Legendary SF Punk Zine ‘Search & Destroy’ Finally Gets a Reprint
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In 1978, Napa’s State Psychiatric Hospital Hosted a Now-Legendary Punk Show
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Live Review: Green Day Plays 924 Gilman, Welcomed Back After 21 Years
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"title": "Legendary SF Punk Zine ‘Search & Destroy’ Finally Gets a Reprint",
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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>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>\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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"title": "A Preteen Punk Band From Mill Valley Takes on AI",
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"content": "\u003cp>On a rainy November Thursday, a familiar suburban scene is playing out in a Mill Valley basement: Three blonde boys are bashing away on guitar, bass and drums, working on a new song called “Mr. America.”\u003c/p>\n\u003cblockquote>\u003cp>You can’t call this the land of the free\u003cbr>\nIf you’re only free if you look like me\u003cbr>\nJustice is a joke and you can never win\u003cbr>\nYou can’t call this the home of the brave\u003cbr>\nToo many guns, too many graves\u003cbr>\nWe shouldn’t have to fear that the end is always near\u003c/p>\u003c/blockquote>\n\u003cp>Heady stuff from three kids who aren’t even close to being able to drive.\u003c/p>\n\u003cp>Knights of Molino are a new punk band composed of middle schoolers Erik and Tommy Birmingham, 11 and 13, and Rowan Campbell, 12. They recently reached moderate viral fame for another track in which they didn’t shy away from speaking their minds. In October, their scathing takedown of generative AI, “\u003ca href=\"https://www.tiktok.com/@knightsofmolino/video/7556750486297218335?_r=1&_t=ZT-91axRVdrNVn\">Take Back Control,\u003c/a>” went spinning across Bay Area and punk-rock TikTok. It’s currently at 240,000 views and 2,500 comments: definitely not Mr. Beast numbers, but pretty impressive when you consider none of them even are allowed on TikTok yet.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@knightsofmolino/video/7556750486297218335\" data-video-id=\"7556750486297218335\">\n\u003csection>\u003ca title=\"@knightsofmolino\" href=\"https://www.tiktok.com/@knightsofmolino?refer=embed\" target=\"_blank\" rel=\"noopener\">@knightsofmolino\u003c/a> TAKE BACK CONTROL – an original song we wrote about artificial intelligence in music and art. We are really proud of this song – please listen to the whole song and let us know what you think! \u003ca title=\"punk\" href=\"https://www.tiktok.com/tag/punk?refer=embed\" target=\"_blank\" rel=\"noopener\">#punk\u003c/a> \u003ca title=\"punkrock\" href=\"https://www.tiktok.com/tag/punkrock?refer=embed\" target=\"_blank\" rel=\"noopener\">#punkrock\u003c/a> \u003ca title=\"originalmusic\" href=\"https://www.tiktok.com/tag/originalmusic?refer=embed\" target=\"_blank\" rel=\"noopener\">#originalmusic\u003c/a> \u003ca title=\"teenband\" href=\"https://www.tiktok.com/tag/teenband?refer=embed\" target=\"_blank\" rel=\"noopener\">#teenband\u003c/a> \u003ca title=\"standupforwhatsright\" href=\"https://www.tiktok.com/tag/standupforwhatsright?refer=embed\" target=\"_blank\" rel=\"noopener\">#standupforwhatsright\u003c/a> \u003ca title=\"♬ original sound - Knights of Molino\" href=\"https://www.tiktok.com/music/original-sound-7556750494434102046?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – Knights of Molino\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>[tiktok]\u003c/p>\n\u003cp>But those interactions aren’t from their peers (at Mill Valley Middle School, rock is out and pop and rap are in, they say). They’re mostly from adults inspired to see young people picking up the Bay Area punk torch and rejecting the creep of technology. “AI is taking over the arts and it is vile,” agrees one comment. Another: “We need more of this human creativity and true punk.” More still are various versions of “the kids are alright.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Take Back Control” is just one of just a handful of songs Knights of Molino have written in their short career. The product of one of the Bay Area’s many rock-centric music programs, \u003ca href=\"https://www.wowmusicstudios.com/\">WOW Music Studios\u003c/a>, the band formed when Tommy and Erik started playing music, back when they were single-digit ages. During pandemic shutdowns, the brothers took online lessons, and within about a year Tommy was writing lyrics. They officially became Knights of Molino when they added Rowan last year.\u003c/p>\n\u003cfigure id=\"attachment_13983936\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983936\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-23-BL-KQED.jpg\" alt=\"Three young musicians sit on the couch and look into the camera. \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-23-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-23-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-23-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-23-BL-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Members of the punk rock band Knights of Molino pose for a photo at their practice in Mill Valley on Nov. 13, 2025. Members include (from left) Tommy, 11, on drums and vocals, Erik, 13, on guitar and vocals, and Rowan, 12, on bass. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was quickly apparent to their parents that these guys were good. \u003cem>Really\u003c/em> good. “They’ll do a song, and I’ll be like, ‘That’s amazing. That’s it. I mean, there’s no way they’ll be able to write another one,’” says Erik and Tommy’s dad, Gavin. “And then they’ll just write another one. And I’m like, how do you do this?…[And] you haven’t even started, like, living life yet.”\u003c/p>\n\u003cp>This summer, Knights of Molino started booking shows at venues and festivals even adults are trying to break into: Porchfest in San Rafael and San Francisco, Petaluma’s Phoenix Theatre and San Francisco’s Hotel Utah.\u003c/p>\n\u003cfigure id=\"attachment_13983935\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983935\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-15-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-15-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-15-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-15-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-15-BL-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Rowan, 12, practices with the punk rock band Knights of Molino in Mill Valley on Nov. 13, 2025. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then came “Take Back Control” and a deluge of attention. It wasn’t the first time they’d posted the video — “We always made a joke [that it was] the algorithm stopping it,” cracks Erik — but this time, TikTok surfaced it to the right crowd. “We look at the demographics … and it’s white men in their 50s; the original punks in the ’70s, ’80s and ’90s,” says Gavin.\u003c/p>\n\u003cp>“Take Back Control” comes at a time when people are starting to question AI’s integration into every aspect of daily life, from word-processing software to refrigerators. There’s been much \u003ca href=\"https://www.latimes.com/business/story/2025-11-20/is-there-ai-bubble-has-it-started-to-burst\">speculation in the media\u003c/a> recently about a potential \u003ca href=\"https://theconversation.com/is-the-ai-bubble-about-to-burst-what-to-watch-for-as-the-markets-wobble-270113\">AI bubble burst\u003c/a>. Locally, commuters on San Francisco streets have been \u003ca href=\"https://www.tiktok.com/@dj_dumpling/video/7571697217690520863\">puzzling\u003c/a> on social media about the \u003ca href=\"https://www.tiktok.com/@livinggoodwithjana/video/7573436537929469196\">nearly-nonsensical AI billboards\u003c/a> that dot the city’s landscape. [aside postid='arts_13982572']\u003c/p>\n\u003cp>Knights of Molino’s biggest concern is AI’s slow encroachment onto the very teenage endeavor of writing songs in your bedroom. \u003ca href=\"https://www.kqed.org/arts/13982572/ai-is-coming-for-the-music-industry-how-will-artists-adapt\">AI-created music is on the rise\u003c/a>, hitting Billboard charts and even cutting record deals. In a genre that prizes authenticity and earnestness, Knights of Molino see it as an affront to their creative process. “People have been creating music for like 40,000 years or something like that, and it’s just made to be created by humans,” says Rowan.\u003c/p>\n\u003cp>For the record, they’re not totally anti-AI (“It has [some] good uses,” admits Erik), but they’re increasingly horrified by its infiltration of music and the inability of many to discern it from the real thing. “The problem is not many people can recognize AI as fake,” Erik continues. “And I feel like that’s one of the reasons we made the song, [to] help people realize that AI’s stealing human thoughts and emotions, and, like, human hard work and time.”\u003c/p>\n\u003cfigure id=\"attachment_13983937\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983937\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-24-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-24-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-24-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-24-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-24-BL-KQED-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Lyrics sit on a music stand during a practice of the punk rock band Knights of Molino in Mill Valley on Nov. 13, 2025. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We put emotion and feeling, heart, experiences and all that into writing these songs. But when AI does it, it has nothing to go off of,” Tommy adds. “’Cause it’s not human. Robot on a screen. How is it supposed to connect with humans?”\u003c/p>\n\u003cp>Once again: They are 11, 12 and 13 years old.\u003c/p>\n\u003cp>But don’t mistake Knights of Molino’s existence for a “cute kid” story. They’re shockingly eloquent, sharply informed and, when it comes to running band practice the day of our interview, as put-together as many adults. (“It goes pre-chorus,” begins Erik as he demonstrates a new riff to Rowan. “I’ll count you in. It starts with the verse.”)\u003c/p>\n\u003cfigure id=\"attachment_13983932\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983932\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-01-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-01-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-01-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-01-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-01-BL-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Tommy, 11, plays drums during practice with the punk rock band Knights of Molino in Mill Valley on Nov. 13, 2025. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Their hard work and beyond-their-years professionalism is paying off: In January they’ll record their first EP at the recently-reopened \u003ca href=\"https://www.kqed.org/arts/12374448/running-the-record-plant-part-1-the-early-years\">Plant in Sausalito\u003c/a>. Yes, \u003cem>that\u003c/em> Plant, the place where Stevie Wonder, Fleetwood Mac and Huey Lewis and the News cut classic albums. They’re also in talks about booking a show at 924 Gilman, the legendary, all-ages punk venue in Berkeley. “Just, like, seeing that’s where Green Day got famous, and bands like that, I feel like that’d be a good next step,” says Erik, adding that Knights of Molino see themselves making music together for a long time. “Just playing as many shows as we can, just to get better.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>But that’s for later. After practice, Rowan and Tommy rush out the side door to go play on the trampoline. Erik has homework.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On a rainy November Thursday, a familiar suburban scene is playing out in a Mill Valley basement: Three blonde boys are bashing away on guitar, bass and drums, working on a new song called “Mr. America.”\u003c/p>\n\u003cblockquote>\u003cp>You can’t call this the land of the free\u003cbr>\nIf you’re only free if you look like me\u003cbr>\nJustice is a joke and you can never win\u003cbr>\nYou can’t call this the home of the brave\u003cbr>\nToo many guns, too many graves\u003cbr>\nWe shouldn’t have to fear that the end is always near\u003c/p>\u003c/blockquote>\n\u003cp>Heady stuff from three kids who aren’t even close to being able to drive.\u003c/p>\n\u003cp>Knights of Molino are a new punk band composed of middle schoolers Erik and Tommy Birmingham, 11 and 13, and Rowan Campbell, 12. They recently reached moderate viral fame for another track in which they didn’t shy away from speaking their minds. In October, their scathing takedown of generative AI, “\u003ca href=\"https://www.tiktok.com/@knightsofmolino/video/7556750486297218335?_r=1&_t=ZT-91axRVdrNVn\">Take Back Control,\u003c/a>” went spinning across Bay Area and punk-rock TikTok. It’s currently at 240,000 views and 2,500 comments: definitely not Mr. Beast numbers, but pretty impressive when you consider none of them even are allowed on TikTok yet.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@knightsofmolino/video/7556750486297218335\" data-video-id=\"7556750486297218335\">\n\u003csection>\u003ca title=\"@knightsofmolino\" href=\"https://www.tiktok.com/@knightsofmolino?refer=embed\" target=\"_blank\" rel=\"noopener\">@knightsofmolino\u003c/a> TAKE BACK CONTROL – an original song we wrote about artificial intelligence in music and art. We are really proud of this song – please listen to the whole song and let us know what you think! \u003ca title=\"punk\" href=\"https://www.tiktok.com/tag/punk?refer=embed\" target=\"_blank\" rel=\"noopener\">#punk\u003c/a> \u003ca title=\"punkrock\" href=\"https://www.tiktok.com/tag/punkrock?refer=embed\" target=\"_blank\" rel=\"noopener\">#punkrock\u003c/a> \u003ca title=\"originalmusic\" href=\"https://www.tiktok.com/tag/originalmusic?refer=embed\" target=\"_blank\" rel=\"noopener\">#originalmusic\u003c/a> \u003ca title=\"teenband\" href=\"https://www.tiktok.com/tag/teenband?refer=embed\" target=\"_blank\" rel=\"noopener\">#teenband\u003c/a> \u003ca title=\"standupforwhatsright\" href=\"https://www.tiktok.com/tag/standupforwhatsright?refer=embed\" target=\"_blank\" rel=\"noopener\">#standupforwhatsright\u003c/a> \u003ca title=\"♬ original sound - Knights of Molino\" href=\"https://www.tiktok.com/music/original-sound-7556750494434102046?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – Knights of Molino\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But those interactions aren’t from their peers (at Mill Valley Middle School, rock is out and pop and rap are in, they say). They’re mostly from adults inspired to see young people picking up the Bay Area punk torch and rejecting the creep of technology. “AI is taking over the arts and it is vile,” agrees one comment. Another: “We need more of this human creativity and true punk.” More still are various versions of “the kids are alright.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Take Back Control” is just one of just a handful of songs Knights of Molino have written in their short career. The product of one of the Bay Area’s many rock-centric music programs, \u003ca href=\"https://www.wowmusicstudios.com/\">WOW Music Studios\u003c/a>, the band formed when Tommy and Erik started playing music, back when they were single-digit ages. During pandemic shutdowns, the brothers took online lessons, and within about a year Tommy was writing lyrics. They officially became Knights of Molino when they added Rowan last year.\u003c/p>\n\u003cfigure id=\"attachment_13983936\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983936\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-23-BL-KQED.jpg\" alt=\"Three young musicians sit on the couch and look into the camera. \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-23-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-23-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-23-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-23-BL-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Members of the punk rock band Knights of Molino pose for a photo at their practice in Mill Valley on Nov. 13, 2025. Members include (from left) Tommy, 11, on drums and vocals, Erik, 13, on guitar and vocals, and Rowan, 12, on bass. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was quickly apparent to their parents that these guys were good. \u003cem>Really\u003c/em> good. “They’ll do a song, and I’ll be like, ‘That’s amazing. That’s it. I mean, there’s no way they’ll be able to write another one,’” says Erik and Tommy’s dad, Gavin. “And then they’ll just write another one. And I’m like, how do you do this?…[And] you haven’t even started, like, living life yet.”\u003c/p>\n\u003cp>This summer, Knights of Molino started booking shows at venues and festivals even adults are trying to break into: Porchfest in San Rafael and San Francisco, Petaluma’s Phoenix Theatre and San Francisco’s Hotel Utah.\u003c/p>\n\u003cfigure id=\"attachment_13983935\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983935\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-15-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-15-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-15-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-15-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-15-BL-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Rowan, 12, practices with the punk rock band Knights of Molino in Mill Valley on Nov. 13, 2025. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then came “Take Back Control” and a deluge of attention. It wasn’t the first time they’d posted the video — “We always made a joke [that it was] the algorithm stopping it,” cracks Erik — but this time, TikTok surfaced it to the right crowd. “We look at the demographics … and it’s white men in their 50s; the original punks in the ’70s, ’80s and ’90s,” says Gavin.\u003c/p>\n\u003cp>“Take Back Control” comes at a time when people are starting to question AI’s integration into every aspect of daily life, from word-processing software to refrigerators. There’s been much \u003ca href=\"https://www.latimes.com/business/story/2025-11-20/is-there-ai-bubble-has-it-started-to-burst\">speculation in the media\u003c/a> recently about a potential \u003ca href=\"https://theconversation.com/is-the-ai-bubble-about-to-burst-what-to-watch-for-as-the-markets-wobble-270113\">AI bubble burst\u003c/a>. Locally, commuters on San Francisco streets have been \u003ca href=\"https://www.tiktok.com/@dj_dumpling/video/7571697217690520863\">puzzling\u003c/a> on social media about the \u003ca href=\"https://www.tiktok.com/@livinggoodwithjana/video/7573436537929469196\">nearly-nonsensical AI billboards\u003c/a> that dot the city’s landscape. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Knights of Molino’s biggest concern is AI’s slow encroachment onto the very teenage endeavor of writing songs in your bedroom. \u003ca href=\"https://www.kqed.org/arts/13982572/ai-is-coming-for-the-music-industry-how-will-artists-adapt\">AI-created music is on the rise\u003c/a>, hitting Billboard charts and even cutting record deals. In a genre that prizes authenticity and earnestness, Knights of Molino see it as an affront to their creative process. “People have been creating music for like 40,000 years or something like that, and it’s just made to be created by humans,” says Rowan.\u003c/p>\n\u003cp>For the record, they’re not totally anti-AI (“It has [some] good uses,” admits Erik), but they’re increasingly horrified by its infiltration of music and the inability of many to discern it from the real thing. “The problem is not many people can recognize AI as fake,” Erik continues. “And I feel like that’s one of the reasons we made the song, [to] help people realize that AI’s stealing human thoughts and emotions, and, like, human hard work and time.”\u003c/p>\n\u003cfigure id=\"attachment_13983937\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983937\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-24-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-24-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-24-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-24-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-24-BL-KQED-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Lyrics sit on a music stand during a practice of the punk rock band Knights of Molino in Mill Valley on Nov. 13, 2025. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We put emotion and feeling, heart, experiences and all that into writing these songs. But when AI does it, it has nothing to go off of,” Tommy adds. “’Cause it’s not human. Robot on a screen. How is it supposed to connect with humans?”\u003c/p>\n\u003cp>Once again: They are 11, 12 and 13 years old.\u003c/p>\n\u003cp>But don’t mistake Knights of Molino’s existence for a “cute kid” story. They’re shockingly eloquent, sharply informed and, when it comes to running band practice the day of our interview, as put-together as many adults. (“It goes pre-chorus,” begins Erik as he demonstrates a new riff to Rowan. “I’ll count you in. It starts with the verse.”)\u003c/p>\n\u003cfigure id=\"attachment_13983932\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983932\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-01-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-01-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-01-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-01-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/251113-KNIGHTSOFMOLINO-01-BL-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Tommy, 11, plays drums during practice with the punk rock band Knights of Molino in Mill Valley on Nov. 13, 2025. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Their hard work and beyond-their-years professionalism is paying off: In January they’ll record their first EP at the recently-reopened \u003ca href=\"https://www.kqed.org/arts/12374448/running-the-record-plant-part-1-the-early-years\">Plant in Sausalito\u003c/a>. Yes, \u003cem>that\u003c/em> Plant, the place where Stevie Wonder, Fleetwood Mac and Huey Lewis and the News cut classic albums. They’re also in talks about booking a show at 924 Gilman, the legendary, all-ages punk venue in Berkeley. “Just, like, seeing that’s where Green Day got famous, and bands like that, I feel like that’d be a good next step,” says Erik, adding that Knights of Molino see themselves making music together for a long time. “Just playing as many shows as we can, just to get better.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But that’s for later. After practice, Rowan and Tommy rush out the side door to go play on the trampoline. Erik has homework.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "New Collages by Winston Smith Continue His Mission to Hack Up Capitalism",
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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>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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"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>\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>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>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>\u003c/p>\u003c/div>",
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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>\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>\u003c/p>\u003c/div>",
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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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"slug": "raymond-pettibon-auction-black-flag-fliers-punk-rock-ephemera-fab-mab-on-broadway",
"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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"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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"title": "Live Review: Green Day Plays 924 Gilman, Welcomed Back After 21 Years",
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"content": "\u003cp>“So, we come from this place called Gilman Street. It’s a club. It’s in Berkeley.”\u003c/p>\n\u003cp>That’s how Billie Joe Armstrong characterized his band in \u003ca href=\"http://www.rollingstone.com/music/news/green-day-thank-vans-fans-rock-roll-at-hall-of-fame-read-the-speech-20150418?page=5\" target=\"_blank\" rel=\"noopener\">a speech for Green Day’s induction into the Rock ‘n’ Roll Hall of Fame\u003c/a> last month. And last night, in an incredible, nearly two-hour set for less than a few hundred people, Green Day made a historic return to the stage at \u003ca href=\"http://www.924gilman.org/\" target=\"_blank\" rel=\"noopener\">924 Gilman\u003c/a> — the all-ages, non-profit club that famously served as the band’s early home.\u003c/p>\n\u003cp>Before set opener “99 Revolutions,” Armstrong reiterated what he’s said over and over again about the venue: “I really think of this place as a very important place to me,” he \u003ca href=\"https://www.youtube.com/watch?v=_1xQw8PHylw\" target=\"_blank\" rel=\"noopener\">intoned from the stage\u003c/a>, “and it’s in my heart forever.” (Earlier, bassist Mike Dirnt \u003ca href=\"https://instagram.com/p/2zQrP4NyyS/\" target=\"_blank\" rel=\"noopener\">referred to Gilman as “church.”\u003c/a>)\u003c/p>\n\u003cfigure id=\"attachment_10669570\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/GreenDayInline1.jpg\" alt=\"Green Day at 924 Gilman\" width=\"640\" height=\"457\" class=\"size-full wp-image-10669570\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/GreenDayInline1.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/GreenDayInline1-400x286.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Green Day at 924 Gilman, May 17, 2015. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And so Green Day’s set last night was more than just an ordinary show. Introduced by \u003ca href=\"http://en.wikipedia.org/wiki/Jello_Biafra\" target=\"_blank\" rel=\"noopener\">Jello Biafra\u003c/a>, the band played a marathon setlist with plenty early material befitting the venue — deep cuts like “Paper Lanterns,” “2,000 Light Years Away,” “Only of You,” “Private Ale” and “Christie Road.” They brought up Tim Armstrong from Rancid for \u003ca href=\"https://instagram.com/p/2z4LUUSSbe/\" target=\"_blank\" rel=\"noopener\">a faithful version of “Knowledge”\u003c/a> by Operation Ivy. They joked with the crowd and each other, they extended the microphone to let a few of the many crowdsurfers sing, they swapped articles of clothing with fans, and left everyone inside the small room with shirts drenched in sweat and ears ringing.\u003c/p>\n\u003cp>In other words, it was pretty much like a typical Green Day show at Gilman in 1993. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9nZz_Za4vW8\u003c/p>\n\u003cp>Green Day playing at Gilman is special. It’s like Springsteen playing the Stone Pony. It’s like the Ramones playing CBGB. Except for one key difference: because of 924 Gilman’s longstanding ban on major-label bands, Green Day hasn’t been allowed to play the one place most dear to their hearts for the past 21 years. They’ve talked about it in interviews, they’ve \u003ca href=\"https://www.youtube.com/watch?v=OCOfynekLvs\" target=\"_blank\" rel=\"noopener\">written songs\u003c/a> about it, and they’ve no doubt felt stung by it.\u003c/p>\n\u003cp>In fact, early in the night, I happened to be standing by Gilman’s side door and witnessed Tré Cool denied admittance by a large security guard, who didn’t recognize him and slammed the door in the drummer’s face for not having a wristband for the show. Yes, it was funny (“I just got dicked! Did you see that?” he exclaimed to those nearby, chuckling at the scene), but it was also a metaphor for how the club has treated its most famous alumni for the last two decades.\u003c/p>\n\u003cp>Last night was different — the show was a benefit for those affected by \u003ca href=\"http://ww2.kqed.org/news/2015/04/07/weeks-later-fatal-fire-in-west-oakland-still-hurts/\" target=\"_blank\" rel=\"noopener\">the March 21 fire in West Oakland\u003c/a> that killed two residents, displaced 34 others, and severely damaged both \u003ca href=\"http://www.akpress.org/\" target=\"_blank\" rel=\"noopener\">AK Press\u003c/a> and \u003ca href=\"http://www.1984printing.com/\" target=\"_blank\" rel=\"noopener\">1984 Printing\u003c/a>, publishing and printing companies well-known and loved in the punk scene. The membership of 924 Gilman voted to make a one-time exemption to the major-label ban for the benefit (a vote that “didn’t seem very controversial to the membership,” as Jesse Townley, long involved with the club, told me last night), and it was agreed that Green Day could play, billed as “Special Guests.”\u003c/p>\n\u003cp>Of course, word got out on who the special guests were. So when tickets went on sale, at $20 each, they were gone in under 10 seconds. \u003ca href=\"https://www.facebook.com/events/1589768671240089\" target=\"_blank\" rel=\"noopener\">Speculation swirled\u003c/a> that the tickets had been bought by bots created by Silicon Valley developers, and that the show might be full of tech bros.\u003c/p>\n\u003cfigure id=\"attachment_10669571\" class=\"wp-caption aligncenter\" style=\"max-width: 457px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/GreenDayInline2.jpg\" alt=\"Billie Joe Armstrong of Green Day at 924 Gilman\" width=\"457\" height=\"640\" class=\"size-full wp-image-10669571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/GreenDayInline2.jpg 457w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/GreenDayInline2-400x560.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/GreenDayInline2-428x600.jpg 428w\" sizes=\"(max-width: 457px) 100vw, 457px\">\u003cfigcaption class=\"wp-caption-text\">Billie Joe Armstrong of Green Day at 924 Gilman, May 17, 2015. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But no — it was still the classic Gilman atmosphere, with the crowd goofily chanting “Nick-el-back! Nick-el-back!” before Green Day went on. Gilman history was represented, too, in the opening bands. \u003ca href=\"http://bobbyjoeebola.com/\" target=\"_blank\" rel=\"noopener\">Bobby Joe Ebola and the Children MacNuggits\u003c/a> featured \u003ca href=\"http://en.wikipedia.org/wiki/Operation_Ivy_%28band%29\" target=\"_blank\" rel=\"noopener\">Operation Ivy\u003c/a>’s Dave Mello on drums, and a reunited \u003ca href=\"http://www.punknews.org/review/1251/the-enemies-seize-the-day\" target=\"_blank\" rel=\"noopener\">Enemies\u003c/a> had \u003ca href=\"http://en.wikipedia.org/wiki/Neurosis_%28band%29\" target=\"_blank\" rel=\"noopener\">Neurosis\u003c/a>’ Dave Edwardson on bass; both bands had plenty of fans singing along. Behind me in line to get inside was Richie Bucher, the artist, \u003ca href=\"https://www.youtube.com/watch?v=_J6ba-v_QgY\" target=\"_blank\" rel=\"noopener\">musician\u003c/a> and \u003ca href=\"http://en.wikipedia.org/wiki/Aaron_Cometbus\" target=\"_blank\" rel=\"noopener\">\u003cem>Cometbus\u003c/em>\u003c/a> regular who illustrated \u003ca href=\"http://www.wweek.com/portland/article-22020-where%E2%80%99s_angu.html\" target=\"_blank\" rel=\"noopener\">the iconic cover\u003c/a> of Green Day’s best-known album, \u003cem>Dookie\u003c/em>. And in the crowd, as Armstrong noted between songs, there were far more punks with mohawks than there ever were at the band’s Gilman shows in the early 1990s. \u003c/p>\n\u003cp>Armstrong also pinpointed the exact last show Green Day played at Gilman: “Sept. 6, 1993,” rattling it off like a memorized date from history class (and also commented that \u003ca href=\"https://www.youtube.com/watch?v=uABXKwkYiLI&list=PL46D56D34AAAEE875\" target=\"_blank\" rel=\"noopener\">Green Day hopping onstage in 2001\u003c/a> to do some songs on another band’s equipment “didn’t really count”). And although Armstrong \u003ca href=\"http://citysound.bohemian.com/2008/02/11/pinhead-gunpowder-at-gilman-street/\" target=\"_blank\" rel=\"noopener\">has played Gilman\u003c/a> twice with his other band Pinhead Gunpowder since then, last night truly was a different kind of homecoming.\u003c/p>\n\u003cp>Indeed, during the show’s closing block of \u003cem>American Idiot\u003c/em> songs — culminating in the epic “Jesus of Suburbia,” which Armstrong dedicated to everyone in West Contra Costa County — it seemed a given they’d play that Grammy-winning album’s “Homecoming,” which ends with the repeated refrain: “Home / We’re coming home again.”\u003c/p>\n\u003cp>Instead, they encored with “Minority,” slapped some high-fives to the crowd, jumped off the stage and out the side door, and piled into a black minivan with tinted windows and drove away. Ever to return? Time will tell, especially with the club’s \u003ca href=\"http://www.helpgilman.org/\" target=\"_blank\" rel=\"noopener\">fundraising efforts\u003c/a> and \u003ca href=\"http://www.eastbayexpress.com/oakland/924-gilman-streets-alumni-donor-retention-program/Content?oid=4278773\" target=\"_blank\" rel=\"noopener\">current negotiations about the future of the building\u003c/a>.\u003c/p>\n\u003cp>But for Green Day — the prodigal sons of 924 Gilman — and for the few hundred people there to witness their return, it was a night to remember indeed.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>Setlist:\u003c/strong>\u003c/p>\n\u003cp>99 Revolutions\u003cbr>\nHoliday\u003cbr>\nKnow Your Enemy\u003cbr>\nWelcome to Paradise\u003cbr>\n2,000 Light Years Away\u003cbr>\nPrivate Ale\u003cbr>\nChristie Road\u003cbr>\nPaper Lanterns\u003cbr>\nOnly of You\u003cbr>\nStuart and the Ave.\u003cbr>\nShe\u003cbr>\nGoing To Pasalacqua\u003cbr>\nBurnout\u003cbr>\nLongview\u003cbr>\nBasketcase\u003cbr>\nWhen I Come Around\u003cbr>\nAre We The Waiting\u003cbr>\nSt. Jimmy\u003cbr>\nAmerican Idiot\u003cbr>\nJesus Of Suburbia\u003cbr>\n–\u003cbr>\nMinority\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>Benefit Info.:\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://www.gofundme.com/akpressfire\" target=\"_blank\" rel=\"noopener\">Fire Relief for AK Press\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://www.gofundme.com/1984printing\" target=\"_blank\" rel=\"noopener\">Fire Relief for 1984 Printing\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://www.gofundme.com/shipwreckoakland\" target=\"_blank\" rel=\"noopener\">Fire Relief for Shipwreck Studios\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.helpgilman.org/\" target=\"_blank\" rel=\"noopener\">Fundraising for 924 Gilman\u003c/a>\u003c/p>\n\n",
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"excerpt": "With the club's ban on major-label bands lifted for one night, Green Day returned to their early stomping grounds for a nearly two-hour set to benefit those affected by the recent West Oakland fire.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“So, we come from this place called Gilman Street. It’s a club. It’s in Berkeley.”\u003c/p>\n\u003cp>That’s how Billie Joe Armstrong characterized his band in \u003ca href=\"http://www.rollingstone.com/music/news/green-day-thank-vans-fans-rock-roll-at-hall-of-fame-read-the-speech-20150418?page=5\" target=\"_blank\" rel=\"noopener\">a speech for Green Day’s induction into the Rock ‘n’ Roll Hall of Fame\u003c/a> last month. And last night, in an incredible, nearly two-hour set for less than a few hundred people, Green Day made a historic return to the stage at \u003ca href=\"http://www.924gilman.org/\" target=\"_blank\" rel=\"noopener\">924 Gilman\u003c/a> — the all-ages, non-profit club that famously served as the band’s early home.\u003c/p>\n\u003cp>Before set opener “99 Revolutions,” Armstrong reiterated what he’s said over and over again about the venue: “I really think of this place as a very important place to me,” he \u003ca href=\"https://www.youtube.com/watch?v=_1xQw8PHylw\" target=\"_blank\" rel=\"noopener\">intoned from the stage\u003c/a>, “and it’s in my heart forever.” (Earlier, bassist Mike Dirnt \u003ca href=\"https://instagram.com/p/2zQrP4NyyS/\" target=\"_blank\" rel=\"noopener\">referred to Gilman as “church.”\u003c/a>)\u003c/p>\n\u003cfigure id=\"attachment_10669570\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/GreenDayInline1.jpg\" alt=\"Green Day at 924 Gilman\" width=\"640\" height=\"457\" class=\"size-full wp-image-10669570\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/GreenDayInline1.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/GreenDayInline1-400x286.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Green Day at 924 Gilman, May 17, 2015. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And so Green Day’s set last night was more than just an ordinary show. Introduced by \u003ca href=\"http://en.wikipedia.org/wiki/Jello_Biafra\" target=\"_blank\" rel=\"noopener\">Jello Biafra\u003c/a>, the band played a marathon setlist with plenty early material befitting the venue — deep cuts like “Paper Lanterns,” “2,000 Light Years Away,” “Only of You,” “Private Ale” and “Christie Road.” They brought up Tim Armstrong from Rancid for \u003ca href=\"https://instagram.com/p/2z4LUUSSbe/\" target=\"_blank\" rel=\"noopener\">a faithful version of “Knowledge”\u003c/a> by Operation Ivy. They joked with the crowd and each other, they extended the microphone to let a few of the many crowdsurfers sing, they swapped articles of clothing with fans, and left everyone inside the small room with shirts drenched in sweat and ears ringing.\u003c/p>\n\u003cp>In other words, it was pretty much like a typical Green Day show at Gilman in 1993. \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/9nZz_Za4vW8'\n title='//www.youtube.com/embed/9nZz_Za4vW8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Green Day playing at Gilman is special. It’s like Springsteen playing the Stone Pony. It’s like the Ramones playing CBGB. Except for one key difference: because of 924 Gilman’s longstanding ban on major-label bands, Green Day hasn’t been allowed to play the one place most dear to their hearts for the past 21 years. They’ve talked about it in interviews, they’ve \u003ca href=\"https://www.youtube.com/watch?v=OCOfynekLvs\" target=\"_blank\" rel=\"noopener\">written songs\u003c/a> about it, and they’ve no doubt felt stung by it.\u003c/p>\n\u003cp>In fact, early in the night, I happened to be standing by Gilman’s side door and witnessed Tré Cool denied admittance by a large security guard, who didn’t recognize him and slammed the door in the drummer’s face for not having a wristband for the show. Yes, it was funny (“I just got dicked! Did you see that?” he exclaimed to those nearby, chuckling at the scene), but it was also a metaphor for how the club has treated its most famous alumni for the last two decades.\u003c/p>\n\u003cp>Last night was different — the show was a benefit for those affected by \u003ca href=\"http://ww2.kqed.org/news/2015/04/07/weeks-later-fatal-fire-in-west-oakland-still-hurts/\" target=\"_blank\" rel=\"noopener\">the March 21 fire in West Oakland\u003c/a> that killed two residents, displaced 34 others, and severely damaged both \u003ca href=\"http://www.akpress.org/\" target=\"_blank\" rel=\"noopener\">AK Press\u003c/a> and \u003ca href=\"http://www.1984printing.com/\" target=\"_blank\" rel=\"noopener\">1984 Printing\u003c/a>, publishing and printing companies well-known and loved in the punk scene. The membership of 924 Gilman voted to make a one-time exemption to the major-label ban for the benefit (a vote that “didn’t seem very controversial to the membership,” as Jesse Townley, long involved with the club, told me last night), and it was agreed that Green Day could play, billed as “Special Guests.”\u003c/p>\n\u003cp>Of course, word got out on who the special guests were. So when tickets went on sale, at $20 each, they were gone in under 10 seconds. \u003ca href=\"https://www.facebook.com/events/1589768671240089\" target=\"_blank\" rel=\"noopener\">Speculation swirled\u003c/a> that the tickets had been bought by bots created by Silicon Valley developers, and that the show might be full of tech bros.\u003c/p>\n\u003cfigure id=\"attachment_10669571\" class=\"wp-caption aligncenter\" style=\"max-width: 457px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/GreenDayInline2.jpg\" alt=\"Billie Joe Armstrong of Green Day at 924 Gilman\" width=\"457\" height=\"640\" class=\"size-full wp-image-10669571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/GreenDayInline2.jpg 457w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/GreenDayInline2-400x560.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/GreenDayInline2-428x600.jpg 428w\" sizes=\"(max-width: 457px) 100vw, 457px\">\u003cfigcaption class=\"wp-caption-text\">Billie Joe Armstrong of Green Day at 924 Gilman, May 17, 2015. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But no — it was still the classic Gilman atmosphere, with the crowd goofily chanting “Nick-el-back! Nick-el-back!” before Green Day went on. Gilman history was represented, too, in the opening bands. \u003ca href=\"http://bobbyjoeebola.com/\" target=\"_blank\" rel=\"noopener\">Bobby Joe Ebola and the Children MacNuggits\u003c/a> featured \u003ca href=\"http://en.wikipedia.org/wiki/Operation_Ivy_%28band%29\" target=\"_blank\" rel=\"noopener\">Operation Ivy\u003c/a>’s Dave Mello on drums, and a reunited \u003ca href=\"http://www.punknews.org/review/1251/the-enemies-seize-the-day\" target=\"_blank\" rel=\"noopener\">Enemies\u003c/a> had \u003ca href=\"http://en.wikipedia.org/wiki/Neurosis_%28band%29\" target=\"_blank\" rel=\"noopener\">Neurosis\u003c/a>’ Dave Edwardson on bass; both bands had plenty of fans singing along. Behind me in line to get inside was Richie Bucher, the artist, \u003ca href=\"https://www.youtube.com/watch?v=_J6ba-v_QgY\" target=\"_blank\" rel=\"noopener\">musician\u003c/a> and \u003ca href=\"http://en.wikipedia.org/wiki/Aaron_Cometbus\" target=\"_blank\" rel=\"noopener\">\u003cem>Cometbus\u003c/em>\u003c/a> regular who illustrated \u003ca href=\"http://www.wweek.com/portland/article-22020-where%E2%80%99s_angu.html\" target=\"_blank\" rel=\"noopener\">the iconic cover\u003c/a> of Green Day’s best-known album, \u003cem>Dookie\u003c/em>. And in the crowd, as Armstrong noted between songs, there were far more punks with mohawks than there ever were at the band’s Gilman shows in the early 1990s. \u003c/p>\n\u003cp>Armstrong also pinpointed the exact last show Green Day played at Gilman: “Sept. 6, 1993,” rattling it off like a memorized date from history class (and also commented that \u003ca href=\"https://www.youtube.com/watch?v=uABXKwkYiLI&list=PL46D56D34AAAEE875\" target=\"_blank\" rel=\"noopener\">Green Day hopping onstage in 2001\u003c/a> to do some songs on another band’s equipment “didn’t really count”). And although Armstrong \u003ca href=\"http://citysound.bohemian.com/2008/02/11/pinhead-gunpowder-at-gilman-street/\" target=\"_blank\" rel=\"noopener\">has played Gilman\u003c/a> twice with his other band Pinhead Gunpowder since then, last night truly was a different kind of homecoming.\u003c/p>\n\u003cp>Indeed, during the show’s closing block of \u003cem>American Idiot\u003c/em> songs — culminating in the epic “Jesus of Suburbia,” which Armstrong dedicated to everyone in West Contra Costa County — it seemed a given they’d play that Grammy-winning album’s “Homecoming,” which ends with the repeated refrain: “Home / We’re coming home again.”\u003c/p>\n\u003cp>Instead, they encored with “Minority,” slapped some high-fives to the crowd, jumped off the stage and out the side door, and piled into a black minivan with tinted windows and drove away. Ever to return? Time will tell, especially with the club’s \u003ca href=\"http://www.helpgilman.org/\" target=\"_blank\" rel=\"noopener\">fundraising efforts\u003c/a> and \u003ca href=\"http://www.eastbayexpress.com/oakland/924-gilman-streets-alumni-donor-retention-program/Content?oid=4278773\" target=\"_blank\" rel=\"noopener\">current negotiations about the future of the building\u003c/a>.\u003c/p>\n\u003cp>But for Green Day — the prodigal sons of 924 Gilman — and for the few hundred people there to witness their return, it was a night to remember indeed.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>Setlist:\u003c/strong>\u003c/p>\n\u003cp>99 Revolutions\u003cbr>\nHoliday\u003cbr>\nKnow Your Enemy\u003cbr>\nWelcome to Paradise\u003cbr>\n2,000 Light Years Away\u003cbr>\nPrivate Ale\u003cbr>\nChristie Road\u003cbr>\nPaper Lanterns\u003cbr>\nOnly of You\u003cbr>\nStuart and the Ave.\u003cbr>\nShe\u003cbr>\nGoing To Pasalacqua\u003cbr>\nBurnout\u003cbr>\nLongview\u003cbr>\nBasketcase\u003cbr>\nWhen I Come Around\u003cbr>\nAre We The Waiting\u003cbr>\nSt. Jimmy\u003cbr>\nAmerican Idiot\u003cbr>\nJesus Of Suburbia\u003cbr>\n–\u003cbr>\nMinority\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>Benefit Info.:\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://www.gofundme.com/akpressfire\" target=\"_blank\" rel=\"noopener\">Fire Relief for AK Press\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://www.gofundme.com/1984printing\" target=\"_blank\" rel=\"noopener\">Fire Relief for 1984 Printing\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://www.gofundme.com/shipwreckoakland\" target=\"_blank\" rel=\"noopener\">Fire Relief for Shipwreck Studios\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.helpgilman.org/\" target=\"_blank\" rel=\"noopener\">Fundraising for 924 Gilman\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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"reveal": {
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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