about-being-a-bisexual-icon-discusses-green-days-new-anthem-bobby-sox/\">the song’s love-who-you-want themes\u003c/a>. For “Father to a Son,” echoes were present of Armstrong’s son’s opening band, Ultra Q. Acknowledging the upcoming election that nobody wants to think about, during “Letterbomb,” Billie interjected, “Whose finger do you want to be on the nuclear bomb?!”\u003c/p>\n\u003cp>These sorts of things might come off as corny if they weren’t so sincere. Singing the final lines of the West Contra Costa anthem “Jesus of Suburbia,” about running away from the pain of a broken home, Billie appeared to briefly lose his voice; it was soon apparent that he was instead choking back tears.\u003c/p>\n\u003cfigure id=\"attachment_13955318\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13955318\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Billie Joe Armstrong performs with Green Day at The Fillmore in San Francisco on Tuesday, April 2, 2024. \u003ccite>(Greg Schneider)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>This is how you do it\u003c/em>, Green Day seemed to say on Tuesday. \u003cem>Write songs about your turbulent life, find a supportive circle, stick with your convictions, play damn loud and sing even louder to anyone who’ll listen, in every city around the world, record an unrivaled catalog of songs, and then, when you’re too famous to do so, play at the Fillmore anyway, this place where you once \u003ca href=\"https://www.instagram.com/p/C5RvizvvnLI/\">saw the Replacements and the Church as a teenager and got stoned off a stranger’s joint\u003c/a>, and get out there on stage and scream from the monitors and leap unimaginably high into the air and play like your life depends on it because somewhere, out in the crowd, is another 15-year-old kid with disapproving parents who doesn’t fit in at school, and who needs the same thing you needed when you were baptized into the gospel of rock ‘n’ roll liberation. \u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13955322\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13955322\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Green Day performs at The Fillmore in San Francisco on Tuesday, April 2, 2024. \u003ccite>(Greg Schneider)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After the show, out on the Fillmore overcrossing above Geary, was living proof of those types of kids: \u003ca href=\"https://www.facebook.com/people/Mary-Jane-Mafia/100086618806194/\">Mary Jane Mafia\u003c/a>, a Green Day tribute band from Fremont playing a pop-up show of covers like “Walking Contradiction” and “2,000 Light Years Away” on the sidewalk to a dancing group of onlookers and a few bemused cops. \u003c/p>\n\u003cp>See, they didn’t get in. They didn’t get to hear Green Day play new songs that have no business being as good as they are, like the \u003ca href=\"https://www.youtube.com/watch?v=UrkDYKwAN-o\">brutally honest\u003c/a> “Dilemma,” or jump in the pit for “St. Jimmy,” or sing along for the zillionth time to encore “Basket Case.” But what Green Day does is a thread, one that weaves from the Clash to the Replacements to Operation Ivy and onward to a thousand bands on sidewalks and in garages around the world. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So yeah — it was a show, but it was also a \u003cem>lineage\u003c/em>. I really wish you coulda seen it. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It wasn’t until we all shuffled down the stairs of the Fillmore, ears ringing from an epic two-hour Green Day set, sweat dripping off our shirts and the cold San Francisco night air hitting our bewildered faces, that I realized just what we’d all just witnessed. \u003c/p>\n\u003cp>After all, it’s not often that Green Day, who \u003ca href=\"https://greenday.com/tour\">headline a tour of huge baseball stadiums\u003c/a> later this summer, play a small show at a 1,300-capacity room like the Fillmore. Outside at the 8 p.m. showtime on Tuesday night, over a dozen people walked the sidewalk with hopeful signs: “Dad who needs 1 ticket,” “Name Your Price,” and “Help! Need a ticket to join my wife and 8-year-old stepson for the show… and it’s our wedding anniversary today! Please!!”\u003c/p>\n\u003cfigure id=\"attachment_13955324\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103.jpg\" alt=\"\" width=\"2560\" height=\"1920\" class=\"size-full wp-image-13955324\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Christian Williams from San Leandro was one of many hopefuls outside the Green Day show at the Fillmore in San Francisco on Tuesday, April 2, 2024. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those who did get in, however, were treated to two hours of the Bay Area’s greatest rock ‘n’ roll export (sorry, Metallica), and at one of the country’s best venues, no less.\u003c/p>\n\u003cp>Here’s what I can say definitively. In the past 35 years — starting in 1989, yeesh — I’ve seen Green Day at youth centers, warehouses, house parties, high schools and Rotary Club halls. And though they know how to rock a stadium just fine, they always thrive in small spaces, face-to-face with the crowd and making the tiniest room feel like the entire universe. \u003c/p>\n\u003cfigure id=\"attachment_13955319\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13955319\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Billie Joe Armstrong performs with Green Day at The Fillmore in San Francisco on Tuesday, April 2, 2024. \u003ccite>(Greg Schneider)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Fillmore show Tuesday night — a benefit for United Nations Human Rights climate justice initiatives and the Recording Academy’s MusiCares charity — was no exception. As Green Day \u003ca href=\"https://www.youtube.com/watch?v=Ecqil_eZgYs\">had announced\u003c/a> the day prior, they played the entirety of their new album \u003cem>Saviors\u003c/em>, and the entirety of their 2004 opus \u003cem>American Idiot\u003c/em>. Big, anthemic stuff. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But without needing to play to the nosebleed seats in Section 327 above third base, they were able to give focus to epic songs like “Jesus of Suburbia” and “Homecoming.” Dressed in a sport jacket and Cramps T-shirt, Billie Joe Armstrong didn’t have to engage in much rockstar cosplay — for a hometown crowd, he still felt like just plain Billie from Rodeo, who you might bump into at Winchell’s after the Corrupted Morals show at Gilman.\u003c/p>\n\u003cfigure id=\"attachment_13955317\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11.jpg\" alt=\"\" width=\"1280\" height=\"1920\" class=\"size-full wp-image-13955317\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Mike Dirnt performs with Green Day at The Fillmore in San Francisco on Tuesday, April 2, 2024. \u003ccite>(Greg Schneider)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What was evident onstage — what he and Mike and Tré have picked up along the way since those early days — is not only a tight musicianship bordering on the miraculous, but a thespian’s skill for selling their songs and connecting with an audience.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>During the \u003cem>Saviors\u003c/em> track “Bobby Sox,” a fan in the second row waved a bisexual flag in fervent recognition of \u003ca href=\"https://americansongwriter.com/billie-joe-armstrong-opens-up-about-being-a-bisexual-icon-discusses-green-days-new-anthem-bobby-sox/\">the song’s love-who-you-want themes\u003c/a>. For “Father to a Son,” echoes were present of Armstrong’s son’s opening band, Ultra Q. Acknowledging the upcoming election that nobody wants to think about, during “Letterbomb,” Billie interjected, “Whose finger do you want to be on the nuclear bomb?!”\u003c/p>\n\u003cp>These sorts of things might come off as corny if they weren’t so sincere. Singing the final lines of the West Contra Costa anthem “Jesus of Suburbia,” about running away from the pain of a broken home, Billie appeared to briefly lose his voice; it was soon apparent that he was instead choking back tears.\u003c/p>\n\u003cfigure id=\"attachment_13955318\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13955318\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Billie Joe Armstrong performs with Green Day at The Fillmore in San Francisco on Tuesday, April 2, 2024. \u003ccite>(Greg Schneider)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>This is how you do it\u003c/em>, Green Day seemed to say on Tuesday. \u003cem>Write songs about your turbulent life, find a supportive circle, stick with your convictions, play damn loud and sing even louder to anyone who’ll listen, in every city around the world, record an unrivaled catalog of songs, and then, when you’re too famous to do so, play at the Fillmore anyway, this place where you once \u003ca href=\"https://www.instagram.com/p/C5RvizvvnLI/\">saw the Replacements and the Church as a teenager and got stoned off a stranger’s joint\u003c/a>, and get out there on stage and scream from the monitors and leap unimaginably high into the air and play like your life depends on it because somewhere, out in the crowd, is another 15-year-old kid with disapproving parents who doesn’t fit in at school, and who needs the same thing you needed when you were baptized into the gospel of rock ‘n’ roll liberation. \u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13955322\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13955322\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Green Day performs at The Fillmore in San Francisco on Tuesday, April 2, 2024. \u003ccite>(Greg Schneider)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After the show, out on the Fillmore overcrossing above Geary, was living proof of those types of kids: \u003ca href=\"https://www.facebook.com/people/Mary-Jane-Mafia/100086618806194/\">Mary Jane Mafia\u003c/a>, a Green Day tribute band from Fremont playing a pop-up show of covers like “Walking Contradiction” and “2,000 Light Years Away” on the sidewalk to a dancing group of onlookers and a few bemused cops. \u003c/p>\n\u003cp>See, they didn’t get in. They didn’t get to hear Green Day play new songs that have no business being as good as they are, like the \u003ca href=\"https://www.youtube.com/watch?v=UrkDYKwAN-o\">brutally honest\u003c/a> “Dilemma,” or jump in the pit for “St. Jimmy,” or sing along for the zillionth time to encore “Basket Case.” But what Green Day does is a thread, one that weaves from the Clash to the Replacements to Operation Ivy and onward to a thousand bands on sidewalks and in garages around the world. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So yeah — it was a show, but it was also a \u003cem>lineage\u003c/em>. I really wish you coulda seen it. \u003c/p>\n\n\u003c/div>\u003c/p>",
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}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"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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"order": 3
},
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},
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"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
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"meta": {
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},
"link": "/radio/program/bbc-world-service",
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"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
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}
},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
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"id": "city-arts",
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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",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
"link": "/podcasts/closealltabs",
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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},
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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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.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
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