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"content": "\u003cfigure id=\"attachment_13979219\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979219\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-10-KQED.jpg\" alt=\"A man in his 50s wearing a polo shirt and beige shorts sits at a cluttered desk, his arm leaned upon a vintage analog tape machine\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-10-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-10-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-10-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-10-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shayne Stacy, founder of the Sacramento Music Archive, works among his collection of analog recordings of concert videos and cassettes in Orangevale, Calif. on July 24, 2025. Stacy has spent years digitizing underground music from Sacramento, the Bay Area and across Northern California, making rare recordings freely accessible online. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a suburban backyard outside of \u003ca href=\"https://www.kqed.org/arts/tag/sacramento\">Sacramento\u003c/a>, I open the door to a giant shed, step inside and get smacked in the face by floor-to-ceiling shelves of music history.\u003c/p>\n\u003cp>VHS tapes. Cassette tapes. Reel-to-reels. DATs. Other formats I don’t recognize, and can’t pronounce. Nearly 20,000 of them, all filled with live shows, demo recordings and concert footage.\u003c/p>\n\u003cp>Down a narrow path through this obsolete physical media, I turn a corner to find Shayne Stacy, 57, sitting at a desk with three monitors and occasionally fiddling with a nearby U-matic machine, an out-of-date piece of video hardware used by TV stations. On the screen, viewed for the first time in 40 years, is a 1980s new wave band performing on a long-lost cable access show from the Central Valley.\u003c/p>\n\u003cp>On any given day, this is where you’ll find Stacy, the founder of the nonprofit \u003ca href=\"https://sacramentomusicarchive.com/\">Sacramento Music Archive\u003c/a>. Just a half-hour’s drive from Sutter’s Mill and its famous California discovery, Stacy tends methodically to his own goldmine: a mass of underground music from Sacramento, the Bay Area and beyond that he’s gradually digitizing and sharing with the world, including rare \u003ca href=\"https://sacramentomusicarchive.com/1990/02/12/nirvana-cattle-club-sacramento-ca-02-12-1990-2-cam-mix/\">early footage of Nirvana\u003c/a>, \u003ca href=\"https://sacramentomusicarchive.com/1994/07/23/metallica-cal-expo-amphitheatre-sacramento-ca-7-23-94-xfer-from-master-tape-enhanced-live/\">Metallica\u003c/a> and \u003ca href=\"https://sacramentomusicarchive.com/1991/10/03/green-day-berkeley-square-10-3-91-xfer-from-master-vhs-tape-complete-show-enhanced/\">Green Day\u003c/a>.\u003c/p>\n\u003cp>“You’d think it’s like this big rock and roll party in here. It’s like this. It’s very quiet, with me working at a keyboard,” Stacy says with a laugh.\u003c/p>\n\u003cfigure id=\"attachment_13979226\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979226\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SacramentoMusicArchive-18_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SacramentoMusicArchive-18_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SacramentoMusicArchive-18_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SacramentoMusicArchive-18_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SacramentoMusicArchive-18_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Sacramento Music Archive began with Shayne Stacy’s own concert recordings of Nirvana, Yo La Tengo, Green Day, Christ on Parade and more, as pictured in Orangevale, Calif. on July 24, 2025. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I first became aware of Stacy’s work during the pandemic, when I noticed people posting video footage of punk shows held 30 years ago that I’d attended, or, even more irresistible, that I’d heard about but been too young to see. I soon found that for those of a certain age and musical bent, scrolling the Sacramento Music Archive was like watching one’s life flash before their eyes: a young \u003ca href=\"https://sacramentomusicarchive.com/1993/05/28/rancid-berkeley-square-berkeley-ca-5-28-93-xfer-from-vhs-c-master-punk-partial-set/\">Rancid finding their footing at Berkeley Square\u003c/a>, \u003ca href=\"https://youtu.be/NxQGByCjPdI?feature=shared&t=484\">Mr. Bungle covering Top 40 radio hits from 1989\u003c/a> in Guerneville, or \u003cem>Maximum Rocknroll\u003c/em> founder \u003ca href=\"https://youtu.be/Pb5X2LrTpjs?feature=shared&t=385\">Tim Yohannon throwing pies at Screeching Weasel\u003c/a> at 924 Gilman.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As for shows that had been uploaded before, like \u003ca href=\"https://sacramentomusicarchive.com/1989/05/28/operation-ivy-924-gilman-berkeley-ca-5-28-89-multicam-w-sony-d6-audio/\">Operation Ivy’s final show\u003c/a>? Stacy consistently seemed to have the best sources, and sometimes from multiple camera angles, too. What’s more, he had over 5,000 shows from all over Northern California from the past 50 years, by punk, metal, modern rock, funk, thrash and indie bands — famous names and obscure footnotes alike. And, remarkably, it was evident he still went out to shows, and filmed new bands.\u003c/p>\n\u003cp>Who was this one-man Library of Congress for West Coast Gen Xers? I had to find out.\u003c/p>\n\u003ch2>Preserving punk history\u003c/h2>\n\u003cp>Born in Auburn in 1967, Stacy had a typical 1970s childhood of watching \u003cem>Scooby Doo\u003c/em> and collecting sports cards. When he was 15, he went by himself to see Iron Maiden and the Scorpions at the Sacramento Memorial Stadium, in 1982, and he still remembers its impact. “As soon as I felt that sound pressure hitting my chest, I’m like, ‘This is the best thing I’ve ever seen,’” he says.\u003c/p>\n\u003cfigure id=\"attachment_13979223\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979223\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-24-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-24-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-24-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-24-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-24-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The boxes of VHS tapes, reel-to-reels and cassettes at the Sacramento Music Archive may seem haphazardly organized, but Shayne Stacy keeps a reliable mental inventory of each tapes’ location. Particularly valuable masters are kept in a 1,000-lb. fire-resistant safe. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Bay Area was a cradle of \u003ca href=\"https://www.kqed.org/arts/10834160/five-of-the-bay-areas-raddest-metal-bands-from-the-80s\">thrash metal\u003c/a> at the time, with bands like Exodus, Possessed and Metallica just starting out. Soon, Stacy was bringing cheap tape recorders to shows, and sharing the results with other fans who traded tapes through the classifieds in the backs of fan magazines. In 1987, after witnessing the El Sobrante punk band Isocracy, who routinely threw heaps of garbage all over the crowd, Stacy had an epiphany.\u003c/p>\n\u003cp>“There’s paper all over the floor, and it’s just a chaotic environment, and I said to myself, ‘I have to buy a video camera to document this stuff,’” Stacy remembers. “I stopped all of my excess expenditures, making five bucks an hour, and saved for four months to buy my own video camera.”\u003c/p>\n\u003cp>Between 1988 and 1992, Stacy estimates, he filmed 240 shows, driving to venues in Sacramento or the Bay Area every weekend. Trading with others through the mail, he amassed even more tapes. But there was a downside: he began seeing his own footage, of shows by \u003ca href=\"https://sacramentomusicarchive.com/1989/08/26/primus-cattle-club-sacramento-ca-8-26-89-xfer-from-8mm-master-live-enhanced/\">Primus\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=KVvJQfgRl7o\">Nirvana\u003c/a> playing at the Cattle Club in Sacramento, bootlegged and sold by others for profit.\u003c/p>\n\u003cp>“It was like, no fun anymore,” Stacy says. “This was supposed to be a hobby I enjoyed, and it turned into this point of frustration. And so I quit. I quit for 10 years.”\u003c/p>\n\u003cfigure id=\"attachment_13979222\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979222\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-22-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-22-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-22-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-22-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-22-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shayne Stacy started out recording metal bands, and once lost a valuable tape of him and a friend hanging out with Slayer backstage in 1988 at The Stone in San Francisco. Miraculously, thanks to the tape-trading circuit, he \u003ca href=\"https://sacramentomusicarchive.com/1988/08/12/slayer-backstage-the-stone-san-francisco-ca-8-12-88/\">got his hands on a copy of it again\u003c/a>. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>YouTube brought him back. Stacy says it “liberated” everything: the fans didn’t have to pay $30 for a grainy VHS tape anymore, the copyright holders got paid — not enough, but something — and he got to enjoy his hobby again. He rushed out and bought the best cassette decks and VCRs he could find, and got to work.\u003c/p>\n\u003cp>One person who noticed the quality of Stacy’s work early on is Wayne Vanderkuil. “I work at Stanford in visual preservation, reformatting, and he had similar equipment to what we have here,” Vanderkuil says. “I was incredibly impressed.”\u003c/p>\n\u003cp>During the tape-trading days, Vanderkuil amassed his own collection of metal bands playing at Ruthie’s Inn, Wolfgang’s or the On Broadway. They sat in storage for 25 years, untouched, he says. “I thought, ‘No one’s ever gonna hear these. I’ll drop dead tomorrow, and there goes history.’”\u003c/p>\n\u003cp>Instead, he donated his tapes to Stacy. Vanderkuil is now president of the board of the Sacramento Music Archive, newly incorporated as a nonprofit, which will allow Stacy — who worked at Intel for 27 years and recently accepted an “incredibly generous” buyout offer — to \u003ca href=\"https://www.patreon.com/c/sacramentomusicarchive/membership\">take donations\u003c/a> and apply for grants. Most importantly, it’ll set up his life’s work to continue into the future. As it stands, only about 5% of the tapes in the archive have been preserved digitally so far.\u003c/p>\n\u003cp>“This is clearly becoming a bigger project than I’ve got time left,” says Stacy.\u003c/p>\n\u003cfigure id=\"attachment_13979220\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979220\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-11-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-11-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-11-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-11-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-11-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shayne Stacy, founder of the Sacramento Music Archive, futzes with a vintage U-matic player in order to get a stubborn TV station cartridge of a Sacramento band to play correctly. ‘Sometimes you get to see me fight with this thing and curse a lot,’ he jokes. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘He really is the go-to’\u003c/h2>\n\u003cp>Publicity and word-of-mouth creates another problem: the piles are growing. Everyone, it seems, has old tapes they want to donate. Waiting to be digitized in the archive are 500 cassettes of free jazz, reel-to-reels of D.R.I. rehearsals at \u003ca href=\"https://www.sfgate.com/sf-culture/article/strangest-200-dollar-apartments-sf-history-20381556.php\">The Vats\u003c/a> and hundreds of videos and soundboard recordings from 924 Gilman. Stacy now has \u003ca href=\"https://sacramentomusicarchive.com/collections/\">over 25 different collections\u003c/a> from DJs, sound engineers, record store owners, zine editors, promoters, cable access hosts and fans.\u003c/p>\n\u003cp>One of them is Arica Pelino, who recently traveled from three states away to Stacy’s archive with a suitcase full of tapes. Pelino toured with Green Day in 1991, and filmed many of their early shows, along with dozens of other bands from the East Bay like Econochrist and Lungbutter. Her tapes sat in storage for more than 20 years, unseen.\u003c/p>\n\u003cp>“If I didn’t meet Shayne, it would still be sitting in boxes,” she says.\u003c/p>\n\u003cp>[aside postID=arts_13968840 hero='https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_03.jpg']She and Stacy spent two days going through her collection, including 22 early Green Day shows that no one had ever seen before, she says, along with \u003ca href=\"https://sacramentomusicarchive.com/1991/09/28/green-day-phoenix-theater-petaluma-ca-9-28-91-uncirculated-preshow-clip-xfer-f-vhs-master-enhanced/\">backstage footage\u003c/a> and \u003ca href=\"https://sacramentomusicarchive.com/1990/01/01/sweet-children-green-day-billie-joes-tape-to-arica-demo-and-7-sessions-tape-complete/\">early demos\u003c/a>.\u003c/p>\n\u003cp>“Shayne really is the owner and the keeper for all of us,” Pelino says. “There’s no one I’d rather do it with. He does a great job, he’s extremely detail-oriented and he puts his all into cleaning up the audio and video. He really is the go-to archive for Northern California, and has captured a significant part of the music scene.”\u003c/p>\n\u003cp>Another donor, Rick Sylvain, who in his 12 years working at Berkeley radio station KALX helped start the long-running \u003cem>KALX Live!\u003c/em> show, with bands playing in the cramped studio.\u003c/p>\n\u003cp>“It was kind of stinky sometimes — they spilled a lot of beer in there — but it was fun, and I taped everything,” he says. “Some of these little bands, it was their one big moment in the sun, and I wanted them to feel like they were stars.”\u003c/p>\n\u003cp>One little band that fulfilled that promise of stardom was AFI, who would go on to headline arenas. Thanks to the Sacramento Music Archive, Sylvain’s cassette of \u003ca href=\"https://sacramentomusicarchive.com/1994/10/07/afi-kalx-live-in-studio-berkeley-ca-10-7-94-xfer-from-pre-fm-master-cassette-a-fire-inside-a-f-i/\">AFI’s 1994 visit to KALX\u003c/a> is now the band’s earliest live recording on YouTube.\u003c/p>\n\u003cfigure id=\"attachment_13979224\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979224\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-28-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-28-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-28-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-28-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-28-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shayne Stacy uploads videos twice a day from his growing collection in a cluttered, air-conditioned shed. ‘I promised my wife that I would digitize this stuff and then get rid of the tapes,’ he says, ‘and I’m having trouble doing that, to be quite frank.’ \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Large companies and record labels have taken notice, and Stacy’s provided them with material for a Nirvana box set, a Pavement film, and various documentaries. He talks just as enthusiastically, however, about forgotten bands like \u003ca href=\"https://sacramentomusicarchive.com/2000/04/12/donner-party-slims-sf-4-12-00-sam-coomes-from-quasis-early-band/\">The Donner Party\u003c/a> or the \u003ca href=\"https://sacramentomusicarchive.com/1987/04/11/slambodians-sproul-plaza-berkeley-ca-4-11-87-xfer-from-master-vhs-tape-east-bay-punk/\">Slambodians\u003c/a>. He’s especially excited about a recent estate sale find of reel-to-reels from a member of Red Asphalt, the early punk band, who lived in Sacramento.\u003c/p>\n\u003cp>And that brings him back to the original purpose of the archive, one it’s clearly outgrown: to legitimize and honor Sacramento as its own distinct music scene. He accepts that “Sacramento Music Archive” is a bit of a misnomer for a massive collection covering the the Bay Area and Northern California.\u003c/p>\n\u003cp>But he likes the name.\u003c/p>\n\u003cp>“I’ve always felt like Sacramento has always been the red-headed stepchild of California,” he says. “The Lakers make fun of the Kings, Southern California makes fun of Sacramento. It’s a cow town, right? So having something that’s culturally enriching, that has the Sacramento label on it, I’m fine with it.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The Sacramento Music Archive can be found at its \u003ca href=\"https://sacramentomusicarchive.com/\">official website\u003c/a> and \u003ca href=\"https://www.youtube.com/@sacramentomusicarchive/videos\">YouTube channel\u003c/a>. Subscribers can \u003ca href=\"https://www.patreon.com/SacramentoMusicArchive\">join the archive’s Patreon\u003c/a> to vote which shows in the archive will get digitized or posted next, or to arrange filming a concert from scratch. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13979219\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979219\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-10-KQED.jpg\" alt=\"A man in his 50s wearing a polo shirt and beige shorts sits at a cluttered desk, his arm leaned upon a vintage analog tape machine\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-10-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-10-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-10-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-10-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shayne Stacy, founder of the Sacramento Music Archive, works among his collection of analog recordings of concert videos and cassettes in Orangevale, Calif. on July 24, 2025. Stacy has spent years digitizing underground music from Sacramento, the Bay Area and across Northern California, making rare recordings freely accessible online. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a suburban backyard outside of \u003ca href=\"https://www.kqed.org/arts/tag/sacramento\">Sacramento\u003c/a>, I open the door to a giant shed, step inside and get smacked in the face by floor-to-ceiling shelves of music history.\u003c/p>\n\u003cp>VHS tapes. Cassette tapes. Reel-to-reels. DATs. Other formats I don’t recognize, and can’t pronounce. Nearly 20,000 of them, all filled with live shows, demo recordings and concert footage.\u003c/p>\n\u003cp>Down a narrow path through this obsolete physical media, I turn a corner to find Shayne Stacy, 57, sitting at a desk with three monitors and occasionally fiddling with a nearby U-matic machine, an out-of-date piece of video hardware used by TV stations. On the screen, viewed for the first time in 40 years, is a 1980s new wave band performing on a long-lost cable access show from the Central Valley.\u003c/p>\n\u003cp>On any given day, this is where you’ll find Stacy, the founder of the nonprofit \u003ca href=\"https://sacramentomusicarchive.com/\">Sacramento Music Archive\u003c/a>. Just a half-hour’s drive from Sutter’s Mill and its famous California discovery, Stacy tends methodically to his own goldmine: a mass of underground music from Sacramento, the Bay Area and beyond that he’s gradually digitizing and sharing with the world, including rare \u003ca href=\"https://sacramentomusicarchive.com/1990/02/12/nirvana-cattle-club-sacramento-ca-02-12-1990-2-cam-mix/\">early footage of Nirvana\u003c/a>, \u003ca href=\"https://sacramentomusicarchive.com/1994/07/23/metallica-cal-expo-amphitheatre-sacramento-ca-7-23-94-xfer-from-master-tape-enhanced-live/\">Metallica\u003c/a> and \u003ca href=\"https://sacramentomusicarchive.com/1991/10/03/green-day-berkeley-square-10-3-91-xfer-from-master-vhs-tape-complete-show-enhanced/\">Green Day\u003c/a>.\u003c/p>\n\u003cp>“You’d think it’s like this big rock and roll party in here. It’s like this. It’s very quiet, with me working at a keyboard,” Stacy says with a laugh.\u003c/p>\n\u003cfigure id=\"attachment_13979226\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979226\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SacramentoMusicArchive-18_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SacramentoMusicArchive-18_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SacramentoMusicArchive-18_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SacramentoMusicArchive-18_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SacramentoMusicArchive-18_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Sacramento Music Archive began with Shayne Stacy’s own concert recordings of Nirvana, Yo La Tengo, Green Day, Christ on Parade and more, as pictured in Orangevale, Calif. on July 24, 2025. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I first became aware of Stacy’s work during the pandemic, when I noticed people posting video footage of punk shows held 30 years ago that I’d attended, or, even more irresistible, that I’d heard about but been too young to see. I soon found that for those of a certain age and musical bent, scrolling the Sacramento Music Archive was like watching one’s life flash before their eyes: a young \u003ca href=\"https://sacramentomusicarchive.com/1993/05/28/rancid-berkeley-square-berkeley-ca-5-28-93-xfer-from-vhs-c-master-punk-partial-set/\">Rancid finding their footing at Berkeley Square\u003c/a>, \u003ca href=\"https://youtu.be/NxQGByCjPdI?feature=shared&t=484\">Mr. Bungle covering Top 40 radio hits from 1989\u003c/a> in Guerneville, or \u003cem>Maximum Rocknroll\u003c/em> founder \u003ca href=\"https://youtu.be/Pb5X2LrTpjs?feature=shared&t=385\">Tim Yohannon throwing pies at Screeching Weasel\u003c/a> at 924 Gilman.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As for shows that had been uploaded before, like \u003ca href=\"https://sacramentomusicarchive.com/1989/05/28/operation-ivy-924-gilman-berkeley-ca-5-28-89-multicam-w-sony-d6-audio/\">Operation Ivy’s final show\u003c/a>? Stacy consistently seemed to have the best sources, and sometimes from multiple camera angles, too. What’s more, he had over 5,000 shows from all over Northern California from the past 50 years, by punk, metal, modern rock, funk, thrash and indie bands — famous names and obscure footnotes alike. And, remarkably, it was evident he still went out to shows, and filmed new bands.\u003c/p>\n\u003cp>Who was this one-man Library of Congress for West Coast Gen Xers? I had to find out.\u003c/p>\n\u003ch2>Preserving punk history\u003c/h2>\n\u003cp>Born in Auburn in 1967, Stacy had a typical 1970s childhood of watching \u003cem>Scooby Doo\u003c/em> and collecting sports cards. When he was 15, he went by himself to see Iron Maiden and the Scorpions at the Sacramento Memorial Stadium, in 1982, and he still remembers its impact. “As soon as I felt that sound pressure hitting my chest, I’m like, ‘This is the best thing I’ve ever seen,’” he says.\u003c/p>\n\u003cfigure id=\"attachment_13979223\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979223\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-24-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-24-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-24-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-24-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-24-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The boxes of VHS tapes, reel-to-reels and cassettes at the Sacramento Music Archive may seem haphazardly organized, but Shayne Stacy keeps a reliable mental inventory of each tapes’ location. Particularly valuable masters are kept in a 1,000-lb. fire-resistant safe. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Bay Area was a cradle of \u003ca href=\"https://www.kqed.org/arts/10834160/five-of-the-bay-areas-raddest-metal-bands-from-the-80s\">thrash metal\u003c/a> at the time, with bands like Exodus, Possessed and Metallica just starting out. Soon, Stacy was bringing cheap tape recorders to shows, and sharing the results with other fans who traded tapes through the classifieds in the backs of fan magazines. In 1987, after witnessing the El Sobrante punk band Isocracy, who routinely threw heaps of garbage all over the crowd, Stacy had an epiphany.\u003c/p>\n\u003cp>“There’s paper all over the floor, and it’s just a chaotic environment, and I said to myself, ‘I have to buy a video camera to document this stuff,’” Stacy remembers. “I stopped all of my excess expenditures, making five bucks an hour, and saved for four months to buy my own video camera.”\u003c/p>\n\u003cp>Between 1988 and 1992, Stacy estimates, he filmed 240 shows, driving to venues in Sacramento or the Bay Area every weekend. Trading with others through the mail, he amassed even more tapes. But there was a downside: he began seeing his own footage, of shows by \u003ca href=\"https://sacramentomusicarchive.com/1989/08/26/primus-cattle-club-sacramento-ca-8-26-89-xfer-from-8mm-master-live-enhanced/\">Primus\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=KVvJQfgRl7o\">Nirvana\u003c/a> playing at the Cattle Club in Sacramento, bootlegged and sold by others for profit.\u003c/p>\n\u003cp>“It was like, no fun anymore,” Stacy says. “This was supposed to be a hobby I enjoyed, and it turned into this point of frustration. And so I quit. I quit for 10 years.”\u003c/p>\n\u003cfigure id=\"attachment_13979222\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979222\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-22-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-22-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-22-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-22-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-22-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shayne Stacy started out recording metal bands, and once lost a valuable tape of him and a friend hanging out with Slayer backstage in 1988 at The Stone in San Francisco. Miraculously, thanks to the tape-trading circuit, he \u003ca href=\"https://sacramentomusicarchive.com/1988/08/12/slayer-backstage-the-stone-san-francisco-ca-8-12-88/\">got his hands on a copy of it again\u003c/a>. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>YouTube brought him back. Stacy says it “liberated” everything: the fans didn’t have to pay $30 for a grainy VHS tape anymore, the copyright holders got paid — not enough, but something — and he got to enjoy his hobby again. He rushed out and bought the best cassette decks and VCRs he could find, and got to work.\u003c/p>\n\u003cp>One person who noticed the quality of Stacy’s work early on is Wayne Vanderkuil. “I work at Stanford in visual preservation, reformatting, and he had similar equipment to what we have here,” Vanderkuil says. “I was incredibly impressed.”\u003c/p>\n\u003cp>During the tape-trading days, Vanderkuil amassed his own collection of metal bands playing at Ruthie’s Inn, Wolfgang’s or the On Broadway. They sat in storage for 25 years, untouched, he says. “I thought, ‘No one’s ever gonna hear these. I’ll drop dead tomorrow, and there goes history.’”\u003c/p>\n\u003cp>Instead, he donated his tapes to Stacy. Vanderkuil is now president of the board of the Sacramento Music Archive, newly incorporated as a nonprofit, which will allow Stacy — who worked at Intel for 27 years and recently accepted an “incredibly generous” buyout offer — to \u003ca href=\"https://www.patreon.com/c/sacramentomusicarchive/membership\">take donations\u003c/a> and apply for grants. Most importantly, it’ll set up his life’s work to continue into the future. As it stands, only about 5% of the tapes in the archive have been preserved digitally so far.\u003c/p>\n\u003cp>“This is clearly becoming a bigger project than I’ve got time left,” says Stacy.\u003c/p>\n\u003cfigure id=\"attachment_13979220\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979220\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-11-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-11-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-11-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-11-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-11-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shayne Stacy, founder of the Sacramento Music Archive, futzes with a vintage U-matic player in order to get a stubborn TV station cartridge of a Sacramento band to play correctly. ‘Sometimes you get to see me fight with this thing and curse a lot,’ he jokes. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘He really is the go-to’\u003c/h2>\n\u003cp>Publicity and word-of-mouth creates another problem: the piles are growing. Everyone, it seems, has old tapes they want to donate. Waiting to be digitized in the archive are 500 cassettes of free jazz, reel-to-reels of D.R.I. rehearsals at \u003ca href=\"https://www.sfgate.com/sf-culture/article/strangest-200-dollar-apartments-sf-history-20381556.php\">The Vats\u003c/a> and hundreds of videos and soundboard recordings from 924 Gilman. Stacy now has \u003ca href=\"https://sacramentomusicarchive.com/collections/\">over 25 different collections\u003c/a> from DJs, sound engineers, record store owners, zine editors, promoters, cable access hosts and fans.\u003c/p>\n\u003cp>One of them is Arica Pelino, who recently traveled from three states away to Stacy’s archive with a suitcase full of tapes. Pelino toured with Green Day in 1991, and filmed many of their early shows, along with dozens of other bands from the East Bay like Econochrist and Lungbutter. Her tapes sat in storage for more than 20 years, unseen.\u003c/p>\n\u003cp>“If I didn’t meet Shayne, it would still be sitting in boxes,” she says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>She and Stacy spent two days going through her collection, including 22 early Green Day shows that no one had ever seen before, she says, along with \u003ca href=\"https://sacramentomusicarchive.com/1991/09/28/green-day-phoenix-theater-petaluma-ca-9-28-91-uncirculated-preshow-clip-xfer-f-vhs-master-enhanced/\">backstage footage\u003c/a> and \u003ca href=\"https://sacramentomusicarchive.com/1990/01/01/sweet-children-green-day-billie-joes-tape-to-arica-demo-and-7-sessions-tape-complete/\">early demos\u003c/a>.\u003c/p>\n\u003cp>“Shayne really is the owner and the keeper for all of us,” Pelino says. “There’s no one I’d rather do it with. He does a great job, he’s extremely detail-oriented and he puts his all into cleaning up the audio and video. He really is the go-to archive for Northern California, and has captured a significant part of the music scene.”\u003c/p>\n\u003cp>Another donor, Rick Sylvain, who in his 12 years working at Berkeley radio station KALX helped start the long-running \u003cem>KALX Live!\u003c/em> show, with bands playing in the cramped studio.\u003c/p>\n\u003cp>“It was kind of stinky sometimes — they spilled a lot of beer in there — but it was fun, and I taped everything,” he says. “Some of these little bands, it was their one big moment in the sun, and I wanted them to feel like they were stars.”\u003c/p>\n\u003cp>One little band that fulfilled that promise of stardom was AFI, who would go on to headline arenas. Thanks to the Sacramento Music Archive, Sylvain’s cassette of \u003ca href=\"https://sacramentomusicarchive.com/1994/10/07/afi-kalx-live-in-studio-berkeley-ca-10-7-94-xfer-from-pre-fm-master-cassette-a-fire-inside-a-f-i/\">AFI’s 1994 visit to KALX\u003c/a> is now the band’s earliest live recording on YouTube.\u003c/p>\n\u003cfigure id=\"attachment_13979224\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979224\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-28-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-28-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-28-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-28-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-28-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shayne Stacy uploads videos twice a day from his growing collection in a cluttered, air-conditioned shed. ‘I promised my wife that I would digitize this stuff and then get rid of the tapes,’ he says, ‘and I’m having trouble doing that, to be quite frank.’ \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Large companies and record labels have taken notice, and Stacy’s provided them with material for a Nirvana box set, a Pavement film, and various documentaries. He talks just as enthusiastically, however, about forgotten bands like \u003ca href=\"https://sacramentomusicarchive.com/2000/04/12/donner-party-slims-sf-4-12-00-sam-coomes-from-quasis-early-band/\">The Donner Party\u003c/a> or the \u003ca href=\"https://sacramentomusicarchive.com/1987/04/11/slambodians-sproul-plaza-berkeley-ca-4-11-87-xfer-from-master-vhs-tape-east-bay-punk/\">Slambodians\u003c/a>. He’s especially excited about a recent estate sale find of reel-to-reels from a member of Red Asphalt, the early punk band, who lived in Sacramento.\u003c/p>\n\u003cp>And that brings him back to the original purpose of the archive, one it’s clearly outgrown: to legitimize and honor Sacramento as its own distinct music scene. He accepts that “Sacramento Music Archive” is a bit of a misnomer for a massive collection covering the the Bay Area and Northern California.\u003c/p>\n\u003cp>But he likes the name.\u003c/p>\n\u003cp>“I’ve always felt like Sacramento has always been the red-headed stepchild of California,” he says. “The Lakers make fun of the Kings, Southern California makes fun of Sacramento. It’s a cow town, right? So having something that’s culturally enriching, that has the Sacramento label on it, I’m fine with it.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The Sacramento Music Archive can be found at its \u003ca href=\"https://sacramentomusicarchive.com/\">official website\u003c/a> and \u003ca href=\"https://www.youtube.com/@sacramentomusicarchive/videos\">YouTube channel\u003c/a>. Subscribers can \u003ca href=\"https://www.patreon.com/SacramentoMusicArchive\">join the archive’s Patreon\u003c/a> to vote which shows in the archive will get digitized or posted next, or to arrange filming a concert from scratch. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "the-furious-tits-queer-climate-punk-band-san-francisco-oakland",
"title": "The Furious Tits Rage at the Climate Apocalypse",
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"headTitle": "The Furious Tits Rage at the Climate Apocalypse | KQED",
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"content": "\u003cp>During an angry shower early in the pandemic, Zoe Young began spitting lyrics about \u003ca href=\"https://www.kqed.org/news/tag/climate-change\">the state of the planet\u003c/a>.\u003c/p>\n\u003cp>The San Francisco musician with short platinum hair and dark roots was thinking about the “scariest night” of her life when, back in 2017, she convinced her stubborn father to evacuate his home in Ojai as the \u003ca href=\"https://www.kqed.org/news/11636206/thomas-fire-becomes-5th-largest-in-state-history\">Thomas Fire\u003c/a> approached.\u003c/p>\n\u003cp>It was the first time our altered Earth had a clear impact on her life. Zoe needed an outlet, so she started a punk band, \u003ca href=\"https://furioustits.com/\">The Furious Tits\u003c/a>.\u003c/p>\n\u003cp>“A lot of what came out of my brain was based on climate, and they turned into these punk songs,” said Zoe, who was previously a writer for a large environmental organization.\u003c/p>\n\u003cp>The Furious Tits, whose members are mostly queer, blend lyrics about climate chaos with irreverent humor and sexuality. In “Cougar Town,” Zoe sings about P-22, a\u003ca href=\"https://www.npr.org/2023/03/07/1161569051/tribes-bury-p-22-southern-californias-famed-mountain-lion\"> deceased wild mountain lion\u003c/a> in Los Angeles, and dating older women. “Desperate Pleasures” is about finding love in a time of climate change and swipe-left culture, with lyrics like “we don’t need to break the ice because it’s breaking up on its own.” Their diss track about golf was inspired by a trip to Las Vegas last year, where they noticed a lush, green, empty golf course in the middle of the desert, watered by “ancient aquifers.” Their newest song, “\u003ca href=\"https://www.kqed.org/news/tag/microplastics\">Microplastics\u003c/a>,” details how scientists have found synthetic bits in human brains.\u003c/p>\n\u003cfigure id=\"attachment_13979090\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979090\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250718_CLIMATEPUNK_023_BF_KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250718_CLIMATEPUNK_023_BF_KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250718_CLIMATEPUNK_023_BF_KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250718_CLIMATEPUNK_023_BF_KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250718_CLIMATEPUNK_023_BF_KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Furious Tits performed live in San Francisco at the Castro Night Market on Friday, July 18, 2025. \u003ccite>(Brian Frank/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While the \u003ca href=\"https://www.kqed.org/science/1997477/fishnets-and-fossil-fuels-meet-3-bay-area-climate-conscious-drag-artists\">links between climate, queerness\u003c/a> and punk may not be obvious, Zoe points to how the state of our warming planet affects, well, everything. “Climate change is coming for every aspect of our lives, including our sex lives,” said Zoe, whose bandmates lovingly refer to as the Band Domme. “You can’t hook up in your house if it’s burned down.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In mid-July, The Furious Tits performed at the Castro Night Market to a relatively wholesome crowd of kids, people eating barbecue and their diehard fans, who showed up in cropped black T-shirts emblazoned with different-sized cartoon breasts. Their usual venues, however, are more of a scene: dark dive bars, queer landmarks like El Rio and kinky events like San Francisco’s famed Folsom Street Fair.\u003c/p>\n\u003cp>“We found that it turns out the kinksters care about our planet,” said Miju, the band’s bassist, whose nickname is Punk Jesus. She took the stage in black boots and a black latex one-piece at last year’s festival. “I don’t think it was a bait-and-switch to play climate songs at Folsom. Kinky people care about other people.”\u003c/p>\n\u003cfigure id=\"attachment_13979083\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979083\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250718_CLIMATEPUNK_004_BF_KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250718_CLIMATEPUNK_004_BF_KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250718_CLIMATEPUNK_004_BF_KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250718_CLIMATEPUNK_004_BF_KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250718_CLIMATEPUNK_004_BF_KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A Furious Tits fan at the Castro Night Market on Friday, July 18, 2025. \u003ccite>(Brian Frank/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Furious Tits create space for concert-goers to let out their frustration and anxiety about orange sky days and flash floods, inviting them to “tenderly mosh” to their songs. “It’s been amazing to look into the mosh pit and see the audience jump and elbow each other along to a song about how golf is unsustainable,” Zoe said.\u003c/p>\n\u003cp>For drummer William Renauld, whose alias is Will Yummy, joining The Furious Tits provided him a place to “push anger and aggression” about the climate crisis out of his body and into \u003ca href=\"https://www.kqed.org/science/1978547/writing-music-about-climate-change-oakland-artist-reclaims-feminine-power\">music that has the potential to sway culture\u003c/a>.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/track=1962210910/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>“It’s this beautiful ball of angry, horny, hilarious joy that we just get to serve up to the people who listen to our music,” Will said. “Punk can be so gloriously scrappy, and I envision a climate future where that kind of resourcefulness and that kind of resilience is gonna be an absolute necessity.”\u003c/p>\n\u003cp>The band’s first climate song, “Desperate Pleasures,” came to lead guitarist David Griswold, known as Daddy in the band, as he was pondering online dating culture and the apocalypse. He came up with the lyric “desperate times call for desperate pleasures” to show listeners that “in the midst of these desperate times,” they have to find joy.\u003c/p>\n\u003cfigure id=\"attachment_13979242\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979242\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250721-ClimatePunk-06-BL_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250721-ClimatePunk-06-BL_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250721-ClimatePunk-06-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250721-ClimatePunk-06-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250721-ClimatePunk-06-BL_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The climate punk band The Furious Tits play at their practice space in Oakland on July 21, 2025. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Furious Tits are currently writing a climate-themed album they plan to release in early 2026.\u003c/p>\n\u003cp>“What’s queer about our climate songs is that we’re talking about changing culture,” Miju said. “Queer people have always had to make new culture because it hasn’t existed before. That means we don’t always have role models. We have to chart our own course.”\u003c/p>\n\u003cp>As The Furious Tits think about the future, they ponder the higher purpose of their activism: Ensuring their families — and chosen families — are safe as wildfires rage, flooding increases and air quality worsens. [aside postid='science_1997477']\u003c/p>\n\u003cp>“It’s so overwhelming thinking about how I can leave my children a functional world where they can feel safe and experience joy amid all these overlapping crises,” David said. “Art is what continues to give me hope.”\u003c/p>\n\u003cp>As the band sets their sights on completing the album, Zoe and Miju want to explore a song about endangered coral reefs. Miju recalls a scene from the \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=aGGBGcjdjXA\">Chasing Coral\u003c/a>\u003c/em> documentary on Netflix, featuring an aerial view of fluorescent coral in shades of purple, blue and green. In the film, the documentarian notes the vibrant colors represent “the incredibly beautiful phase of death,” as if “the corals are saying, ‘Look at me, please notice.’”\u003c/p>\n\u003cp>Miju’s son burst into tears during the clip.\u003c/p>\n\u003cp>“I was like, ‘Holy cow, that’s the right response,’” Miju said.\u003c/p>\n\u003cp>Will, the drummer, dreams of turning lyrics about airplane emissions into the band’s “next hit song” as a way to explore his fears about the planet his future children will inherit.\u003c/p>\n\u003cfigure id=\"attachment_13979244\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979244\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250721-ClimatePunk-14-BL_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250721-ClimatePunk-14-BL_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250721-ClimatePunk-14-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250721-ClimatePunk-14-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250721-ClimatePunk-14-BL_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Furious Tits play at their practice space in Oakland on July 21, 2025. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It feels so existentially grounding and artistically meaningful to throw these musical darts at these large climate targets,” said Will, “and eke out the hilarity and the joy while doing it.”\u003c/p>\n\u003cp>Sitting on mismatched couches in the band’s Oakland practice space, surrounded by gear and relics from previous tenants — lamps made from laced-up heels and lyric-filled white boards — Zoe and her bandmates reflect on how music can foster the kind of solidarity needed to survive the climate crisis.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“We rely on each other, and that can be a model for the climate movement,” Zoe said. “This is a long fight, and we don’t even get the clean apocalypse where we’re all gonna die. We’re going to have to figure out how to live through it. There’s no way to do it if we don’t do it together.”\u003c/p>\n\n",
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"title": "This Queer Bay Area Punk Band Rages at Climate Change | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>During an angry shower early in the pandemic, Zoe Young began spitting lyrics about \u003ca href=\"https://www.kqed.org/news/tag/climate-change\">the state of the planet\u003c/a>.\u003c/p>\n\u003cp>The San Francisco musician with short platinum hair and dark roots was thinking about the “scariest night” of her life when, back in 2017, she convinced her stubborn father to evacuate his home in Ojai as the \u003ca href=\"https://www.kqed.org/news/11636206/thomas-fire-becomes-5th-largest-in-state-history\">Thomas Fire\u003c/a> approached.\u003c/p>\n\u003cp>It was the first time our altered Earth had a clear impact on her life. Zoe needed an outlet, so she started a punk band, \u003ca href=\"https://furioustits.com/\">The Furious Tits\u003c/a>.\u003c/p>\n\u003cp>“A lot of what came out of my brain was based on climate, and they turned into these punk songs,” said Zoe, who was previously a writer for a large environmental organization.\u003c/p>\n\u003cp>The Furious Tits, whose members are mostly queer, blend lyrics about climate chaos with irreverent humor and sexuality. In “Cougar Town,” Zoe sings about P-22, a\u003ca href=\"https://www.npr.org/2023/03/07/1161569051/tribes-bury-p-22-southern-californias-famed-mountain-lion\"> deceased wild mountain lion\u003c/a> in Los Angeles, and dating older women. “Desperate Pleasures” is about finding love in a time of climate change and swipe-left culture, with lyrics like “we don’t need to break the ice because it’s breaking up on its own.” Their diss track about golf was inspired by a trip to Las Vegas last year, where they noticed a lush, green, empty golf course in the middle of the desert, watered by “ancient aquifers.” Their newest song, “\u003ca href=\"https://www.kqed.org/news/tag/microplastics\">Microplastics\u003c/a>,” details how scientists have found synthetic bits in human brains.\u003c/p>\n\u003cfigure id=\"attachment_13979090\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979090\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250718_CLIMATEPUNK_023_BF_KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250718_CLIMATEPUNK_023_BF_KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250718_CLIMATEPUNK_023_BF_KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250718_CLIMATEPUNK_023_BF_KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250718_CLIMATEPUNK_023_BF_KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Furious Tits performed live in San Francisco at the Castro Night Market on Friday, July 18, 2025. \u003ccite>(Brian Frank/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While the \u003ca href=\"https://www.kqed.org/science/1997477/fishnets-and-fossil-fuels-meet-3-bay-area-climate-conscious-drag-artists\">links between climate, queerness\u003c/a> and punk may not be obvious, Zoe points to how the state of our warming planet affects, well, everything. “Climate change is coming for every aspect of our lives, including our sex lives,” said Zoe, whose bandmates lovingly refer to as the Band Domme. “You can’t hook up in your house if it’s burned down.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In mid-July, The Furious Tits performed at the Castro Night Market to a relatively wholesome crowd of kids, people eating barbecue and their diehard fans, who showed up in cropped black T-shirts emblazoned with different-sized cartoon breasts. Their usual venues, however, are more of a scene: dark dive bars, queer landmarks like El Rio and kinky events like San Francisco’s famed Folsom Street Fair.\u003c/p>\n\u003cp>“We found that it turns out the kinksters care about our planet,” said Miju, the band’s bassist, whose nickname is Punk Jesus. She took the stage in black boots and a black latex one-piece at last year’s festival. “I don’t think it was a bait-and-switch to play climate songs at Folsom. Kinky people care about other people.”\u003c/p>\n\u003cfigure id=\"attachment_13979083\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979083\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250718_CLIMATEPUNK_004_BF_KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250718_CLIMATEPUNK_004_BF_KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250718_CLIMATEPUNK_004_BF_KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250718_CLIMATEPUNK_004_BF_KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250718_CLIMATEPUNK_004_BF_KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A Furious Tits fan at the Castro Night Market on Friday, July 18, 2025. \u003ccite>(Brian Frank/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Furious Tits create space for concert-goers to let out their frustration and anxiety about orange sky days and flash floods, inviting them to “tenderly mosh” to their songs. “It’s been amazing to look into the mosh pit and see the audience jump and elbow each other along to a song about how golf is unsustainable,” Zoe said.\u003c/p>\n\u003cp>For drummer William Renauld, whose alias is Will Yummy, joining The Furious Tits provided him a place to “push anger and aggression” about the climate crisis out of his body and into \u003ca href=\"https://www.kqed.org/science/1978547/writing-music-about-climate-change-oakland-artist-reclaims-feminine-power\">music that has the potential to sway culture\u003c/a>.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/track=1962210910/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>“It’s this beautiful ball of angry, horny, hilarious joy that we just get to serve up to the people who listen to our music,” Will said. “Punk can be so gloriously scrappy, and I envision a climate future where that kind of resourcefulness and that kind of resilience is gonna be an absolute necessity.”\u003c/p>\n\u003cp>The band’s first climate song, “Desperate Pleasures,” came to lead guitarist David Griswold, known as Daddy in the band, as he was pondering online dating culture and the apocalypse. He came up with the lyric “desperate times call for desperate pleasures” to show listeners that “in the midst of these desperate times,” they have to find joy.\u003c/p>\n\u003cfigure id=\"attachment_13979242\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979242\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250721-ClimatePunk-06-BL_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250721-ClimatePunk-06-BL_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250721-ClimatePunk-06-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250721-ClimatePunk-06-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250721-ClimatePunk-06-BL_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The climate punk band The Furious Tits play at their practice space in Oakland on July 21, 2025. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Furious Tits are currently writing a climate-themed album they plan to release in early 2026.\u003c/p>\n\u003cp>“What’s queer about our climate songs is that we’re talking about changing culture,” Miju said. “Queer people have always had to make new culture because it hasn’t existed before. That means we don’t always have role models. We have to chart our own course.”\u003c/p>\n\u003cp>As The Furious Tits think about the future, they ponder the higher purpose of their activism: Ensuring their families — and chosen families — are safe as wildfires rage, flooding increases and air quality worsens. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s so overwhelming thinking about how I can leave my children a functional world where they can feel safe and experience joy amid all these overlapping crises,” David said. “Art is what continues to give me hope.”\u003c/p>\n\u003cp>As the band sets their sights on completing the album, Zoe and Miju want to explore a song about endangered coral reefs. Miju recalls a scene from the \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=aGGBGcjdjXA\">Chasing Coral\u003c/a>\u003c/em> documentary on Netflix, featuring an aerial view of fluorescent coral in shades of purple, blue and green. In the film, the documentarian notes the vibrant colors represent “the incredibly beautiful phase of death,” as if “the corals are saying, ‘Look at me, please notice.’”\u003c/p>\n\u003cp>Miju’s son burst into tears during the clip.\u003c/p>\n\u003cp>“I was like, ‘Holy cow, that’s the right response,’” Miju said.\u003c/p>\n\u003cp>Will, the drummer, dreams of turning lyrics about airplane emissions into the band’s “next hit song” as a way to explore his fears about the planet his future children will inherit.\u003c/p>\n\u003cfigure id=\"attachment_13979244\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979244\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250721-ClimatePunk-14-BL_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250721-ClimatePunk-14-BL_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250721-ClimatePunk-14-BL_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250721-ClimatePunk-14-BL_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250721-ClimatePunk-14-BL_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Furious Tits play at their practice space in Oakland on July 21, 2025. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It feels so existentially grounding and artistically meaningful to throw these musical darts at these large climate targets,” said Will, “and eke out the hilarity and the joy while doing it.”\u003c/p>\n\u003cp>Sitting on mismatched couches in the band’s Oakland practice space, surrounded by gear and relics from previous tenants — lamps made from laced-up heels and lyric-filled white boards — Zoe and her bandmates reflect on how music can foster the kind of solidarity needed to survive the climate crisis.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We rely on each other, and that can be a model for the climate movement,” Zoe said. “This is a long fight, and we don’t even get the clean apocalypse where we’re all gonna die. We’re going to have to figure out how to live through it. There’s no way to do it if we don’t do it together.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "dance-hall-crashers-reunion-interview",
"title": "Dance Hall Crashers On Their Reunion, 30 Years After Breaking the Boys’ Club",
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"headTitle": "Dance Hall Crashers On Their Reunion, 30 Years After Breaking the Boys’ Club | KQED",
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"content": "\u003cfigure id=\"attachment_13977010\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Polaroid-by-Debra-McClinton-Karina-Denike-Elyse-Rogers-1998-7.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13977010\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Polaroid-by-Debra-McClinton-Karina-Denike-Elyse-Rogers-1998-7.jpg\" alt=\"two women with dark hair pose in front of a blue background, one wearing yellow, one wearing a black dress\" width=\"2000\" height=\"1439\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Polaroid-by-Debra-McClinton-Karina-Denike-Elyse-Rogers-1998-7.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Polaroid-by-Debra-McClinton-Karina-Denike-Elyse-Rogers-1998-7-800x576.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Polaroid-by-Debra-McClinton-Karina-Denike-Elyse-Rogers-1998-7-1020x734.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Polaroid-by-Debra-McClinton-Karina-Denike-Elyse-Rogers-1998-7-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Polaroid-by-Debra-McClinton-Karina-Denike-Elyse-Rogers-1998-7-768x553.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Polaroid-by-Debra-McClinton-Karina-Denike-Elyse-Rogers-1998-7-1536x1105.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Polaroid-by-Debra-McClinton-Karina-Denike-Elyse-Rogers-1998-7-1920x1381.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Karina Deniké and Elyse Rogers in a Polaroid circa 1998. \u003ccite>(Debra McClinton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Karina Deniké has been in a \u003cem>lot\u003c/em> of bands. The San Francisco singer has performed in dive bars and on festival stages. She’s toured Europe and Japan, has released solo records, and, for the past decade, she was a touring member of NOFX, bringing a crucial shot of feminine energy to their notoriously rowdy stage show.\u003c/p>\n\u003cp>But no project of Deniké’s inspires quite as big a reaction as the one she gets when fans realize she’s \u003cem>Karina from Dance Hall Crashers\u003c/em>. Their eyes widen, or they wax poetic about the set list from a show they saw at Slim’s in 1996. Mostly, they want her to know just how much the women-led Berkeley ska-punk band meant to them when they were young — and how much they still mean now.\u003c/p>\n\u003cp>No matter that Dance Hall Crashers, a group Deniké began fronting at age 18 alongside singer Elyse Rogers, haven’t played a show in more than 20 years.\u003c/p>\n\u003cfigure id=\"attachment_13977004\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/DHC-at-Rhino-Records-Montclair-1998-photographer-unknown-left-to-right_Elyse-Rogers-Gavin-Hammon-Karina-Denike-Jason-Hammon.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13977004\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/DHC-at-Rhino-Records-Montclair-1998-photographer-unknown-left-to-right_Elyse-Rogers-Gavin-Hammon-Karina-Denike-Jason-Hammon.jpg\" alt=\"a band plays at a record store\" width=\"960\" height=\"714\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/DHC-at-Rhino-Records-Montclair-1998-photographer-unknown-left-to-right_Elyse-Rogers-Gavin-Hammon-Karina-Denike-Jason-Hammon.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/DHC-at-Rhino-Records-Montclair-1998-photographer-unknown-left-to-right_Elyse-Rogers-Gavin-Hammon-Karina-Denike-Jason-Hammon-800x595.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/DHC-at-Rhino-Records-Montclair-1998-photographer-unknown-left-to-right_Elyse-Rogers-Gavin-Hammon-Karina-Denike-Jason-Hammon-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/DHC-at-Rhino-Records-Montclair-1998-photographer-unknown-left-to-right_Elyse-Rogers-Gavin-Hammon-Karina-Denike-Jason-Hammon-768x571.jpg 768w\" sizes=\"auto, (max-width: 960px) 100vw, 960px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A Dance Hall Crashers show at Rhino Records, outside Pomona, in 1998. \u003ccite>(Courtesy Dance Hall Crashers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“On tour with NOFX, everywhere I went, people were coming out of the woodwork to tell me they were fans,” says Deniké in a recent Zoom interview with Dance Hall Crashers guitarist Jason Hammon. Sometimes, these fans were too young to have ever seen a DHC show. “So I’ve been feeding that back to the rest of the band. Like, you guys, this is not just a couple people. There is a \u003cem>lot\u003c/em> of interest.”\u003c/p>\n\u003cp>Those superfans will see a long-held dream come true this month, as Dance Hall Crashers reunite for a short run of live shows, including Warped Tour dates in Long Beach and Washington, D.C. this summer, and a Riot Fest appearance in Chicago in September. Of course, they had to do something for the hometown fans: They kick it all off with two sold-out appearances at Great American Music Hall June 6 and 7.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_13830408']Fittingly, the reunion was largely inspired by a certain group of young adults who never saw DHC play the first time around: the \u003ca href=\"https://www.instagram.com/p/DKaA6b9JPn5/?igsh=NTc4MTIwNjQ2YQ==\">band members’ children\u003c/a>. Among them are Logan Hammon, Jason’s daughter, who also fronts the Oakland indie rock band \u003ca href=\"https://www.smallcrush.fun/\">Small Crush\u003c/a>; they open for Dance Hall Crashers on June 7.\u003c/p>\n\u003cp>“We’ve been joking about it for like 10 years: ‘Wouldn’t it be cool if Dance Hall Crashers got back together and we got to play with you guys?’” says Hammon. “So yeah, this is the coolest thing that could have ever happened.”\u003c/p>\n\u003ch2>Crashing the boys’ club\u003c/h2>\n\u003cp>Birthed from the primordial, massively influential punk soup that was \u003ca href=\"https://www.kqed.org/arts/tag/924-gilman\">924 Gilman\u003c/a> in the late ’80s, Dance Hall Crashers come with a particularly complex family tree: Tim Armstrong and Matt Freeman were two of the band’s founding members, during a time after their seminal ska band Operation Ivy broke up, but before they formed Rancid. Hammon, a kid from San Leandro who was playing in multiple punk bands around the East Bay, joined soon after on guitar.\u003c/p>\n\u003cfigure id=\"attachment_13977022\" class=\"wp-caption aligncenter\" style=\"max-width: 1689px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Dance_Hall_Crashers_at_The_Masquerade_in_Atlanta_GA_in_1998_4847189689.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13977022\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Dance_Hall_Crashers_at_The_Masquerade_in_Atlanta_GA_in_1998_4847189689.jpg\" alt=\"a black and white photo of a band on stage from the back\" width=\"1689\" height=\"692\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Dance_Hall_Crashers_at_The_Masquerade_in_Atlanta_GA_in_1998_4847189689.jpg 1689w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Dance_Hall_Crashers_at_The_Masquerade_in_Atlanta_GA_in_1998_4847189689-800x328.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Dance_Hall_Crashers_at_The_Masquerade_in_Atlanta_GA_in_1998_4847189689-1020x418.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Dance_Hall_Crashers_at_The_Masquerade_in_Atlanta_GA_in_1998_4847189689-160x66.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Dance_Hall_Crashers_at_The_Masquerade_in_Atlanta_GA_in_1998_4847189689-768x315.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Dance_Hall_Crashers_at_The_Masquerade_in_Atlanta_GA_in_1998_4847189689-1536x629.jpg 1536w\" sizes=\"auto, (max-width: 1689px) 100vw, 1689px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A Dance Hall Crashers show at the Masquerade in Atlanta, Georgia. \u003ccite>(veganstraightedge / Wikimedia Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Elyse Rogers, a UC Berkeley student and Operation Ivy fan from Orange County, became one of the band’s singers. She was followed by Denike, a Berkeley High alum by way of Cambridge, England, who fit right in. “I was already a rude girl at age 12, because there’s such a big Caribbean and West Indian community [in England], so much reggae and ska influence,” says Denike.\u003c/p>\n\u003cp>By 1994, the lineup had solidified with Rogers, Deniké, Hammon, Mikey Weiss on bass and Jason’s brother Gavin Hammon on drums. The band spent the next decade making upbeat, danceable, ineffably sassy songs that hit at the intersection of punk, pop and ska. They had catchy guitar riffs, a killer live show and a key feature that set them apart from the era’s dude-heavy pack: Two charismatic, no-bullshit frontwomen who harmonized like they were spinning gold.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dGbxHkHwNJU\u003c/p>\n\u003cp>This was more of an anomaly than young fans in 2025 may realize.\u003c/p>\n\u003cp>“I think I can count on one hand the number of bands that had female singers that played Gilman frequently around that time,” says Hammon. (\u003ca href=\"https://www.kqed.org/arts/13953628/michelle-cruz-gonzales-of-spitboy-is-punk-af-and-lived-to-teach-about-it\">Spitboy\u003c/a>, Blatz and Tilt come to mind.) That gender imbalance took on an even more bro-ish tone on Warped Tour, which DHC last played in 1996. The scene at the time, Hammon says, was “kind of a boys’ club.”\u003c/p>\n\u003cp>“It \u003cem>absolutely\u003c/em> was,” interjects Deniké. She and Rogers quickly grew thick skin as performers, she says, but their roles as the rare frontwomen in a male-dominated scene also gave them a sense of responsibility to young women fans.\u003c/p>\n\u003cp>“We wanted to have an environment [at shows] where we would have felt safe being in the crowd,” she says. “And I remember wanting to present this very strong, playful and fun female front with Elyse, but I was also conscious that I didn’t want to be overly sexy. It was always about the music, and it was very, very important to me that we would get respected for our musicality, or for our stage show, but not just, you know, putting on a short skirt.”\u003c/p>\n\u003cfigure id=\"attachment_13977003\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Karina-Denike-Elyse-Rogers.-Photo-by-Lisa-Johnson-Rock-Photographer-1998-.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13977003\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Karina-Denike-Elyse-Rogers.-Photo-by-Lisa-Johnson-Rock-Photographer-1998-.jpg\" alt=\"a black and white photo of two women singing\" width=\"960\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Karina-Denike-Elyse-Rogers.-Photo-by-Lisa-Johnson-Rock-Photographer-1998-.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Karina-Denike-Elyse-Rogers.-Photo-by-Lisa-Johnson-Rock-Photographer-1998--800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Karina-Denike-Elyse-Rogers.-Photo-by-Lisa-Johnson-Rock-Photographer-1998--160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Karina-Denike-Elyse-Rogers.-Photo-by-Lisa-Johnson-Rock-Photographer-1998--768x768.jpg 768w\" sizes=\"auto, (max-width: 960px) 100vw, 960px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Karina Deniké and Elyse Rogers at a DHC show around 1998. \u003ccite>(Lisa Johnson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The band stayed active off and on until 2004. During that time they released four studio albums, an EP and a live record; flirted with mainstream America via MTV rotation, song placements on the \u003cem>\u003ca href=\"https://people.com/movies/angus-turns-20-we-remember-its-amazing-soundtrack/\">Angus\u003c/a>\u003c/em> soundtrack and \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=p2vLuYG_b50\">Dawson’s Creek\u003c/a>\u003c/em>; and toured the country relentlessly, both headlining and opening for bands like Blink 182, No Doubt, Bad Religion and the Mighty Mighty Bosstones.\u003c/p>\n\u003cp>In 1997, \u003cem>Honey, I’m Homely!\u003c/em>, their second LP to be released through MCA Records, became their most commercially successful record to date. The single “Lost Again” got significant alt-rock radio play and a music video, and the album hit No. 22 on Billboard’s Heatseekers chart. At least one critic compared Deniké and Rogers’ vocal dynamic to Kate Pierson and Cindy Wilson of the B-52s.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=em20dRxxE-E\u003c/p>\n\u003cp>Still, DHC never quite crossed the rubicon into mainstream pop culture. Looking back, members cite their lack of careerism; the band consistently rejected offers and opportunities that didn’t feel like them. They also made decisions democratically. “Maybe if we didn’t all have vetoes, we would have done Sprite commercials,” says Hammon. “But we kept each other pretty honest.”\u003c/p>\n\u003cp>Instead, they watched bands that had opened for Dance Hall Crashers book stadium tours, fueled in part by the gold rush around Bay Area punk and ska that followed Green Day’s breakout success. It was a weird couple of years: they had signed to a major label, and in the Bay, the vitriol around “selling out” hit a fever pitch. At the same time, the national market seemed to have room for only \u003ca href=\"https://www.npr.org/2024/01/17/1225142550/no-doubt-the-pop-punk-band-featuring-lead-singer-gwen-stefani-is-reuniting\">one woman-fronted ska-rock band\u003c/a>.\u003c/p>\n\u003cp>The band didn’t exactly play ball with the label either: “There were all these suggestions getting thrown at us, like, ‘Why don’t you do a cover of some big pop song from the ’80s or the ’60s, and they’ll put that on the radio, and then we’ll start pumping your originals?’ That was the thing at the time,” says Deniké. “And we were just like, ‘We don’t want to do that.’”\u003c/p>\n\u003cfigure id=\"attachment_13977005\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/DHC_Band_by-Debra-McClinton-L-Right_Jason-Hammon-Mikey-Wiess-ELyse-Rogers-Karina-Denike-Gavin-Hammon.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13977005\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/DHC_Band_by-Debra-McClinton-L-Right_Jason-Hammon-Mikey-Wiess-ELyse-Rogers-Karina-Denike-Gavin-Hammon.jpg\" alt=\"a band of five people pose in front of a yellow wall\" width=\"2000\" height=\"1371\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/DHC_Band_by-Debra-McClinton-L-Right_Jason-Hammon-Mikey-Wiess-ELyse-Rogers-Karina-Denike-Gavin-Hammon.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/DHC_Band_by-Debra-McClinton-L-Right_Jason-Hammon-Mikey-Wiess-ELyse-Rogers-Karina-Denike-Gavin-Hammon-800x548.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/DHC_Band_by-Debra-McClinton-L-Right_Jason-Hammon-Mikey-Wiess-ELyse-Rogers-Karina-Denike-Gavin-Hammon-1020x699.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/DHC_Band_by-Debra-McClinton-L-Right_Jason-Hammon-Mikey-Wiess-ELyse-Rogers-Karina-Denike-Gavin-Hammon-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/DHC_Band_by-Debra-McClinton-L-Right_Jason-Hammon-Mikey-Wiess-ELyse-Rogers-Karina-Denike-Gavin-Hammon-768x526.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/DHC_Band_by-Debra-McClinton-L-Right_Jason-Hammon-Mikey-Wiess-ELyse-Rogers-Karina-Denike-Gavin-Hammon-1536x1053.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/DHC_Band_by-Debra-McClinton-L-Right_Jason-Hammon-Mikey-Wiess-ELyse-Rogers-Karina-Denike-Gavin-Hammon-1920x1316.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">L to R: Jason Hammon, Mikey Weiss, Elyse Rogers, Karina Deniké and Gavin Hammon. \u003ccite>(Debra McClinton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>They also didn’t want to keep touring after it stopped being fun. And that’s the short version of what happened in 2004: Some band members wanted to go to college, some had small children; most everyone had spent their whole 20s on the road, with other projects they wanted to pursue.\u003c/p>\n\u003cp>So Dance Hall Crashers went on indefinite hiatus. Everyone’s remained good friends and in regular touch over the years. But half the band doesn’t live in the Bay Area anymore, and everyone has busy lives. They had no reason to believe that hiatus wouldn’t be permanent.\u003c/p>\n\u003ch2>‘If we sound like shit, we’re not going to do this’\u003c/h2>\n\u003cp>In November of last year, after Warped Tour founder Kevin Lyman asked if Dance Hall Crashers would reunite for this year’s festival dates, Deniké and Rogers got together to sing. It was a couple weeks after the election, and moods were strange, to say the least. But the old friends needed to see how their voices sounded together before they agreed to perform.\u003c/p>\n\u003cfigure id=\"attachment_13977008\" class=\"wp-caption aligncenter\" style=\"max-width: 1482px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13977008\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Elyse-Rogers-Karina-Denike-rehearsal-photo-by-Karina-Denike-2025.jpeg.jpg\" alt=\"two women take a selfie\" width=\"1482\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Elyse-Rogers-Karina-Denike-rehearsal-photo-by-Karina-Denike-2025.jpeg.jpg 1482w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Elyse-Rogers-Karina-Denike-rehearsal-photo-by-Karina-Denike-2025.jpeg-800x1080.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Elyse-Rogers-Karina-Denike-rehearsal-photo-by-Karina-Denike-2025.jpeg-1020x1377.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Elyse-Rogers-Karina-Denike-rehearsal-photo-by-Karina-Denike-2025.jpeg-160x216.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Elyse-Rogers-Karina-Denike-rehearsal-photo-by-Karina-Denike-2025.jpeg-768x1036.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Elyse-Rogers-Karina-Denike-rehearsal-photo-by-Karina-Denike-2025.jpeg-1138x1536.jpg 1138w\" sizes=\"auto, (max-width: 1482px) 100vw, 1482px\">\u003cfigcaption class=\"wp-caption-text\">Elyse Rogers and Karina Deniké in a selfie from band practice. \u003ccite>(Courtesy Karina Deniké)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s a very strange experience to go back after this many years, because it’s all muscle memory,” says Denike. “You’ll be like, ‘I have no memory of writing this, singing this, thinking this,’ but you’re singing it, and you don’t even know where the words are coming from. And ‘Oh, my voice goes up here, and you go down there.’ We snapped back to our parts pretty quickly.”\u003c/p>\n\u003cp>The ’90s band-reunion economy has boomed in recent years, with nostalgia-driven festivals like When We Were Young targeting punk and emo fans now in their 40s and 50s. But for Dance Hall Crashers fans, this reunion feels especially affirming: there’s a sense of DHC as an underdog, a gem that never quite got its true shine. “It is kind of exciting to get a second chance,” says Deniké, “and to be coming from a different perspective, which is age.”\u003c/p>\n\u003cp>For Hammon, gearing up for shows helped him realize just how many people still carry a torch for the band. Sure, he knew the Descendents were big fans, and NOFX’s Fat Mike had remarked to him in recent years that DHC was “so beloved.”\u003c/p>\n\u003cfigure id=\"attachment_13977002\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/DHC.rehearsal.fromFB.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13977002 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/DHC.rehearsal.fromFB-e1748974395652-800x646.jpg\" alt=\"three people at band practice\" width=\"800\" height=\"646\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/DHC.rehearsal.fromFB-e1748974395652-800x646.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/DHC.rehearsal.fromFB-e1748974395652-1020x824.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/DHC.rehearsal.fromFB-e1748974395652-160x129.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/DHC.rehearsal.fromFB-e1748974395652-768x620.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/DHC.rehearsal.fromFB-e1748974395652.jpg 1065w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Karina Deniké, Jason Hammon and Gavin Hammon at a recent band practice. \u003ccite>(Dance Hall Crashers / Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Hammon wasn’t sure what to expect ticket sales-wise — until the San Francisco shows sold out within five minutes. On social media, fans have spent the last six months collectively losing their minds, with some flying in from as far as Japan, Australia, England and Nova Scotia.\u003c/p>\n\u003cp>“It’s been really, really cool to see how excited people are. It’s cool that anybody even still listens to us,” says Hammon. “But, you know, music’s forever.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Dance Hall Crashers play two very sold-out shows Friday and Saturday, June 6 and 7, at the Great American Music Hall in San Francisco. \u003ca href=\"https://wl.seetickets.us/event/dance-hall-crashers/636019?afflky=GreatAmericanMusicHall\">Details\u003c/a> \u003ca href=\"https://wl.seetickets.us/event/dance-hall-crashers/634707?afflky=GreatAmericanMusicHall\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Ahead of two sold-out reunion shows, Karina Deniké and Jason Hammon reflect on the ’90s, ska, and “selling out.”",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13977010\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Polaroid-by-Debra-McClinton-Karina-Denike-Elyse-Rogers-1998-7.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13977010\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Polaroid-by-Debra-McClinton-Karina-Denike-Elyse-Rogers-1998-7.jpg\" alt=\"two women with dark hair pose in front of a blue background, one wearing yellow, one wearing a black dress\" width=\"2000\" height=\"1439\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Polaroid-by-Debra-McClinton-Karina-Denike-Elyse-Rogers-1998-7.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Polaroid-by-Debra-McClinton-Karina-Denike-Elyse-Rogers-1998-7-800x576.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Polaroid-by-Debra-McClinton-Karina-Denike-Elyse-Rogers-1998-7-1020x734.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Polaroid-by-Debra-McClinton-Karina-Denike-Elyse-Rogers-1998-7-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Polaroid-by-Debra-McClinton-Karina-Denike-Elyse-Rogers-1998-7-768x553.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Polaroid-by-Debra-McClinton-Karina-Denike-Elyse-Rogers-1998-7-1536x1105.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Polaroid-by-Debra-McClinton-Karina-Denike-Elyse-Rogers-1998-7-1920x1381.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Karina Deniké and Elyse Rogers in a Polaroid circa 1998. \u003ccite>(Debra McClinton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Karina Deniké has been in a \u003cem>lot\u003c/em> of bands. The San Francisco singer has performed in dive bars and on festival stages. She’s toured Europe and Japan, has released solo records, and, for the past decade, she was a touring member of NOFX, bringing a crucial shot of feminine energy to their notoriously rowdy stage show.\u003c/p>\n\u003cp>But no project of Deniké’s inspires quite as big a reaction as the one she gets when fans realize she’s \u003cem>Karina from Dance Hall Crashers\u003c/em>. Their eyes widen, or they wax poetic about the set list from a show they saw at Slim’s in 1996. Mostly, they want her to know just how much the women-led Berkeley ska-punk band meant to them when they were young — and how much they still mean now.\u003c/p>\n\u003cp>No matter that Dance Hall Crashers, a group Deniké began fronting at age 18 alongside singer Elyse Rogers, haven’t played a show in more than 20 years.\u003c/p>\n\u003cfigure id=\"attachment_13977004\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/DHC-at-Rhino-Records-Montclair-1998-photographer-unknown-left-to-right_Elyse-Rogers-Gavin-Hammon-Karina-Denike-Jason-Hammon.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13977004\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/DHC-at-Rhino-Records-Montclair-1998-photographer-unknown-left-to-right_Elyse-Rogers-Gavin-Hammon-Karina-Denike-Jason-Hammon.jpg\" alt=\"a band plays at a record store\" width=\"960\" height=\"714\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/DHC-at-Rhino-Records-Montclair-1998-photographer-unknown-left-to-right_Elyse-Rogers-Gavin-Hammon-Karina-Denike-Jason-Hammon.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/DHC-at-Rhino-Records-Montclair-1998-photographer-unknown-left-to-right_Elyse-Rogers-Gavin-Hammon-Karina-Denike-Jason-Hammon-800x595.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/DHC-at-Rhino-Records-Montclair-1998-photographer-unknown-left-to-right_Elyse-Rogers-Gavin-Hammon-Karina-Denike-Jason-Hammon-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/DHC-at-Rhino-Records-Montclair-1998-photographer-unknown-left-to-right_Elyse-Rogers-Gavin-Hammon-Karina-Denike-Jason-Hammon-768x571.jpg 768w\" sizes=\"auto, (max-width: 960px) 100vw, 960px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A Dance Hall Crashers show at Rhino Records, outside Pomona, in 1998. \u003ccite>(Courtesy Dance Hall Crashers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“On tour with NOFX, everywhere I went, people were coming out of the woodwork to tell me they were fans,” says Deniké in a recent Zoom interview with Dance Hall Crashers guitarist Jason Hammon. Sometimes, these fans were too young to have ever seen a DHC show. “So I’ve been feeding that back to the rest of the band. Like, you guys, this is not just a couple people. There is a \u003cem>lot\u003c/em> of interest.”\u003c/p>\n\u003cp>Those superfans will see a long-held dream come true this month, as Dance Hall Crashers reunite for a short run of live shows, including Warped Tour dates in Long Beach and Washington, D.C. this summer, and a Riot Fest appearance in Chicago in September. Of course, they had to do something for the hometown fans: They kick it all off with two sold-out appearances at Great American Music Hall June 6 and 7.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Fittingly, the reunion was largely inspired by a certain group of young adults who never saw DHC play the first time around: the \u003ca href=\"https://www.instagram.com/p/DKaA6b9JPn5/?igsh=NTc4MTIwNjQ2YQ==\">band members’ children\u003c/a>. Among them are Logan Hammon, Jason’s daughter, who also fronts the Oakland indie rock band \u003ca href=\"https://www.smallcrush.fun/\">Small Crush\u003c/a>; they open for Dance Hall Crashers on June 7.\u003c/p>\n\u003cp>“We’ve been joking about it for like 10 years: ‘Wouldn’t it be cool if Dance Hall Crashers got back together and we got to play with you guys?’” says Hammon. “So yeah, this is the coolest thing that could have ever happened.”\u003c/p>\n\u003ch2>Crashing the boys’ club\u003c/h2>\n\u003cp>Birthed from the primordial, massively influential punk soup that was \u003ca href=\"https://www.kqed.org/arts/tag/924-gilman\">924 Gilman\u003c/a> in the late ’80s, Dance Hall Crashers come with a particularly complex family tree: Tim Armstrong and Matt Freeman were two of the band’s founding members, during a time after their seminal ska band Operation Ivy broke up, but before they formed Rancid. Hammon, a kid from San Leandro who was playing in multiple punk bands around the East Bay, joined soon after on guitar.\u003c/p>\n\u003cfigure id=\"attachment_13977022\" class=\"wp-caption aligncenter\" style=\"max-width: 1689px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Dance_Hall_Crashers_at_The_Masquerade_in_Atlanta_GA_in_1998_4847189689.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13977022\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Dance_Hall_Crashers_at_The_Masquerade_in_Atlanta_GA_in_1998_4847189689.jpg\" alt=\"a black and white photo of a band on stage from the back\" width=\"1689\" height=\"692\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Dance_Hall_Crashers_at_The_Masquerade_in_Atlanta_GA_in_1998_4847189689.jpg 1689w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Dance_Hall_Crashers_at_The_Masquerade_in_Atlanta_GA_in_1998_4847189689-800x328.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Dance_Hall_Crashers_at_The_Masquerade_in_Atlanta_GA_in_1998_4847189689-1020x418.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Dance_Hall_Crashers_at_The_Masquerade_in_Atlanta_GA_in_1998_4847189689-160x66.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Dance_Hall_Crashers_at_The_Masquerade_in_Atlanta_GA_in_1998_4847189689-768x315.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Dance_Hall_Crashers_at_The_Masquerade_in_Atlanta_GA_in_1998_4847189689-1536x629.jpg 1536w\" sizes=\"auto, (max-width: 1689px) 100vw, 1689px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A Dance Hall Crashers show at the Masquerade in Atlanta, Georgia. \u003ccite>(veganstraightedge / Wikimedia Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Elyse Rogers, a UC Berkeley student and Operation Ivy fan from Orange County, became one of the band’s singers. She was followed by Denike, a Berkeley High alum by way of Cambridge, England, who fit right in. “I was already a rude girl at age 12, because there’s such a big Caribbean and West Indian community [in England], so much reggae and ska influence,” says Denike.\u003c/p>\n\u003cp>By 1994, the lineup had solidified with Rogers, Deniké, Hammon, Mikey Weiss on bass and Jason’s brother Gavin Hammon on drums. The band spent the next decade making upbeat, danceable, ineffably sassy songs that hit at the intersection of punk, pop and ska. They had catchy guitar riffs, a killer live show and a key feature that set them apart from the era’s dude-heavy pack: Two charismatic, no-bullshit frontwomen who harmonized like they were spinning gold.\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/dGbxHkHwNJU'\n title='//www.youtube.com/embed/dGbxHkHwNJU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This was more of an anomaly than young fans in 2025 may realize.\u003c/p>\n\u003cp>“I think I can count on one hand the number of bands that had female singers that played Gilman frequently around that time,” says Hammon. (\u003ca href=\"https://www.kqed.org/arts/13953628/michelle-cruz-gonzales-of-spitboy-is-punk-af-and-lived-to-teach-about-it\">Spitboy\u003c/a>, Blatz and Tilt come to mind.) That gender imbalance took on an even more bro-ish tone on Warped Tour, which DHC last played in 1996. The scene at the time, Hammon says, was “kind of a boys’ club.”\u003c/p>\n\u003cp>“It \u003cem>absolutely\u003c/em> was,” interjects Deniké. She and Rogers quickly grew thick skin as performers, she says, but their roles as the rare frontwomen in a male-dominated scene also gave them a sense of responsibility to young women fans.\u003c/p>\n\u003cp>“We wanted to have an environment [at shows] where we would have felt safe being in the crowd,” she says. “And I remember wanting to present this very strong, playful and fun female front with Elyse, but I was also conscious that I didn’t want to be overly sexy. It was always about the music, and it was very, very important to me that we would get respected for our musicality, or for our stage show, but not just, you know, putting on a short skirt.”\u003c/p>\n\u003cfigure id=\"attachment_13977003\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Karina-Denike-Elyse-Rogers.-Photo-by-Lisa-Johnson-Rock-Photographer-1998-.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13977003\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Karina-Denike-Elyse-Rogers.-Photo-by-Lisa-Johnson-Rock-Photographer-1998-.jpg\" alt=\"a black and white photo of two women singing\" width=\"960\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Karina-Denike-Elyse-Rogers.-Photo-by-Lisa-Johnson-Rock-Photographer-1998-.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Karina-Denike-Elyse-Rogers.-Photo-by-Lisa-Johnson-Rock-Photographer-1998--800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Karina-Denike-Elyse-Rogers.-Photo-by-Lisa-Johnson-Rock-Photographer-1998--160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Karina-Denike-Elyse-Rogers.-Photo-by-Lisa-Johnson-Rock-Photographer-1998--768x768.jpg 768w\" sizes=\"auto, (max-width: 960px) 100vw, 960px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Karina Deniké and Elyse Rogers at a DHC show around 1998. \u003ccite>(Lisa Johnson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The band stayed active off and on until 2004. During that time they released four studio albums, an EP and a live record; flirted with mainstream America via MTV rotation, song placements on the \u003cem>\u003ca href=\"https://people.com/movies/angus-turns-20-we-remember-its-amazing-soundtrack/\">Angus\u003c/a>\u003c/em> soundtrack and \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=p2vLuYG_b50\">Dawson’s Creek\u003c/a>\u003c/em>; and toured the country relentlessly, both headlining and opening for bands like Blink 182, No Doubt, Bad Religion and the Mighty Mighty Bosstones.\u003c/p>\n\u003cp>In 1997, \u003cem>Honey, I’m Homely!\u003c/em>, their second LP to be released through MCA Records, became their most commercially successful record to date. The single “Lost Again” got significant alt-rock radio play and a music video, and the album hit No. 22 on Billboard’s Heatseekers chart. At least one critic compared Deniké and Rogers’ vocal dynamic to Kate Pierson and Cindy Wilson of the B-52s.\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/em20dRxxE-E'\n title='//www.youtube.com/embed/em20dRxxE-E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Still, DHC never quite crossed the rubicon into mainstream pop culture. Looking back, members cite their lack of careerism; the band consistently rejected offers and opportunities that didn’t feel like them. They also made decisions democratically. “Maybe if we didn’t all have vetoes, we would have done Sprite commercials,” says Hammon. “But we kept each other pretty honest.”\u003c/p>\n\u003cp>Instead, they watched bands that had opened for Dance Hall Crashers book stadium tours, fueled in part by the gold rush around Bay Area punk and ska that followed Green Day’s breakout success. It was a weird couple of years: they had signed to a major label, and in the Bay, the vitriol around “selling out” hit a fever pitch. At the same time, the national market seemed to have room for only \u003ca href=\"https://www.npr.org/2024/01/17/1225142550/no-doubt-the-pop-punk-band-featuring-lead-singer-gwen-stefani-is-reuniting\">one woman-fronted ska-rock band\u003c/a>.\u003c/p>\n\u003cp>The band didn’t exactly play ball with the label either: “There were all these suggestions getting thrown at us, like, ‘Why don’t you do a cover of some big pop song from the ’80s or the ’60s, and they’ll put that on the radio, and then we’ll start pumping your originals?’ That was the thing at the time,” says Deniké. “And we were just like, ‘We don’t want to do that.’”\u003c/p>\n\u003cfigure id=\"attachment_13977005\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/DHC_Band_by-Debra-McClinton-L-Right_Jason-Hammon-Mikey-Wiess-ELyse-Rogers-Karina-Denike-Gavin-Hammon.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13977005\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/DHC_Band_by-Debra-McClinton-L-Right_Jason-Hammon-Mikey-Wiess-ELyse-Rogers-Karina-Denike-Gavin-Hammon.jpg\" alt=\"a band of five people pose in front of a yellow wall\" width=\"2000\" height=\"1371\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/DHC_Band_by-Debra-McClinton-L-Right_Jason-Hammon-Mikey-Wiess-ELyse-Rogers-Karina-Denike-Gavin-Hammon.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/DHC_Band_by-Debra-McClinton-L-Right_Jason-Hammon-Mikey-Wiess-ELyse-Rogers-Karina-Denike-Gavin-Hammon-800x548.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/DHC_Band_by-Debra-McClinton-L-Right_Jason-Hammon-Mikey-Wiess-ELyse-Rogers-Karina-Denike-Gavin-Hammon-1020x699.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/DHC_Band_by-Debra-McClinton-L-Right_Jason-Hammon-Mikey-Wiess-ELyse-Rogers-Karina-Denike-Gavin-Hammon-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/DHC_Band_by-Debra-McClinton-L-Right_Jason-Hammon-Mikey-Wiess-ELyse-Rogers-Karina-Denike-Gavin-Hammon-768x526.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/DHC_Band_by-Debra-McClinton-L-Right_Jason-Hammon-Mikey-Wiess-ELyse-Rogers-Karina-Denike-Gavin-Hammon-1536x1053.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/DHC_Band_by-Debra-McClinton-L-Right_Jason-Hammon-Mikey-Wiess-ELyse-Rogers-Karina-Denike-Gavin-Hammon-1920x1316.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">L to R: Jason Hammon, Mikey Weiss, Elyse Rogers, Karina Deniké and Gavin Hammon. \u003ccite>(Debra McClinton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>They also didn’t want to keep touring after it stopped being fun. And that’s the short version of what happened in 2004: Some band members wanted to go to college, some had small children; most everyone had spent their whole 20s on the road, with other projects they wanted to pursue.\u003c/p>\n\u003cp>So Dance Hall Crashers went on indefinite hiatus. Everyone’s remained good friends and in regular touch over the years. But half the band doesn’t live in the Bay Area anymore, and everyone has busy lives. They had no reason to believe that hiatus wouldn’t be permanent.\u003c/p>\n\u003ch2>‘If we sound like shit, we’re not going to do this’\u003c/h2>\n\u003cp>In November of last year, after Warped Tour founder Kevin Lyman asked if Dance Hall Crashers would reunite for this year’s festival dates, Deniké and Rogers got together to sing. It was a couple weeks after the election, and moods were strange, to say the least. But the old friends needed to see how their voices sounded together before they agreed to perform.\u003c/p>\n\u003cfigure id=\"attachment_13977008\" class=\"wp-caption aligncenter\" style=\"max-width: 1482px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13977008\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Elyse-Rogers-Karina-Denike-rehearsal-photo-by-Karina-Denike-2025.jpeg.jpg\" alt=\"two women take a selfie\" width=\"1482\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Elyse-Rogers-Karina-Denike-rehearsal-photo-by-Karina-Denike-2025.jpeg.jpg 1482w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Elyse-Rogers-Karina-Denike-rehearsal-photo-by-Karina-Denike-2025.jpeg-800x1080.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Elyse-Rogers-Karina-Denike-rehearsal-photo-by-Karina-Denike-2025.jpeg-1020x1377.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Elyse-Rogers-Karina-Denike-rehearsal-photo-by-Karina-Denike-2025.jpeg-160x216.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Elyse-Rogers-Karina-Denike-rehearsal-photo-by-Karina-Denike-2025.jpeg-768x1036.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Elyse-Rogers-Karina-Denike-rehearsal-photo-by-Karina-Denike-2025.jpeg-1138x1536.jpg 1138w\" sizes=\"auto, (max-width: 1482px) 100vw, 1482px\">\u003cfigcaption class=\"wp-caption-text\">Elyse Rogers and Karina Deniké in a selfie from band practice. \u003ccite>(Courtesy Karina Deniké)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s a very strange experience to go back after this many years, because it’s all muscle memory,” says Denike. “You’ll be like, ‘I have no memory of writing this, singing this, thinking this,’ but you’re singing it, and you don’t even know where the words are coming from. And ‘Oh, my voice goes up here, and you go down there.’ We snapped back to our parts pretty quickly.”\u003c/p>\n\u003cp>The ’90s band-reunion economy has boomed in recent years, with nostalgia-driven festivals like When We Were Young targeting punk and emo fans now in their 40s and 50s. But for Dance Hall Crashers fans, this reunion feels especially affirming: there’s a sense of DHC as an underdog, a gem that never quite got its true shine. “It is kind of exciting to get a second chance,” says Deniké, “and to be coming from a different perspective, which is age.”\u003c/p>\n\u003cp>For Hammon, gearing up for shows helped him realize just how many people still carry a torch for the band. Sure, he knew the Descendents were big fans, and NOFX’s Fat Mike had remarked to him in recent years that DHC was “so beloved.”\u003c/p>\n\u003cfigure id=\"attachment_13977002\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/DHC.rehearsal.fromFB.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13977002 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/DHC.rehearsal.fromFB-e1748974395652-800x646.jpg\" alt=\"three people at band practice\" width=\"800\" height=\"646\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/DHC.rehearsal.fromFB-e1748974395652-800x646.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/DHC.rehearsal.fromFB-e1748974395652-1020x824.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/DHC.rehearsal.fromFB-e1748974395652-160x129.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/DHC.rehearsal.fromFB-e1748974395652-768x620.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/DHC.rehearsal.fromFB-e1748974395652.jpg 1065w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Karina Deniké, Jason Hammon and Gavin Hammon at a recent band practice. \u003ccite>(Dance Hall Crashers / Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Hammon wasn’t sure what to expect ticket sales-wise — until the San Francisco shows sold out within five minutes. On social media, fans have spent the last six months collectively losing their minds, with some flying in from as far as Japan, Australia, England and Nova Scotia.\u003c/p>\n\u003cp>“It’s been really, really cool to see how excited people are. It’s cool that anybody even still listens to us,” says Hammon. “But, you know, music’s forever.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Dance Hall Crashers play two very sold-out shows Friday and Saturday, June 6 and 7, at the Great American Music Hall in San Francisco. \u003ca href=\"https://wl.seetickets.us/event/dance-hall-crashers/636019?afflky=GreatAmericanMusicHall\">Details\u003c/a> \u003ca href=\"https://wl.seetickets.us/event/dance-hall-crashers/634707?afflky=GreatAmericanMusicHall\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "laura-jane-grace-interview-gods-dick-touring-while-trans-adventure-club-against-me-punk",
"title": "Laura Jane Grace Is Just Asking Questions",
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"content": "\u003cp>It’s tough to imagine a better rock star for this moment in America than \u003ca href=\"https://www.laurajanegrace.com/\">Laura Jane Grace\u003c/a>. The founder of the seminal Florida \u003ca href=\"https://www.kqed.org/arts/tag/punk\">punk\u003c/a> band \u003ca href=\"https://www.kqed.org/arts/13809159/black-me-out-against-me-laura-jane-grace\">Against Me!\u003c/a> has long been known for songwriting that blends the personal and political, as well as visceral, cathartic live shows. Now 44, she’s been releasing records and touring in bands for nearly 30 years. And while her cast of supporting players sometimes changes from album to album, Grace’s ethos is consistent, raising a melodic middle finger to inequality, injustice and authoritarianism. Last year, \u003cem>Rolling Stone \u003c/em>called her “the fiercest punk singer of our time.”\u003c/p>\n\u003cp>Since coming out in 2012 (and releasing the critically acclaimed record \u003ca href=\"https://www.kqed.org/arts/13809159/black-me-out-against-me-laura-jane-grace\">\u003cem>Transgender Dysphoria Blues\u003c/em>\u003c/a>), Grace has also become a hero to a generation of LGBTQ+ punks, and used her platform to speak out for transgender rights. Her outspokenness does not usually go massively viral, however — until last month. That’s when Grace, performing at a Bernie Sanders rally in Kenosha, Washington, sang a catchy new sing-along called “Your God (God’s Dick),” with lyrics that pose detailed questions about the Judeo-Christian deity’s theoretical anatomy.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QSmYxKIs3PI\u003c/p>\n\u003cp>Conservative commentators promptly \u003ca href=\"https://www.rollingstone.com/music/music-news/laura-jane-grace-right-backlash-your-gods-dick-response-1235295332/\">lost their minds\u003c/a>: Fox News called it “pure evil”; the far-right social media account Libs of TikTok described it as a “degenerate, disgusting, anti-Christian song.” Comedians Dana Carvey and David Spade, who apparently have a podcast, mocked it on said podcast. (Actor-turned-Bible-thumper \u003ca href=\"https://www.kqed.org/arts/13935238/russell-brand-sexual-assault-allegations-channel-4-dispatches-sunday-times\">Russell Brand\u003c/a>, for his part, called the performance “blasphemy” in a March 12 social media post. \u003ca href=\"https://www.npr.org/2025/04/04/g-s1-58260/russell-brand-rape-assault\">He was charged on April 4 with the rape and sexual assault\u003c/a> of four different women.)\u003c/p>\n\u003cp>Despite a few death threats, Grace has taken it in stride — and taken it on the road. The track is a single off \u003cem>Adventure Club\u003c/em>, a new full-length that she’ll release in July. At the time of this interview, she was a week into a U.S. tour with backing band \u003ca href=\"https://www.youtube.com/watch?v=DYDLYlhvJho\">the Mississippi Medicals\u003c/a>. They play Friday, April 18 at Cornerstone in Berkeley and Saturday, April 19 at the Mystic Theatre in Petaluma.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>I understand you made this new album in Greece last summer, as part of a dreamy-sounding fellowship from the \u003ca href=\"https://www.onassis.org/initiatives/onassis-air\">Onassis AiR Foundation\u003c/a>. But many of the songs on \u003cem>Adventure Club\u003c/em> are about the state of affairs in the U.S. How did it affect the songs to be writing about America from afar?\u003c/strong>\u003c/p>\n\u003cp>I actually went in with three or four songs in my back pocket, and some of them just caught up with the zeitgeist. For instance, I’ve been working on the song “Mine Me Mine” since probably 2018, and it never really clicked [until now]. Same with a song like “World War III.” I \u003cem>wish\u003c/em> it wasn’t lining up well politically, right? I wish the songs were completely irrelevant.\u003c/p>\n\u003cp>[aside postID='arts_13968840']The song “God’s Dick,” I wrote while I was in Greece, actually at the Onassis AiR offices. They have these amazing work spaces where you’re like an exhibit: anybody walking by on the street can look and see whatever you’re working on. I had weekly check-ins where I would play what I was working on for the Onassis people and we’d talk about it. So it was interesting, when there was all the stink caused by right-wing people after the rally … I know, at face value, this may seem like knuckle-dragging toilet humor. But this is actually a really thought-out piece of work. I had to sit in front of a committee and be like, “This is the song I wrote. This is why I wrote it. This is what the lyrics are about,” and explain it to them with a straight face, you know?\u003c/p>\n\u003cp>It’s felt cool having that legitimacy added to it. There was more thought put into all these songs than any other previous record that I’ve put out, because I’ve already had to justify it to people who aren’t punk.\u003c/p>\n\u003cfigure id=\"attachment_13974484\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/LJG-Credit-Fabiana-Moreira-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13974484\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/LJG-Credit-Fabiana-Moreira-scaled.jpg\" alt=\"a black and white photo of a person with tattoos on stage playing guitar\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/LJG-Credit-Fabiana-Moreira-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/LJG-Credit-Fabiana-Moreira-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/LJG-Credit-Fabiana-Moreira-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/LJG-Credit-Fabiana-Moreira-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/LJG-Credit-Fabiana-Moreira-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/LJG-Credit-Fabiana-Moreira-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/LJG-Credit-Fabiana-Moreira-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/LJG-Credit-Fabiana-Moreira-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Laura Jane Grace. \u003ccite>(Fabiana Moreira)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Were you surprised by the reaction to that performance at the rally?\u003c/strong>\u003c/p>\n\u003cp>It’s just people choosing to be offended, and then not actually looking deeply into it or recognizing that it is completely relevant to the conversation that’s happening right now. Right-wing Christians want to know what is going on in \u003cem>everybody’s\u003c/em> pants. But then, if you flip it around and ask, OK, well, you’re referring to your God with male pronouns, and my understanding is that you imagine God to be, like, a guy in the sky wearing robes, with a beard? What does \u003cem>that\u003c/em> mean? I have questions.\u003c/p>\n\u003cp>\u003cstrong>It’s also undeniably catchy. It’s just a very joyful, well-constructed anthem.\u003c/strong>\u003c/p>\n\u003cp>That song would not exist if I did not have to endure however many years of fucking being sent to church youth group as a teenager, and singing songs like [sings] “Our God is an awesome God, He reigns from heaven above with wisdom, power and love.”\u003c/p>\n\u003cp>\u003cstrong>So church was good for something after all.\u003c/strong>\u003c/p>\n\u003cp>All my first drug experiences, all my first sexual experiences, and all my first bands were at church.\u003c/p>\n\u003cp>[aside postID='arts_13961071']\u003cstrong>I wanted to ask how you think about your safety on tour right now, given the onslaught of anti-trans bills and vitriol from this Trump administration. But I can also imagine it’s not like you felt 100% safe as a trans person touring the heartland for the last decade before this. Does it feel different now?\u003c/strong>\u003c/p>\n\u003cp>I’m trying to really gauge it, actually. Definitely traveling out west [over the past week], we stopped at a lot of places that, you go into the gas station, and they’re selling Trump bobbleheads or MAGA hats or whatever. And to me, it always seems like there’s a strange disconnect: the person behind the counter could be wearing a MAGA hat, and watching Fox News, and they could be enraged about trans issues. But if I walk up to the counter and have an interaction with them, they’re still friendly for the most part. It’s almost like the connection between what they’re seeing in the media hasn’t totally clicked into everyday life yet. But I don’t know when that’s gonna flip. Or if it’ll flip.\u003c/p>\n\u003cp>Also, right, the Trump billboards and things like that across the country have never gone away, since his first presidency. For a while, I was driving back and forth between Chicago and St. Louis pretty often, and there’s \u003cem>tons\u003c/em> of Trump stuff in between Chicago and St. Louis — all across Illinois, which is a primarily blue state, right? But I think it’s cool to be able to travel and get a read on the country in that way. It’s something that I wish more people could do. I feel like you get a better understanding of the country if you’re traveling through it all the time, as opposed to just existing in your own little world.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OOVKevOPQwg\u003c/p>\n\u003cp>\u003cstrong>You hear pretty frequently from young trans punks who tell you what your journey meant to them. What are queer young folks telling you right now at shows? Do kids ask you for advice?\u003c/strong>\u003c/p>\n\u003cp>I mean, I have all the same fears and uncertainties everyone else does. If anyone ever comes up to me and says that my story was a part of their story, that’s incredible. And I know exactly what that feels like, because I can look at the people who did that for me. But the big things that everyone’s concerned about right now are basic things, like access to hormones, or \u003ca href=\"https://ca.billboard.com/music/music-news/bells-larsen-us-tour-visa\">passports, name changes, gender marker change issues\u003c/a>. And I don’t have any of the fucking answers for that stuff. It feels just as uncertain and scary for me too. We’re all very much in this together and figuring it out as we go.\u003c/p>\n\u003cp>\u003cstrong>You’ve been making protest music since your teens and early 20s, when the resistance was about fighting back against George W. Bush and the Iraq War. How does this moment feel similar or different to you?\u003c/strong>\u003c/p>\n\u003cp>What feels different to me is the way the DIY punk scene, or the activist scene, organized then. The underground network — whether that was people with zines, or punk houses doing shows — offered a real alternative to mainstream media, and how information was being disseminated. The protest movement that was happening around George Bush benefited from that. And very unfortunately, at this point, that structure and that whole network just feels like it’s gone. I don’t know if that’s everything shifting over to social media … but I do think, any kind of resistance or protest network organizing completely on social media, I feel like that’s a real mistake.\u003c/p>\n\u003cp>All the Colorado shows we just played, we had [trans-led social justice legal center] \u003ca href=\"https://www.breadandroseslaw.org/\">Bread and Roses\u003c/a> come out and table at the shows, and it feels like that really resonated. There were a couple of [bills to protect gender-affirming healthcare] going through the Colorado political system while we were there, and there’s genuine excitement — excitement about trying to get organized, trying to put your frustrations or fears in a positive direction. So that’s a positive sign.\u003c/p>\n\u003cfigure id=\"attachment_13974485\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/LJG-and-The-Mississippi-Medicals-Credit-Dave-Decker_3-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13974485\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/LJG-and-The-Mississippi-Medicals-Credit-Dave-Decker_3-scaled.jpg\" alt=\"a black and white band photo with four people\" width=\"2560\" height=\"2048\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/LJG-and-The-Mississippi-Medicals-Credit-Dave-Decker_3-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/LJG-and-The-Mississippi-Medicals-Credit-Dave-Decker_3-800x640.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/LJG-and-The-Mississippi-Medicals-Credit-Dave-Decker_3-1020x816.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/LJG-and-The-Mississippi-Medicals-Credit-Dave-Decker_3-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/LJG-and-The-Mississippi-Medicals-Credit-Dave-Decker_3-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/LJG-and-The-Mississippi-Medicals-Credit-Dave-Decker_3-1536x1229.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/LJG-and-The-Mississippi-Medicals-Credit-Dave-Decker_3-2048x1638.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/LJG-and-The-Mississippi-Medicals-Credit-Dave-Decker_3-1920x1536.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Laura Jane Grace (far right) and the Mississippi Medicals, featuring (L to R) Matt Patton of Drive-By Truckers (bass), Mikey Erg of The Ergs (drums) and Paris Campbell Grace (vocals, percussion). \u003ccite>(Dave Decker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What’s your relationship like with social media these days? You’re so funny and sharp online, but I also wonder how someone like you could possibly navigate a media diet and not just spiral into despair looking at your phone when you have a seven-hour drive.\u003c/strong>\u003c/p>\n\u003cp>Oh, I definitely spiral into despair. I’ve been thinking about it a lot lately because I feel like there’s been a tonality shift. I started being more active on Twitter and Instagram, back when those things started, at the push of record labels. But you can only post “Playing San Diego tonight!” so many times. So in between, you give your personal thoughts or shit takes, right?\u003c/p>\n\u003cp>But it seems like that worked better on Twitter when Twitter was still Twitter. It felt like a big group chat. And it was just an amazing resource — I remember being on tour in like 2015 in Portland, Oregon, and tweeting, “If anyone brings us donuts right now, we’ll give you guest list spots.” And 30 minutes later, somebody brought us a dozen donuts, and we hooked him up with guest list spots. Real communication in real time!\u003c/p>\n\u003cp>Also, I didn’t get into this [industry] to be a content creator. I want to play music. I want to write songs, and record songs, and play shows. All the other shit is being done to promote that, and to get the word out and to survive too, because some of those things [like Instagram reels \u003ca href=\"https://blog.symphonic.com/2024/01/27/does-instagram-pay-music-royalties-2/\">paying musicians small royalties\u003c/a>] have become revenue streams, even. In general it feels like we’re in a transitional period, everyone’s trying to figure out the new way forward.\u003c/p>\n\u003cp>[aside postID='news_12023321']\u003cstrong>You sound like you’re having so much fun on \u003cem>Adventure Club\u003c/em>, despite the subject matter, and I’m curious how you think about the idea of joy as a form of protest. You’ll hear folks who were around during the AIDS crisis say “we buried our friends during the day, and then we went dancing at night” — this idea that fun is a necessary part of it.\u003c/strong>\u003c/p>\n\u003cp>I mean, you need that. You need to be restored, or else you’re just gonna burn out. With a song like “Mine Me Mine,” like I mentioned, I brought that song to Against Me! at one point, and it didn’t work out — and maybe that had a lot to do with it not being fun. I think they were the sessions we had right before the pandemic hit, and we were in a bad place, right? And you’re going in there and you’re singing songs about not-fun topics, and it’s not a fun time recording them, and it just burns you the fuck out. Whereas, with this, it was the balance of — again, I wish that the topics weren’t relevant. They are. But then, the experience behind recording them was fucking joyful. We went out swimming and snorkeling every day. You’re in the sun, you’re eating ice cream, and then you’re recording this music, and it \u003cem>restores\u003c/em> you, and you need that, otherwise you’re going to grind yourself into the ground.\u003c/p>\n\u003cp>I think about that a lot, even in terms of parenting. Your child’s needs come first, but also you’re going to be a shitty parent if you don’t pay attention to your own needs. So there’s that balance of, you need to make sure you’re good in order to make sure they’re good.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6A-F9xos2iY\u003c/p>\n\u003cp>\u003cstrong>As a product of Albany and Berkeley, California, I have to ask you about the great Operation Ivy cover sets you did a few months ago with Catbite. What did that mean to you, as someone who’s loved them since you were a kid?\u003c/strong>\u003c/p>\n\u003cp>They are one of my all-time favorite bands, and it was a surreal, full-circle moment in so many ways. I’ll tell you the best moral of the story, with being able to do those sets: When I was 14 or 15 years old, I got arrested by a bunch of cops, beat up, charged with a couple felonies — I was in some really deep fucking trouble. At the time, I was playing bass in this punk band, and my guitar player’s dad was a really high-powered attorney. So he bailed me out of jail that night. And he was like, “I will represent you in these court cases for free. But my stipulation is, you all have this show coming up in two weeks, and you can’t play ‘Officer’” — because he knew we liked to cover “\u003ca href=\"https://www.youtube.com/watch?v=GwELCNMXR2w\">Officer\u003c/a>” by Operation Ivy. He was like, don’t play that song, and I’ll represent you for free.\u003c/p>\n\u003cp>And so first song of the set, I got up and fucking let out that “Ahhhh—” … we played “Officer.” And I lost my legal representation. My mom ended up having to pay for a lawyer out of pocket for me. Thank you, Mom. I lost the case, and it fucking sucked. I spent a whole summer on house arrest. It’s still on my record. But to be up on stage however many years later, covering all those Operation Ivy songs, and having it come full circle like that? That was really fucking affirming.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Laura Jane Grace and the Mississippi Medicals play with openers Alex Lahey and Rodeo Boys on Friday, April 18 at Cornerstone in Berkeley (\u003ca href=\"https://www.tixr.com/groups/cornerstoneberkeley/events/laura-jane-grace-the-mississippi-medicals-122958\">details here\u003c/a>) and Saturday, April 19 at the Mystic Theatre in Petaluma (\u003ca href=\"https://wl.seetickets.us/event/laura-jane-grace-and-the-mississippi-medicals/627570?afflky=MysticTheatre\">details here\u003c/a>). \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s tough to imagine a better rock star for this moment in America than \u003ca href=\"https://www.laurajanegrace.com/\">Laura Jane Grace\u003c/a>. The founder of the seminal Florida \u003ca href=\"https://www.kqed.org/arts/tag/punk\">punk\u003c/a> band \u003ca href=\"https://www.kqed.org/arts/13809159/black-me-out-against-me-laura-jane-grace\">Against Me!\u003c/a> has long been known for songwriting that blends the personal and political, as well as visceral, cathartic live shows. Now 44, she’s been releasing records and touring in bands for nearly 30 years. And while her cast of supporting players sometimes changes from album to album, Grace’s ethos is consistent, raising a melodic middle finger to inequality, injustice and authoritarianism. Last year, \u003cem>Rolling Stone \u003c/em>called her “the fiercest punk singer of our time.”\u003c/p>\n\u003cp>Since coming out in 2012 (and releasing the critically acclaimed record \u003ca href=\"https://www.kqed.org/arts/13809159/black-me-out-against-me-laura-jane-grace\">\u003cem>Transgender Dysphoria Blues\u003c/em>\u003c/a>), Grace has also become a hero to a generation of LGBTQ+ punks, and used her platform to speak out for transgender rights. Her outspokenness does not usually go massively viral, however — until last month. That’s when Grace, performing at a Bernie Sanders rally in Kenosha, Washington, sang a catchy new sing-along called “Your God (God’s Dick),” with lyrics that pose detailed questions about the Judeo-Christian deity’s theoretical anatomy.\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/QSmYxKIs3PI'\n title='//www.youtube.com/embed/QSmYxKIs3PI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Conservative commentators promptly \u003ca href=\"https://www.rollingstone.com/music/music-news/laura-jane-grace-right-backlash-your-gods-dick-response-1235295332/\">lost their minds\u003c/a>: Fox News called it “pure evil”; the far-right social media account Libs of TikTok described it as a “degenerate, disgusting, anti-Christian song.” Comedians Dana Carvey and David Spade, who apparently have a podcast, mocked it on said podcast. (Actor-turned-Bible-thumper \u003ca href=\"https://www.kqed.org/arts/13935238/russell-brand-sexual-assault-allegations-channel-4-dispatches-sunday-times\">Russell Brand\u003c/a>, for his part, called the performance “blasphemy” in a March 12 social media post. \u003ca href=\"https://www.npr.org/2025/04/04/g-s1-58260/russell-brand-rape-assault\">He was charged on April 4 with the rape and sexual assault\u003c/a> of four different women.)\u003c/p>\n\u003cp>Despite a few death threats, Grace has taken it in stride — and taken it on the road. The track is a single off \u003cem>Adventure Club\u003c/em>, a new full-length that she’ll release in July. At the time of this interview, she was a week into a U.S. tour with backing band \u003ca href=\"https://www.youtube.com/watch?v=DYDLYlhvJho\">the Mississippi Medicals\u003c/a>. They play Friday, April 18 at Cornerstone in Berkeley and Saturday, April 19 at the Mystic Theatre in Petaluma.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>I understand you made this new album in Greece last summer, as part of a dreamy-sounding fellowship from the \u003ca href=\"https://www.onassis.org/initiatives/onassis-air\">Onassis AiR Foundation\u003c/a>. But many of the songs on \u003cem>Adventure Club\u003c/em> are about the state of affairs in the U.S. How did it affect the songs to be writing about America from afar?\u003c/strong>\u003c/p>\n\u003cp>I actually went in with three or four songs in my back pocket, and some of them just caught up with the zeitgeist. For instance, I’ve been working on the song “Mine Me Mine” since probably 2018, and it never really clicked [until now]. Same with a song like “World War III.” I \u003cem>wish\u003c/em> it wasn’t lining up well politically, right? I wish the songs were completely irrelevant.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The song “God’s Dick,” I wrote while I was in Greece, actually at the Onassis AiR offices. They have these amazing work spaces where you’re like an exhibit: anybody walking by on the street can look and see whatever you’re working on. I had weekly check-ins where I would play what I was working on for the Onassis people and we’d talk about it. So it was interesting, when there was all the stink caused by right-wing people after the rally … I know, at face value, this may seem like knuckle-dragging toilet humor. But this is actually a really thought-out piece of work. I had to sit in front of a committee and be like, “This is the song I wrote. This is why I wrote it. This is what the lyrics are about,” and explain it to them with a straight face, you know?\u003c/p>\n\u003cp>It’s felt cool having that legitimacy added to it. There was more thought put into all these songs than any other previous record that I’ve put out, because I’ve already had to justify it to people who aren’t punk.\u003c/p>\n\u003cfigure id=\"attachment_13974484\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/LJG-Credit-Fabiana-Moreira-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13974484\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/LJG-Credit-Fabiana-Moreira-scaled.jpg\" alt=\"a black and white photo of a person with tattoos on stage playing guitar\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/LJG-Credit-Fabiana-Moreira-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/LJG-Credit-Fabiana-Moreira-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/LJG-Credit-Fabiana-Moreira-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/LJG-Credit-Fabiana-Moreira-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/LJG-Credit-Fabiana-Moreira-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/LJG-Credit-Fabiana-Moreira-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/LJG-Credit-Fabiana-Moreira-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/LJG-Credit-Fabiana-Moreira-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Laura Jane Grace. \u003ccite>(Fabiana Moreira)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Were you surprised by the reaction to that performance at the rally?\u003c/strong>\u003c/p>\n\u003cp>It’s just people choosing to be offended, and then not actually looking deeply into it or recognizing that it is completely relevant to the conversation that’s happening right now. Right-wing Christians want to know what is going on in \u003cem>everybody’s\u003c/em> pants. But then, if you flip it around and ask, OK, well, you’re referring to your God with male pronouns, and my understanding is that you imagine God to be, like, a guy in the sky wearing robes, with a beard? What does \u003cem>that\u003c/em> mean? I have questions.\u003c/p>\n\u003cp>\u003cstrong>It’s also undeniably catchy. It’s just a very joyful, well-constructed anthem.\u003c/strong>\u003c/p>\n\u003cp>That song would not exist if I did not have to endure however many years of fucking being sent to church youth group as a teenager, and singing songs like [sings] “Our God is an awesome God, He reigns from heaven above with wisdom, power and love.”\u003c/p>\n\u003cp>\u003cstrong>So church was good for something after all.\u003c/strong>\u003c/p>\n\u003cp>All my first drug experiences, all my first sexual experiences, and all my first bands were at church.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cstrong>I wanted to ask how you think about your safety on tour right now, given the onslaught of anti-trans bills and vitriol from this Trump administration. But I can also imagine it’s not like you felt 100% safe as a trans person touring the heartland for the last decade before this. Does it feel different now?\u003c/strong>\u003c/p>\n\u003cp>I’m trying to really gauge it, actually. Definitely traveling out west [over the past week], we stopped at a lot of places that, you go into the gas station, and they’re selling Trump bobbleheads or MAGA hats or whatever. And to me, it always seems like there’s a strange disconnect: the person behind the counter could be wearing a MAGA hat, and watching Fox News, and they could be enraged about trans issues. But if I walk up to the counter and have an interaction with them, they’re still friendly for the most part. It’s almost like the connection between what they’re seeing in the media hasn’t totally clicked into everyday life yet. But I don’t know when that’s gonna flip. Or if it’ll flip.\u003c/p>\n\u003cp>Also, right, the Trump billboards and things like that across the country have never gone away, since his first presidency. For a while, I was driving back and forth between Chicago and St. Louis pretty often, and there’s \u003cem>tons\u003c/em> of Trump stuff in between Chicago and St. Louis — all across Illinois, which is a primarily blue state, right? But I think it’s cool to be able to travel and get a read on the country in that way. It’s something that I wish more people could do. I feel like you get a better understanding of the country if you’re traveling through it all the time, as opposed to just existing in your own little world.\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/OOVKevOPQwg'\n title='//www.youtube.com/embed/OOVKevOPQwg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>You hear pretty frequently from young trans punks who tell you what your journey meant to them. What are queer young folks telling you right now at shows? Do kids ask you for advice?\u003c/strong>\u003c/p>\n\u003cp>I mean, I have all the same fears and uncertainties everyone else does. If anyone ever comes up to me and says that my story was a part of their story, that’s incredible. And I know exactly what that feels like, because I can look at the people who did that for me. But the big things that everyone’s concerned about right now are basic things, like access to hormones, or \u003ca href=\"https://ca.billboard.com/music/music-news/bells-larsen-us-tour-visa\">passports, name changes, gender marker change issues\u003c/a>. And I don’t have any of the fucking answers for that stuff. It feels just as uncertain and scary for me too. We’re all very much in this together and figuring it out as we go.\u003c/p>\n\u003cp>\u003cstrong>You’ve been making protest music since your teens and early 20s, when the resistance was about fighting back against George W. Bush and the Iraq War. How does this moment feel similar or different to you?\u003c/strong>\u003c/p>\n\u003cp>What feels different to me is the way the DIY punk scene, or the activist scene, organized then. The underground network — whether that was people with zines, or punk houses doing shows — offered a real alternative to mainstream media, and how information was being disseminated. The protest movement that was happening around George Bush benefited from that. And very unfortunately, at this point, that structure and that whole network just feels like it’s gone. I don’t know if that’s everything shifting over to social media … but I do think, any kind of resistance or protest network organizing completely on social media, I feel like that’s a real mistake.\u003c/p>\n\u003cp>All the Colorado shows we just played, we had [trans-led social justice legal center] \u003ca href=\"https://www.breadandroseslaw.org/\">Bread and Roses\u003c/a> come out and table at the shows, and it feels like that really resonated. There were a couple of [bills to protect gender-affirming healthcare] going through the Colorado political system while we were there, and there’s genuine excitement — excitement about trying to get organized, trying to put your frustrations or fears in a positive direction. So that’s a positive sign.\u003c/p>\n\u003cfigure id=\"attachment_13974485\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/LJG-and-The-Mississippi-Medicals-Credit-Dave-Decker_3-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13974485\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/LJG-and-The-Mississippi-Medicals-Credit-Dave-Decker_3-scaled.jpg\" alt=\"a black and white band photo with four people\" width=\"2560\" height=\"2048\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/LJG-and-The-Mississippi-Medicals-Credit-Dave-Decker_3-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/LJG-and-The-Mississippi-Medicals-Credit-Dave-Decker_3-800x640.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/LJG-and-The-Mississippi-Medicals-Credit-Dave-Decker_3-1020x816.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/LJG-and-The-Mississippi-Medicals-Credit-Dave-Decker_3-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/LJG-and-The-Mississippi-Medicals-Credit-Dave-Decker_3-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/LJG-and-The-Mississippi-Medicals-Credit-Dave-Decker_3-1536x1229.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/LJG-and-The-Mississippi-Medicals-Credit-Dave-Decker_3-2048x1638.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/LJG-and-The-Mississippi-Medicals-Credit-Dave-Decker_3-1920x1536.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Laura Jane Grace (far right) and the Mississippi Medicals, featuring (L to R) Matt Patton of Drive-By Truckers (bass), Mikey Erg of The Ergs (drums) and Paris Campbell Grace (vocals, percussion). \u003ccite>(Dave Decker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What’s your relationship like with social media these days? You’re so funny and sharp online, but I also wonder how someone like you could possibly navigate a media diet and not just spiral into despair looking at your phone when you have a seven-hour drive.\u003c/strong>\u003c/p>\n\u003cp>Oh, I definitely spiral into despair. I’ve been thinking about it a lot lately because I feel like there’s been a tonality shift. I started being more active on Twitter and Instagram, back when those things started, at the push of record labels. But you can only post “Playing San Diego tonight!” so many times. So in between, you give your personal thoughts or shit takes, right?\u003c/p>\n\u003cp>But it seems like that worked better on Twitter when Twitter was still Twitter. It felt like a big group chat. And it was just an amazing resource — I remember being on tour in like 2015 in Portland, Oregon, and tweeting, “If anyone brings us donuts right now, we’ll give you guest list spots.” And 30 minutes later, somebody brought us a dozen donuts, and we hooked him up with guest list spots. Real communication in real time!\u003c/p>\n\u003cp>Also, I didn’t get into this [industry] to be a content creator. I want to play music. I want to write songs, and record songs, and play shows. All the other shit is being done to promote that, and to get the word out and to survive too, because some of those things [like Instagram reels \u003ca href=\"https://blog.symphonic.com/2024/01/27/does-instagram-pay-music-royalties-2/\">paying musicians small royalties\u003c/a>] have become revenue streams, even. In general it feels like we’re in a transitional period, everyone’s trying to figure out the new way forward.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cstrong>You sound like you’re having so much fun on \u003cem>Adventure Club\u003c/em>, despite the subject matter, and I’m curious how you think about the idea of joy as a form of protest. You’ll hear folks who were around during the AIDS crisis say “we buried our friends during the day, and then we went dancing at night” — this idea that fun is a necessary part of it.\u003c/strong>\u003c/p>\n\u003cp>I mean, you need that. You need to be restored, or else you’re just gonna burn out. With a song like “Mine Me Mine,” like I mentioned, I brought that song to Against Me! at one point, and it didn’t work out — and maybe that had a lot to do with it not being fun. I think they were the sessions we had right before the pandemic hit, and we were in a bad place, right? And you’re going in there and you’re singing songs about not-fun topics, and it’s not a fun time recording them, and it just burns you the fuck out. Whereas, with this, it was the balance of — again, I wish that the topics weren’t relevant. They are. But then, the experience behind recording them was fucking joyful. We went out swimming and snorkeling every day. You’re in the sun, you’re eating ice cream, and then you’re recording this music, and it \u003cem>restores\u003c/em> you, and you need that, otherwise you’re going to grind yourself into the ground.\u003c/p>\n\u003cp>I think about that a lot, even in terms of parenting. Your child’s needs come first, but also you’re going to be a shitty parent if you don’t pay attention to your own needs. So there’s that balance of, you need to make sure you’re good in order to make sure they’re good.\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/6A-F9xos2iY'\n title='//www.youtube.com/embed/6A-F9xos2iY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>As a product of Albany and Berkeley, California, I have to ask you about the great Operation Ivy cover sets you did a few months ago with Catbite. What did that mean to you, as someone who’s loved them since you were a kid?\u003c/strong>\u003c/p>\n\u003cp>They are one of my all-time favorite bands, and it was a surreal, full-circle moment in so many ways. I’ll tell you the best moral of the story, with being able to do those sets: When I was 14 or 15 years old, I got arrested by a bunch of cops, beat up, charged with a couple felonies — I was in some really deep fucking trouble. At the time, I was playing bass in this punk band, and my guitar player’s dad was a really high-powered attorney. So he bailed me out of jail that night. And he was like, “I will represent you in these court cases for free. But my stipulation is, you all have this show coming up in two weeks, and you can’t play ‘Officer’” — because he knew we liked to cover “\u003ca href=\"https://www.youtube.com/watch?v=GwELCNMXR2w\">Officer\u003c/a>” by Operation Ivy. He was like, don’t play that song, and I’ll represent you for free.\u003c/p>\n\u003cp>And so first song of the set, I got up and fucking let out that “Ahhhh—” … we played “Officer.” And I lost my legal representation. My mom ended up having to pay for a lawyer out of pocket for me. Thank you, Mom. I lost the case, and it fucking sucked. I spent a whole summer on house arrest. It’s still on my record. But to be up on stage however many years later, covering all those Operation Ivy songs, and having it come full circle like that? That was really fucking affirming.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Laura Jane Grace and the Mississippi Medicals play with openers Alex Lahey and Rodeo Boys on Friday, April 18 at Cornerstone in Berkeley (\u003ca href=\"https://www.tixr.com/groups/cornerstoneberkeley/events/laura-jane-grace-the-mississippi-medicals-122958\">details here\u003c/a>) and Saturday, April 19 at the Mystic Theatre in Petaluma (\u003ca href=\"https://wl.seetickets.us/event/laura-jane-grace-and-the-mississippi-medicals/627570?afflky=MysticTheatre\">details here\u003c/a>). \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "freaky-tales-true-stories-pedro-pascal-too-short-924-gilman-oakland",
"title": "The Real-Life Tales Behind ‘Freaky Tales’",
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"headTitle": "The Real-Life Tales Behind ‘Freaky Tales’ | KQED",
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"content": "\u003cp>It was not your usual Wednesday night at the \u003ca href=\"https://www.kqed.org/arts/tag/grand-lake-theatre\">Grand Lake Theatre\u003c/a>.\u003c/p>\n\u003cp>Outside Oakland’s movie palace in March, Hollywood actors made their way down the red carpet. Rap legends and punk OGs mingled beneath the marquee. Fans got on their tiptoes behind the line of TV cameras, jockeying for a glimpse of the film’s star, Pedro Pascal.\u003c/p>\n\u003cp>Premieres at the Grand Lake are always exciting, but they’re extra special when the movie is \u003ca href=\"https://www.kqed.org/arts/13974034/freaky-tales-movie-easter-eggs-locations-cameos-oakland\">filmed and set in Oakland\u003c/a>. \u003cem>Freaky Tales\u003c/em>, from screenwriting and directing team Ryan Fleck and Anna Boden (\u003cem>Half Nelson, Captain Marvel\u003c/em>), is a revenge-fantasy flick that takes place in the year 1987. It’s filmed at Oakland landmarks, including the Oakland Coliseum, Giant Burger and the old Loard’s ice cream parlor on Coolidge and MacArthur. Marshawn Lynch and Rancid’s Tim Armstrong make cameos, as does Oakland rap icon \u003ca href=\"https://www.kqed.org/arts/tag/too-short\">Too Short\u003c/a>, who narrates and helped produce the film.\u003c/p>\n\u003cfigure id=\"attachment_13973843\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973843\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-114-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-114-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-114-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-114-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-114-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-114-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-114-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-114-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Fans crowd the sidewalk for the ‘Freaky Tales’ special screening at the Grand Lake Theater in Oakland on March 19, 2025. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13973838\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973838\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-73-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-73-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-73-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-73-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-73-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-73-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-73-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-73-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Pedro Pascal poses on the red carpet before the ‘Freaky Tales’ premiere at the Grand Lake Theater in Oakland on March 19, 2025. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s full, in other words, of \u003ca href=\"https://www.kqed.org/arts/13974034/freaky-tales-movie-easter-eggs-locations-cameos-oakland\">people and locations that carry name recognition for locals\u003c/a>. But nationally, Oakland has never quite received proper credit for its contributions to American culture at large. As rapper \u003ca href=\"https://www.kqed.org/arts/13921058/watch-rising-oakland-rap-star-symbas-tiny-desk-concert\">Symba\u003c/a>, who plays Too Short in the film, remarked on the red carpet, “People get their curations, their whole make-up, from things that we created here.”\u003c/p>\n\u003cp>\u003cem>Freaky Tales\u003c/em>, then, is a movie about a town with a permanent underdog complex — and, fittingly, it’s told through different chapters, interconnected by Pascal’s performance as a hitman, that have underdogs as their heroes. A ragtag bunch of pacifist punk rockers beats up a crew of Nazi skinheads. Two teenage girls in a rap battle rip to shreds a rapper known for objectifying women. A basketball point guard comes alive for a mind-blowing fourth quarter in a historic comeback win.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The freakiest thing of all? These are events that really happened.\u003c/p>\n\u003cfigure id=\"attachment_13973913\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973913\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_01151RC2.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_01151RC2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_01151RC2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_01151RC2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_01151RC2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_01151RC2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_01151RC2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_01151RC2-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jay Ellis as Sleepy Floyd in ‘Freaky Tales,’ surrounded by other actors in a scene outside the Oakland Coliseum. \u003ccite>(Lionsgate Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thankfully, the events depicted in \u003cem>Freaky Tales\u003c/em> involved people who are still around to witness what likely seemed impossible 38 years ago: a Hollywood movie with Oakland as its true star. Here are some of their real-life tales.\u003c/p>\n\u003ch2>Punching Nazis: A punk love story\u003c/h2>\n\u003cp>The first chapter of \u003cem>Freaky Tales\u003c/em> follows young couple Tina (Ji-young Yoo) and Lucid (Jack Champion) as they navigate an increasing menace to their home-base punk collective of \u003ca href=\"https://www.kqed.org/arts/tag/924-gilman\">924 Gilman\u003c/a>: neo-Nazi skinheads, who barge into shows, knock people to the ground, assault girls and women and destroy band equipment.\u003c/p>\n\u003cp>After taking a vote led by security guard Greg (LeQuan Antonio Bennett), the punks decide to fight back. During an Operation Ivy show at the Berkeley club, the Nazi skinheads return, but this time they’re met by a wall of punks armed with bats, chains and trash can lids. Battered in the ensuing brawl, the defeated Nazis pile into their smashed and dented pickup truck and drive away to the El Cerrito hills.\u003c/p>\n\u003cfigure id=\"attachment_13973920\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973920\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SkinheadLineup.jpg\" alt=\"\" width=\"2000\" height=\"1499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SkinheadLineup.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SkinheadLineup-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SkinheadLineup-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SkinheadLineup-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SkinheadLineup-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SkinheadLineup-1536x1151.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SkinheadLineup-1920x1439.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A group of Nazi skinheads approaches punk club 924 Gilman in a scene from ‘Freaky Tales.’ \u003ccite>(Lionsgate Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13973928\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973928\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GILMAN-143.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GILMAN-143.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GILMAN-143-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GILMAN-143-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GILMAN-143-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GILMAN-143-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GILMAN-143-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GILMAN-143-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">In 1987, skinheads caused trouble at punk shows around the country, including at 924 Gilman in Berkeley, pictured. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Minus a few details, the chapter is remarkably true to real-life events. Fleck and Boden had a good roadmap: the fight is recalled at length in \u003ca href=\"https://www.kqed.org/arts/13239750/the-definitive-documentary-on-east-bay-punk-is-coming-pit-warning\">the East Bay punk documentary \u003cem>Turn It Around\u003c/em>\u003c/a>, directed by Gilman alum Corbett Redford, who came on as a technical advisor for the film.\u003c/p>\n\u003cp>“Greg” in the film is based on George Stephens, a.k.a. George Hated, who in 1987 lived in West Oakland, sang in the band The Hated and served as head of security at Gilman. In an interview, Stephens, now 57, recalled walking out to the sidewalk that night and seeing Nondo, his friend who was also working security, lying in the gutter outside the front door.\u003c/p>\n\u003cp>[aside postID='arts_13974034']“And there were three Nazis standing over him, one holding a bat. So I grabbed the bat out of the guy’s hands and hit the three of them, got Nondo up, and got him inside,” Stephens said.\u003c/p>\n\u003cp>On any other night, that might have been the end of it. But just like in the film, the punks at Gilman had vowed to fight, and emptied into the street. Even Dave Dictor, the singer of “peace-punk” band MDC, who were headlining that night, joined in wielding an aluminum crutch.\u003c/p>\n\u003cp>“More people came out, and it turned into an absolute mess,” said Stephens.\u003c/p>\n\u003cfigure id=\"attachment_13973959\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973959\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-07-KQED-2.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-07-KQED-2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-07-KQED-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-07-KQED-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-07-KQED-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-07-KQED-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-07-KQED-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-07-KQED-2-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">George Stephens today, pictured in Alameda on April 1, 2025. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kamala Parks, who co-founded Gilman and drummed in several bands, remembered the nuanced deliberations about retaliating against Nazis among volunteers at the club, whose door rules stated “No Fighting.”\u003c/p>\n\u003cp>“A lot of folks who had previously taken a more pacifist standpoint had been convinced to fight back, mainly because skinhead violence had gotten more pronounced,” she said. (Parks herself had been punched in the face by a skinhead during a previous melee across town.)\u003c/p>\n\u003cp>By the end of the brawl outside Gilman, the punks had won. They even chased the Nazis across the street and smashed up their pickup truck before the skinheads sped away, fleeing.\u003c/p>\n\u003cfigure id=\"attachment_13973986\" class=\"wp-caption aligncenter\" style=\"max-width: 1025px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973986\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Kamla.Flyer_.George.Rules_.jpg\" alt=\"\" width=\"1025\" height=\"1319\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Kamla.Flyer_.George.Rules_.jpg 1025w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Kamla.Flyer_.George.Rules_-800x1029.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Kamla.Flyer_.George.Rules_-1020x1313.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Kamla.Flyer_.George.Rules_-160x206.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Kamla.Flyer_.George.Rules_-768x988.jpg 768w\" sizes=\"auto, (max-width: 1025px) 100vw, 1025px\">\u003cfigcaption class=\"wp-caption-text\">(Clockwise from upper left) Kamala Parks drums with Cringer at 924 Gilman in 1990; the flyer for the show at Gilman on the night of the Nazi brawl, May 17, 1987; George Hated sings with the Hated at Gilman in 1992; rules posted at Gilman’s front door. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“My heart was pounding right out of my chest,” Dave Dictor, MDC’s singer, recalled in \u003ca href=\"https://www.goodreads.com/book/show/29363293-mdc\">his 2016 autobiography\u003c/a>. “Right after the battle it was time to get on stage and sing, but I was too numb to be able to change gears to talk about it from the stage. As I remember, we just plowed through the set.”\u003c/p>\n\u003cp>Those mixed emotions were real, Parks said. “There was euphoria, but there’s dread, because you don’t know what’s going to happen next. You don’t know if they’re going to come back with a bigger group of people.”\u003c/p>\n\u003cfigure id=\"attachment_13973991\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13973991 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-05-KQED-4.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-05-KQED-4.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-05-KQED-4-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-05-KQED-4-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-05-KQED-4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-05-KQED-4-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-05-KQED-4-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-05-KQED-4-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kamala Parks today, pictured in downtown Oakland on April 1, 2025. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Parks stayed on edge for a few weeks afterward. Amazingly, the Nazis never came back to Gilman.\u003c/p>\n\u003cp>As Stephens points out, though, they never went away for good.\u003c/p>\n\u003cp>“I mean, we live in America,” Stephens said. “It’s not surprising that the Proud Boys are back. That fringe has never really gone away in America.”\u003c/p>\n\u003cfigure id=\"attachment_13973946\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973946\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-08-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-08-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-08-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-08-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-08-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-08-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-08-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-08-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">924 Gilman St. in Berkeley on April 1, 2025. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>You want a bit of danger, step into my zone\u003c/h2>\n\u003cp>“Ryan will tell you, he’s been pitching me a version of \u003cem>Freaky Tales\u003c/em> for literally 15 years,” said Anna Boden, the film’s co-writer and co-director, in an interview. Her filmmaking partner, Ryan Fleck, grew up in Oakland; Boden in Massachusetts.\u003c/p>\n\u003cp>“And he grew up listening to Too Short’s music and I did not. And so I was listening to Too Short’s music for the first time as a grown woman. And it was, like, a \u003cem>very\u003c/em> different experience for me than it was for Ryan,” she said of Short’s explicit and often misogynist subject material.\u003c/p>\n\u003cfigure id=\"attachment_13973969\" class=\"wp-caption aligncenter\" style=\"max-width: 1208px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973969\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Short.FreddyB.jpg\" alt=\"\" width=\"1208\" height=\"598\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Short.FreddyB.jpg 1208w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Short.FreddyB-800x396.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Short.FreddyB-1020x505.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Short.FreddyB-160x79.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Short.FreddyB-768x380.jpg 768w\" sizes=\"auto, (max-width: 1208px) 100vw, 1208px\">\u003cfigcaption class=\"wp-caption-text\">Too Short on the cover of his single ‘Freaky Tales,’ circa 1988; at right, Short’s early rap partner Freddy B in 1992. \u003ccite>(Dangerous Music/Serious Sounds)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But one song stuck out for Boden. In “\u003ca href=\"https://www.youtube.com/watch?v=MfSYngzHOsY\">Don’t Fight the Feelin’\u003c/a>” from the 1989 album \u003cem>Life Is… Too Short\u003c/em>, Short trades verses with a female rap duo called Danger Zone, who insult his bankroll, poke fun at his bad breath and make repeated references to his size below the belt: “Do they call you Short because of your height or your width? / Diss me boy, I’ll hang your balls from a cliff.”\u003c/p>\n\u003cp>Boden knew she had found her entry to the story. “Hearing him allow himself to be taken down by these young women was kind of mind-blowing to me,” she said.\u003c/p>\n\u003cp>In the film, Barbie and Entice from Danger Zone are approached by Lenny G (the rapper Stunnaman02, in a role based on Short’s early rap partner \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#too-short-and-freddy-b-start-making-handmade-tapes\">Freddy B\u003c/a>) to battle Short onstage at the Town’s hottest nightclub, Sweet Jimmie’s. Dubious of the proposition, but tired of being mistreated at their day job scooping ice cream, they accept.\u003c/p>\n\u003cfigure id=\"attachment_13973921\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973921\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_00825RC2.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_00825RC2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_00825RC2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_00825RC2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_00825RC2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_00825RC2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_00825RC2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_00825RC2-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Dominique Thorne and Normani as Danger Zone’s Barbie and Entice in a scene from ‘Freaky Tales.’ \u003ccite>(Lionsgate Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The song unfolds in a thrilling scene, verse for verse, with actor and rapper Symba portraying Short’s hunched gait and coy taunting. (Symba asked Short for pointers, “and he sent me four videos, and was like, ‘Just embody this, and you’ll be alright,’” he said.) Danger Zone, meanwhile, keep coming back with heat, and win over the crowd. By the end, Short daps up the girls, conceding a draw, if not defeat.\u003c/p>\n\u003cp>In reality, “Don’t Fight the Feelin’” came together in the studio, not on stage.\u003c/p>\n\u003cp>Today, Tamra Goins is a talent agent in L.A. But in 1987, she was Entice — the 15-year-old East Oakland girl who linked up with her cousin, Bailey Brown, to form Danger Zone. They’d met Short through \u003ca href=\"https://www.kqed.org/arts/13934715/kimmie-fresh-real-freaky-tales-oakland\">the female rap pioneer Kimmie Fresh\u003c/a> years before recording “Don’t Fight the Feelin’,” she said in an interview. Danger Zone had even been signed to Short’s Dangerous Music label, which released their song “\u003ca href=\"https://www.youtube.com/watch?v=SvMjOBASvbc\">Jailbait\u003c/a>,” a blunt warning to underage girls about predatory men.\u003c/p>\n\u003cfigure id=\"attachment_13973922\" class=\"wp-caption aligncenter\" style=\"max-width: 944px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973922\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/DangerZone.jpg\" alt=\"\" width=\"944\" height=\"808\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/DangerZone.jpg 944w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/DangerZone-800x685.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/DangerZone-160x137.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/DangerZone-768x657.jpg 768w\" sizes=\"auto, (max-width: 944px) 100vw, 944px\">\u003cfigcaption class=\"wp-caption-text\">Fifteen-year-old cousins Bailey Brown and Tamra Goins, a.k.a. Barbie and Entice of Danger Zone, pictured in 1988. \u003ccite>(Dangerous Music)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Short’s manager, Randy Austin, pitched the concept for “Don’t Fight the Feelin’” to be included on Short’s next full-length album, Goins was hesitant, just like her character in the movie.\u003c/p>\n\u003cp>“We’re terrified, right? Because one, we’re kids. Two, Short was known to call people head doctors. I think I was still a virgin! So we just were terrified of what he could possibly say,” Goins said.\u003c/p>\n\u003cp>Laying down the track at engineer Al Eaton’s One Little Indian studio in Richmond — essentially Eaton’s living room — Goins and Brown came for Short so viciously that the men present, like rappers Spice 1 and Rappin’ 4-Tay, kept laughing and ruining the take. “They’re running out of the house, cracking up, laughing,” said Goins. “We can’t even get through it!”\u003c/p>\n\u003cfigure id=\"attachment_13973836\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973836\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-33-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-33-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-33-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-33-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-33-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-33-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-33-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-33-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Co-director Ryan Fleck high-fives Tamra Goins, a.k.a. Entice from Danger Zone, ahead of the ‘Freaky Tales’ premiere at the Grand Lake Theater in Oakland on March 19, 2025. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Short was similarly unprepared for Danger Zone’s verses.\u003c/p>\n\u003cp>“We made the song, I did my two verses. And it was supposed to be about an old dude pullin’ up in his car flirting with these young girls,” Short explained on Nick Cannon’s \u003cem>We Playin’ Spades\u003c/em> podcast. “My verse was kinda nice. And they came back rippin’ me to shreds!”\u003c/p>\n\u003cp>[aside postID='arts_13934715']Short was rattled, but “I went home and listened to it, and I was like, ‘Damn, this is kind of cool … let me go back and talk a lotta shit about \u003cem>them\u003c/em>, and it’ll be a crazy song!’’\u003c/p>\n\u003cp>After redoing his verses to match Danger Zone’s venom and adding Rappin’ 4-Tay to the track, the song grew to a ridiculous length of over 8 minutes. \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#kimmie-fresh-answers-too-shorts-freaky-tales-with-the-girls-story\">Kimmie Fresh had released her own eight-minute diss track to Short\u003c/a>, but this was men and women on the same song, a battle of the sexes on wax. Short knew it was gold.\u003c/p>\n\u003cfigure id=\"attachment_13973963\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973963\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GettyImages-1943659116.jpg\" alt=\"\" width=\"2000\" height=\"1213\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GettyImages-1943659116.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GettyImages-1943659116-800x485.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GettyImages-1943659116-1020x619.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GettyImages-1943659116-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GettyImages-1943659116-768x466.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GettyImages-1943659116-1536x932.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GettyImages-1943659116-1920x1164.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Danger Zone’s Tamra Goins (Entice) at far left, and Bailey Brown (Barbie) third from left, in a group photo of the cast and crew of ‘Freaky Tales’ at the Sundance Film Festival in January 2024. \u003ccite>(Dia Dipasupil/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite the song’s legendary status, Danger Zone never performed “Don’t Fight the Feelin’” live onstage with Short, as depicted in \u003cem>Freaky Tales\u003c/em>. (Goins and Short have done the song without Brown a handful of times at cruises and sorority events.) Brown, who later traveled the world as a dancer for MC Hammer, \u003ca href=\"https://www.tiktok.com/@getaroundwithbaileybrown\">currently lives in Ghana\u003c/a> most of the year, scriptwriting and producing.\u003c/p>\n\u003cp>Now 53, Goins is proud of the song’s longevity among fans like Shaquille O’Neal, who lovingly \u003ca href=\"https://youtu.be/APrhXcftYPs?feature=shared&t=204\">goaded her into performing it on \u003cem>Sway’s Universe\u003c/em> in 2011\u003c/a>. But it comes with a dash of concern for her former 15-year-old self, rapping so brazenly amid the older pimps and players that inspired “Jailbait.”\u003c/p>\n\u003cp>“Sometimes I’ll look back at the lyrics and I go, ‘Oh!’” she said. “I’m a mom now. I’ll be like, ‘And why was your name \u003cem>Entice\u003c/em>?’”\u003c/p>\n\u003cfigure id=\"attachment_13973926\" class=\"wp-caption aligncenter\" style=\"max-width: 1427px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973926\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SleepyFloyd.May101987.jpg\" alt=\"\" width=\"1427\" height=\"1884\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SleepyFloyd.May101987.jpg 1427w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SleepyFloyd.May101987-800x1056.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SleepyFloyd.May101987-1020x1347.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SleepyFloyd.May101987-160x211.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SleepyFloyd.May101987-768x1014.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SleepyFloyd.May101987-1163x1536.jpg 1163w\" sizes=\"auto, (max-width: 1427px) 100vw, 1427px\">\u003cfigcaption class=\"wp-caption-text\">The Golden State Warriors’ Eric ‘Sleepy’ Floyd drives to the basket past Los Angeles Lakers’ James Worthy during their playoff game at the Oakland Arena on May 10, 1987. Floyd scored an NBA playoff record-setting 29 points in the fourth quarter, 12 field goals in the same quarter and 39 points in a half, to lead the Warriors to a 129-121 victory over the Lakers. \u003ccite>(Gary Reyes/Oakland Tribune via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A warrior in more ways than one\u003c/h2>\n\u003cp>\u003cem>Freaky Tales\u003c/em>’ final chapter revolves around a story so well-known that it’s in the record books. In Game 4 of the 1987 NBA playoffs, the \u003ca href=\"https://www.kqed.org/arts/tag/warriors\">Warriors\u003c/a> were down 3-0 against the Lakers and trailed 102-88 going into the fourth quarter.\u003c/p>\n\u003cp>Out of nowhere, Eric “Sleepy” Floyd roared into action, scoring 29 points in the fourth quarter to propel the Warriors to victory. Game announcer Greg Papa, baffled and slightly hoarse, was moved to exclaim, “\u003ca href=\"https://youtu.be/u1sVoWIhUKg?feature=shared&t=135\">Sleepy Floyd is Superman!\u003c/a>”\u003c/p>\n\u003cp>It still stands today as the NBA postseason record for the most points scored by a player in a single quarter.\u003c/p>\n\u003cfigure id=\"attachment_13973835\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973835\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-7-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-7-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-7-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-7-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-7-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-7-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-7-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-7-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Eric ‘Sleepy’ Floyd enters the ‘Freaky Tales’ premiere at the Grand Lake Theater in Oakland on March 19, 2025. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Outside the Grand Lake last month, Sleepy Floyd seemed surprised and humbled that his achievement is now part of a Hollywood film. Calling \u003cem>Freaky Tales\u003c/em> “a love song to Oakland,” the point guard, now 65 and living in his home state of North Carolina, remarked that “just to have it centered around that game, truly I’m just blessed and honored to be a part of it.”\u003c/p>\n\u003cp>Floyd, who in the same matchup against the Lakers also set the record for the most points scored in a half of a playoff game with 39, is portrayed in \u003cem>Freaky Tales\u003c/em> by Jay Ellis (\u003cem>Insecure, Top Gun: Maverick\u003c/em>). Without giving away too much, Sleepy Floyd becomes the star of the film’s climax, diverging drastically from real-life events, complete with supernatural samurai skills.\u003c/p>\n\u003cp>“They made me look a lot cooler than I actually am,” Floyd said with a chuckle.\u003c/p>\n\u003cfigure id=\"attachment_13973842\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973842\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-110-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-110-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-110-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-110-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-110-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-110-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-110-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-110-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The ‘Freaky Tales’ cast, with Pedro Pascal and Jay Ellis at center, pose on the red carpet ahead of the Oakland premiere at the Grand Lake Theater on March 19, 2025. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Gilman punks’ beatdown, Danger Zone’s dominance, Sleepy Floyd’s fireworks — \u003cem>Freaky Tales\u003c/em> makes clear to a nationwide moviegoing audience what Oakland has always known about itself: this is a place of amazing people, events and stories.\u003c/p>\n\u003cp>Asked about Oakland on the red carpet at the Grand Lake premiere, Pedro Pascal put it simply: “It’s the raddest city in the world.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Freaky Tales’ opens in wide release on Friday, April 4. \u003c/em>\u003c/p>\n\n",
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"title": "‘Freaky Tales’ Is Based on These Crazy-But-True Stories From Oakland | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It was not your usual Wednesday night at the \u003ca href=\"https://www.kqed.org/arts/tag/grand-lake-theatre\">Grand Lake Theatre\u003c/a>.\u003c/p>\n\u003cp>Outside Oakland’s movie palace in March, Hollywood actors made their way down the red carpet. Rap legends and punk OGs mingled beneath the marquee. Fans got on their tiptoes behind the line of TV cameras, jockeying for a glimpse of the film’s star, Pedro Pascal.\u003c/p>\n\u003cp>Premieres at the Grand Lake are always exciting, but they’re extra special when the movie is \u003ca href=\"https://www.kqed.org/arts/13974034/freaky-tales-movie-easter-eggs-locations-cameos-oakland\">filmed and set in Oakland\u003c/a>. \u003cem>Freaky Tales\u003c/em>, from screenwriting and directing team Ryan Fleck and Anna Boden (\u003cem>Half Nelson, Captain Marvel\u003c/em>), is a revenge-fantasy flick that takes place in the year 1987. It’s filmed at Oakland landmarks, including the Oakland Coliseum, Giant Burger and the old Loard’s ice cream parlor on Coolidge and MacArthur. Marshawn Lynch and Rancid’s Tim Armstrong make cameos, as does Oakland rap icon \u003ca href=\"https://www.kqed.org/arts/tag/too-short\">Too Short\u003c/a>, who narrates and helped produce the film.\u003c/p>\n\u003cfigure id=\"attachment_13973843\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973843\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-114-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-114-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-114-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-114-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-114-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-114-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-114-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-114-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Fans crowd the sidewalk for the ‘Freaky Tales’ special screening at the Grand Lake Theater in Oakland on March 19, 2025. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13973838\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973838\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-73-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-73-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-73-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-73-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-73-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-73-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-73-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-73-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Pedro Pascal poses on the red carpet before the ‘Freaky Tales’ premiere at the Grand Lake Theater in Oakland on March 19, 2025. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s full, in other words, of \u003ca href=\"https://www.kqed.org/arts/13974034/freaky-tales-movie-easter-eggs-locations-cameos-oakland\">people and locations that carry name recognition for locals\u003c/a>. But nationally, Oakland has never quite received proper credit for its contributions to American culture at large. As rapper \u003ca href=\"https://www.kqed.org/arts/13921058/watch-rising-oakland-rap-star-symbas-tiny-desk-concert\">Symba\u003c/a>, who plays Too Short in the film, remarked on the red carpet, “People get their curations, their whole make-up, from things that we created here.”\u003c/p>\n\u003cp>\u003cem>Freaky Tales\u003c/em>, then, is a movie about a town with a permanent underdog complex — and, fittingly, it’s told through different chapters, interconnected by Pascal’s performance as a hitman, that have underdogs as their heroes. A ragtag bunch of pacifist punk rockers beats up a crew of Nazi skinheads. Two teenage girls in a rap battle rip to shreds a rapper known for objectifying women. A basketball point guard comes alive for a mind-blowing fourth quarter in a historic comeback win.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The freakiest thing of all? These are events that really happened.\u003c/p>\n\u003cfigure id=\"attachment_13973913\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973913\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_01151RC2.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_01151RC2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_01151RC2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_01151RC2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_01151RC2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_01151RC2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_01151RC2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_01151RC2-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jay Ellis as Sleepy Floyd in ‘Freaky Tales,’ surrounded by other actors in a scene outside the Oakland Coliseum. \u003ccite>(Lionsgate Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thankfully, the events depicted in \u003cem>Freaky Tales\u003c/em> involved people who are still around to witness what likely seemed impossible 38 years ago: a Hollywood movie with Oakland as its true star. Here are some of their real-life tales.\u003c/p>\n\u003ch2>Punching Nazis: A punk love story\u003c/h2>\n\u003cp>The first chapter of \u003cem>Freaky Tales\u003c/em> follows young couple Tina (Ji-young Yoo) and Lucid (Jack Champion) as they navigate an increasing menace to their home-base punk collective of \u003ca href=\"https://www.kqed.org/arts/tag/924-gilman\">924 Gilman\u003c/a>: neo-Nazi skinheads, who barge into shows, knock people to the ground, assault girls and women and destroy band equipment.\u003c/p>\n\u003cp>After taking a vote led by security guard Greg (LeQuan Antonio Bennett), the punks decide to fight back. During an Operation Ivy show at the Berkeley club, the Nazi skinheads return, but this time they’re met by a wall of punks armed with bats, chains and trash can lids. Battered in the ensuing brawl, the defeated Nazis pile into their smashed and dented pickup truck and drive away to the El Cerrito hills.\u003c/p>\n\u003cfigure id=\"attachment_13973920\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973920\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SkinheadLineup.jpg\" alt=\"\" width=\"2000\" height=\"1499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SkinheadLineup.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SkinheadLineup-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SkinheadLineup-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SkinheadLineup-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SkinheadLineup-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SkinheadLineup-1536x1151.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SkinheadLineup-1920x1439.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A group of Nazi skinheads approaches punk club 924 Gilman in a scene from ‘Freaky Tales.’ \u003ccite>(Lionsgate Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13973928\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973928\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GILMAN-143.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GILMAN-143.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GILMAN-143-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GILMAN-143-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GILMAN-143-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GILMAN-143-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GILMAN-143-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GILMAN-143-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">In 1987, skinheads caused trouble at punk shows around the country, including at 924 Gilman in Berkeley, pictured. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Minus a few details, the chapter is remarkably true to real-life events. Fleck and Boden had a good roadmap: the fight is recalled at length in \u003ca href=\"https://www.kqed.org/arts/13239750/the-definitive-documentary-on-east-bay-punk-is-coming-pit-warning\">the East Bay punk documentary \u003cem>Turn It Around\u003c/em>\u003c/a>, directed by Gilman alum Corbett Redford, who came on as a technical advisor for the film.\u003c/p>\n\u003cp>“Greg” in the film is based on George Stephens, a.k.a. George Hated, who in 1987 lived in West Oakland, sang in the band The Hated and served as head of security at Gilman. In an interview, Stephens, now 57, recalled walking out to the sidewalk that night and seeing Nondo, his friend who was also working security, lying in the gutter outside the front door.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“And there were three Nazis standing over him, one holding a bat. So I grabbed the bat out of the guy’s hands and hit the three of them, got Nondo up, and got him inside,” Stephens said.\u003c/p>\n\u003cp>On any other night, that might have been the end of it. But just like in the film, the punks at Gilman had vowed to fight, and emptied into the street. Even Dave Dictor, the singer of “peace-punk” band MDC, who were headlining that night, joined in wielding an aluminum crutch.\u003c/p>\n\u003cp>“More people came out, and it turned into an absolute mess,” said Stephens.\u003c/p>\n\u003cfigure id=\"attachment_13973959\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973959\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-07-KQED-2.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-07-KQED-2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-07-KQED-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-07-KQED-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-07-KQED-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-07-KQED-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-07-KQED-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-07-KQED-2-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">George Stephens today, pictured in Alameda on April 1, 2025. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kamala Parks, who co-founded Gilman and drummed in several bands, remembered the nuanced deliberations about retaliating against Nazis among volunteers at the club, whose door rules stated “No Fighting.”\u003c/p>\n\u003cp>“A lot of folks who had previously taken a more pacifist standpoint had been convinced to fight back, mainly because skinhead violence had gotten more pronounced,” she said. (Parks herself had been punched in the face by a skinhead during a previous melee across town.)\u003c/p>\n\u003cp>By the end of the brawl outside Gilman, the punks had won. They even chased the Nazis across the street and smashed up their pickup truck before the skinheads sped away, fleeing.\u003c/p>\n\u003cfigure id=\"attachment_13973986\" class=\"wp-caption aligncenter\" style=\"max-width: 1025px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973986\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Kamla.Flyer_.George.Rules_.jpg\" alt=\"\" width=\"1025\" height=\"1319\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Kamla.Flyer_.George.Rules_.jpg 1025w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Kamla.Flyer_.George.Rules_-800x1029.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Kamla.Flyer_.George.Rules_-1020x1313.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Kamla.Flyer_.George.Rules_-160x206.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Kamla.Flyer_.George.Rules_-768x988.jpg 768w\" sizes=\"auto, (max-width: 1025px) 100vw, 1025px\">\u003cfigcaption class=\"wp-caption-text\">(Clockwise from upper left) Kamala Parks drums with Cringer at 924 Gilman in 1990; the flyer for the show at Gilman on the night of the Nazi brawl, May 17, 1987; George Hated sings with the Hated at Gilman in 1992; rules posted at Gilman’s front door. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“My heart was pounding right out of my chest,” Dave Dictor, MDC’s singer, recalled in \u003ca href=\"https://www.goodreads.com/book/show/29363293-mdc\">his 2016 autobiography\u003c/a>. “Right after the battle it was time to get on stage and sing, but I was too numb to be able to change gears to talk about it from the stage. As I remember, we just plowed through the set.”\u003c/p>\n\u003cp>Those mixed emotions were real, Parks said. “There was euphoria, but there’s dread, because you don’t know what’s going to happen next. You don’t know if they’re going to come back with a bigger group of people.”\u003c/p>\n\u003cfigure id=\"attachment_13973991\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13973991 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-05-KQED-4.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-05-KQED-4.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-05-KQED-4-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-05-KQED-4-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-05-KQED-4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-05-KQED-4-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-05-KQED-4-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-05-KQED-4-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kamala Parks today, pictured in downtown Oakland on April 1, 2025. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Parks stayed on edge for a few weeks afterward. Amazingly, the Nazis never came back to Gilman.\u003c/p>\n\u003cp>As Stephens points out, though, they never went away for good.\u003c/p>\n\u003cp>“I mean, we live in America,” Stephens said. “It’s not surprising that the Proud Boys are back. That fringe has never really gone away in America.”\u003c/p>\n\u003cfigure id=\"attachment_13973946\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973946\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-08-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-08-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-08-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-08-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-08-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-08-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-08-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/250401-VARIOUS-FREAKY-TALES-MD-08-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">924 Gilman St. in Berkeley on April 1, 2025. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>You want a bit of danger, step into my zone\u003c/h2>\n\u003cp>“Ryan will tell you, he’s been pitching me a version of \u003cem>Freaky Tales\u003c/em> for literally 15 years,” said Anna Boden, the film’s co-writer and co-director, in an interview. Her filmmaking partner, Ryan Fleck, grew up in Oakland; Boden in Massachusetts.\u003c/p>\n\u003cp>“And he grew up listening to Too Short’s music and I did not. And so I was listening to Too Short’s music for the first time as a grown woman. And it was, like, a \u003cem>very\u003c/em> different experience for me than it was for Ryan,” she said of Short’s explicit and often misogynist subject material.\u003c/p>\n\u003cfigure id=\"attachment_13973969\" class=\"wp-caption aligncenter\" style=\"max-width: 1208px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973969\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Short.FreddyB.jpg\" alt=\"\" width=\"1208\" height=\"598\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Short.FreddyB.jpg 1208w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Short.FreddyB-800x396.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Short.FreddyB-1020x505.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Short.FreddyB-160x79.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/Short.FreddyB-768x380.jpg 768w\" sizes=\"auto, (max-width: 1208px) 100vw, 1208px\">\u003cfigcaption class=\"wp-caption-text\">Too Short on the cover of his single ‘Freaky Tales,’ circa 1988; at right, Short’s early rap partner Freddy B in 1992. \u003ccite>(Dangerous Music/Serious Sounds)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But one song stuck out for Boden. In “\u003ca href=\"https://www.youtube.com/watch?v=MfSYngzHOsY\">Don’t Fight the Feelin’\u003c/a>” from the 1989 album \u003cem>Life Is… Too Short\u003c/em>, Short trades verses with a female rap duo called Danger Zone, who insult his bankroll, poke fun at his bad breath and make repeated references to his size below the belt: “Do they call you Short because of your height or your width? / Diss me boy, I’ll hang your balls from a cliff.”\u003c/p>\n\u003cp>Boden knew she had found her entry to the story. “Hearing him allow himself to be taken down by these young women was kind of mind-blowing to me,” she said.\u003c/p>\n\u003cp>In the film, Barbie and Entice from Danger Zone are approached by Lenny G (the rapper Stunnaman02, in a role based on Short’s early rap partner \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#too-short-and-freddy-b-start-making-handmade-tapes\">Freddy B\u003c/a>) to battle Short onstage at the Town’s hottest nightclub, Sweet Jimmie’s. Dubious of the proposition, but tired of being mistreated at their day job scooping ice cream, they accept.\u003c/p>\n\u003cfigure id=\"attachment_13973921\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973921\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_00825RC2.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_00825RC2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_00825RC2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_00825RC2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_00825RC2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_00825RC2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_00825RC2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/FT_00825RC2-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Dominique Thorne and Normani as Danger Zone’s Barbie and Entice in a scene from ‘Freaky Tales.’ \u003ccite>(Lionsgate Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The song unfolds in a thrilling scene, verse for verse, with actor and rapper Symba portraying Short’s hunched gait and coy taunting. (Symba asked Short for pointers, “and he sent me four videos, and was like, ‘Just embody this, and you’ll be alright,’” he said.) Danger Zone, meanwhile, keep coming back with heat, and win over the crowd. By the end, Short daps up the girls, conceding a draw, if not defeat.\u003c/p>\n\u003cp>In reality, “Don’t Fight the Feelin’” came together in the studio, not on stage.\u003c/p>\n\u003cp>Today, Tamra Goins is a talent agent in L.A. But in 1987, she was Entice — the 15-year-old East Oakland girl who linked up with her cousin, Bailey Brown, to form Danger Zone. They’d met Short through \u003ca href=\"https://www.kqed.org/arts/13934715/kimmie-fresh-real-freaky-tales-oakland\">the female rap pioneer Kimmie Fresh\u003c/a> years before recording “Don’t Fight the Feelin’,” she said in an interview. Danger Zone had even been signed to Short’s Dangerous Music label, which released their song “\u003ca href=\"https://www.youtube.com/watch?v=SvMjOBASvbc\">Jailbait\u003c/a>,” a blunt warning to underage girls about predatory men.\u003c/p>\n\u003cfigure id=\"attachment_13973922\" class=\"wp-caption aligncenter\" style=\"max-width: 944px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973922\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/DangerZone.jpg\" alt=\"\" width=\"944\" height=\"808\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/DangerZone.jpg 944w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/DangerZone-800x685.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/DangerZone-160x137.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/DangerZone-768x657.jpg 768w\" sizes=\"auto, (max-width: 944px) 100vw, 944px\">\u003cfigcaption class=\"wp-caption-text\">Fifteen-year-old cousins Bailey Brown and Tamra Goins, a.k.a. Barbie and Entice of Danger Zone, pictured in 1988. \u003ccite>(Dangerous Music)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Short’s manager, Randy Austin, pitched the concept for “Don’t Fight the Feelin’” to be included on Short’s next full-length album, Goins was hesitant, just like her character in the movie.\u003c/p>\n\u003cp>“We’re terrified, right? Because one, we’re kids. Two, Short was known to call people head doctors. I think I was still a virgin! So we just were terrified of what he could possibly say,” Goins said.\u003c/p>\n\u003cp>Laying down the track at engineer Al Eaton’s One Little Indian studio in Richmond — essentially Eaton’s living room — Goins and Brown came for Short so viciously that the men present, like rappers Spice 1 and Rappin’ 4-Tay, kept laughing and ruining the take. “They’re running out of the house, cracking up, laughing,” said Goins. “We can’t even get through it!”\u003c/p>\n\u003cfigure id=\"attachment_13973836\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973836\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-33-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-33-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-33-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-33-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-33-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-33-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-33-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-33-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Co-director Ryan Fleck high-fives Tamra Goins, a.k.a. Entice from Danger Zone, ahead of the ‘Freaky Tales’ premiere at the Grand Lake Theater in Oakland on March 19, 2025. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Short was similarly unprepared for Danger Zone’s verses.\u003c/p>\n\u003cp>“We made the song, I did my two verses. And it was supposed to be about an old dude pullin’ up in his car flirting with these young girls,” Short explained on Nick Cannon’s \u003cem>We Playin’ Spades\u003c/em> podcast. “My verse was kinda nice. And they came back rippin’ me to shreds!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Short was rattled, but “I went home and listened to it, and I was like, ‘Damn, this is kind of cool … let me go back and talk a lotta shit about \u003cem>them\u003c/em>, and it’ll be a crazy song!’’\u003c/p>\n\u003cp>After redoing his verses to match Danger Zone’s venom and adding Rappin’ 4-Tay to the track, the song grew to a ridiculous length of over 8 minutes. \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#kimmie-fresh-answers-too-shorts-freaky-tales-with-the-girls-story\">Kimmie Fresh had released her own eight-minute diss track to Short\u003c/a>, but this was men and women on the same song, a battle of the sexes on wax. Short knew it was gold.\u003c/p>\n\u003cfigure id=\"attachment_13973963\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973963\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GettyImages-1943659116.jpg\" alt=\"\" width=\"2000\" height=\"1213\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GettyImages-1943659116.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GettyImages-1943659116-800x485.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GettyImages-1943659116-1020x619.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GettyImages-1943659116-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GettyImages-1943659116-768x466.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GettyImages-1943659116-1536x932.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/GettyImages-1943659116-1920x1164.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Danger Zone’s Tamra Goins (Entice) at far left, and Bailey Brown (Barbie) third from left, in a group photo of the cast and crew of ‘Freaky Tales’ at the Sundance Film Festival in January 2024. \u003ccite>(Dia Dipasupil/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite the song’s legendary status, Danger Zone never performed “Don’t Fight the Feelin’” live onstage with Short, as depicted in \u003cem>Freaky Tales\u003c/em>. (Goins and Short have done the song without Brown a handful of times at cruises and sorority events.) Brown, who later traveled the world as a dancer for MC Hammer, \u003ca href=\"https://www.tiktok.com/@getaroundwithbaileybrown\">currently lives in Ghana\u003c/a> most of the year, scriptwriting and producing.\u003c/p>\n\u003cp>Now 53, Goins is proud of the song’s longevity among fans like Shaquille O’Neal, who lovingly \u003ca href=\"https://youtu.be/APrhXcftYPs?feature=shared&t=204\">goaded her into performing it on \u003cem>Sway’s Universe\u003c/em> in 2011\u003c/a>. But it comes with a dash of concern for her former 15-year-old self, rapping so brazenly amid the older pimps and players that inspired “Jailbait.”\u003c/p>\n\u003cp>“Sometimes I’ll look back at the lyrics and I go, ‘Oh!’” she said. “I’m a mom now. I’ll be like, ‘And why was your name \u003cem>Entice\u003c/em>?’”\u003c/p>\n\u003cfigure id=\"attachment_13973926\" class=\"wp-caption aligncenter\" style=\"max-width: 1427px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973926\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SleepyFloyd.May101987.jpg\" alt=\"\" width=\"1427\" height=\"1884\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SleepyFloyd.May101987.jpg 1427w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SleepyFloyd.May101987-800x1056.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SleepyFloyd.May101987-1020x1347.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SleepyFloyd.May101987-160x211.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SleepyFloyd.May101987-768x1014.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/SleepyFloyd.May101987-1163x1536.jpg 1163w\" sizes=\"auto, (max-width: 1427px) 100vw, 1427px\">\u003cfigcaption class=\"wp-caption-text\">The Golden State Warriors’ Eric ‘Sleepy’ Floyd drives to the basket past Los Angeles Lakers’ James Worthy during their playoff game at the Oakland Arena on May 10, 1987. Floyd scored an NBA playoff record-setting 29 points in the fourth quarter, 12 field goals in the same quarter and 39 points in a half, to lead the Warriors to a 129-121 victory over the Lakers. \u003ccite>(Gary Reyes/Oakland Tribune via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A warrior in more ways than one\u003c/h2>\n\u003cp>\u003cem>Freaky Tales\u003c/em>’ final chapter revolves around a story so well-known that it’s in the record books. In Game 4 of the 1987 NBA playoffs, the \u003ca href=\"https://www.kqed.org/arts/tag/warriors\">Warriors\u003c/a> were down 3-0 against the Lakers and trailed 102-88 going into the fourth quarter.\u003c/p>\n\u003cp>Out of nowhere, Eric “Sleepy” Floyd roared into action, scoring 29 points in the fourth quarter to propel the Warriors to victory. Game announcer Greg Papa, baffled and slightly hoarse, was moved to exclaim, “\u003ca href=\"https://youtu.be/u1sVoWIhUKg?feature=shared&t=135\">Sleepy Floyd is Superman!\u003c/a>”\u003c/p>\n\u003cp>It still stands today as the NBA postseason record for the most points scored by a player in a single quarter.\u003c/p>\n\u003cfigure id=\"attachment_13973835\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973835\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-7-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-7-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-7-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-7-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-7-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-7-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-7-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-7-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Eric ‘Sleepy’ Floyd enters the ‘Freaky Tales’ premiere at the Grand Lake Theater in Oakland on March 19, 2025. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Outside the Grand Lake last month, Sleepy Floyd seemed surprised and humbled that his achievement is now part of a Hollywood film. Calling \u003cem>Freaky Tales\u003c/em> “a love song to Oakland,” the point guard, now 65 and living in his home state of North Carolina, remarked that “just to have it centered around that game, truly I’m just blessed and honored to be a part of it.”\u003c/p>\n\u003cp>Floyd, who in the same matchup against the Lakers also set the record for the most points scored in a half of a playoff game with 39, is portrayed in \u003cem>Freaky Tales\u003c/em> by Jay Ellis (\u003cem>Insecure, Top Gun: Maverick\u003c/em>). Without giving away too much, Sleepy Floyd becomes the star of the film’s climax, diverging drastically from real-life events, complete with supernatural samurai skills.\u003c/p>\n\u003cp>“They made me look a lot cooler than I actually am,” Floyd said with a chuckle.\u003c/p>\n\u003cfigure id=\"attachment_13973842\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973842\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-110-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-110-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-110-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-110-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-110-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-110-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-110-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250319_FREAKYTALES_GC-110-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The ‘Freaky Tales’ cast, with Pedro Pascal and Jay Ellis at center, pose on the red carpet ahead of the Oakland premiere at the Grand Lake Theater on March 19, 2025. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Gilman punks’ beatdown, Danger Zone’s dominance, Sleepy Floyd’s fireworks — \u003cem>Freaky Tales\u003c/em> makes clear to a nationwide moviegoing audience what Oakland has always known about itself: this is a place of amazing people, events and stories.\u003c/p>\n\u003cp>Asked about Oakland on the red carpet at the Grand Lake premiere, Pedro Pascal put it simply: “It’s the raddest city in the world.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Freaky Tales’ opens in wide release on Friday, April 4. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "ticket-alert-sex-pistols-at-the-warfield-san-francisco",
"title": "Ticket Alert: Sex Pistols at the Warfield, San Francisco",
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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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"content": "\u003cp>The Los Angeles punk band The Linda Lindas (made up of sisters Mila and Lucia de la Garza, their cousin Eloise Wong and their friend Bela Salazar) shot to fame in 2021 when their youngest member was just 10 years old. The heavy bass and righteous energy of their song “\u003ca href=\"https://youtu.be/3msSlr4PkDE\">Racist, Sexist Boy\u003c/a>” — performed, thrillingly, among library stacks — was a cathartic release of pent-up anxiety in the midst of the pandemic’s rise in anti-AAPI rhetoric and violence.\u003c/p>\n\u003cp>In the years since, they’ve proven themselves to be so much more than a viral hit. The Linda Lindas have since signed to Epitaph, toured with Green Day, appeared on movie soundtracks, played Coachella (and the Scripps National Spelling Bee) and put out two albums. \u003ci>No Obligation\u003c/i>, their latest, was released Oct. 11, 2024.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=244939209/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=2592853602/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>All four members contributed to writing the album’s songs. They trade off on lead vocals, swinging from screamed anthems to sweet harmonies and catchy pop-punk. “We’re so small / but we stand tall / Right the wrongs / and sing along,” they sing on “Resolution/Revoution.”\u003c/p>\n\u003cp>Now they’re no longer the supporting act: The Linda Lindas’ first headlining tour kicks off March 20 with a \u003ca href=\"https://theuctheatre.org/events/the-linda-lindas/detail\">show at the UC Theatre\u003c/a>, followed by a night at \u003ca href=\"https://concerts.livenation.com/the-linda-lindas-san-francisco-california-03-21-2025/event/1C006151A90029A7\">the Fillmore\u003c/a> on March 21. \u003ca href=\"https://www.byopband.com/\">Be Your Own Pet\u003c/a> — a punk/garage rock band from Nashville that formed when \u003ci>its\u003c/i> members were in high school, back in 2003 — opens for them at both shows.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At the end of their tour with Green Day last September, The Linda Lindas played 924 Gilman to a crowd of parents introducing their children to the legendary all-ages venue, prompting KQED’s Gabe Meline \u003ca href=\"https://www.kqed.org/arts/13969081/best-live-music-bay-area-2024\">to call the show\u003c/a>, “Perhaps the most wholesome punk show I’ve ever seen.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In that vein, note that the \u003ca href=\"https://theuctheatre.org/events/the-linda-lindas/detail\">UC Theatre\u003c/a> is an all-ages venue (with the exception of babies in arms). \u003ca href=\"https://concerts.livenation.com/the-linda-lindas-san-francisco-california-03-21-2025/event/1C006151A90029A7\">The Fillmore\u003c/a> is ages five and over. Tickets for both shows are on sale now.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Los Angeles punk band The Linda Lindas (made up of sisters Mila and Lucia de la Garza, their cousin Eloise Wong and their friend Bela Salazar) shot to fame in 2021 when their youngest member was just 10 years old. The heavy bass and righteous energy of their song “\u003ca href=\"https://youtu.be/3msSlr4PkDE\">Racist, Sexist Boy\u003c/a>” — performed, thrillingly, among library stacks — was a cathartic release of pent-up anxiety in the midst of the pandemic’s rise in anti-AAPI rhetoric and violence.\u003c/p>\n\u003cp>In the years since, they’ve proven themselves to be so much more than a viral hit. The Linda Lindas have since signed to Epitaph, toured with Green Day, appeared on movie soundtracks, played Coachella (and the Scripps National Spelling Bee) and put out two albums. \u003ci>No Obligation\u003c/i>, their latest, was released Oct. 11, 2024.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=244939209/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=2592853602/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>All four members contributed to writing the album’s songs. They trade off on lead vocals, swinging from screamed anthems to sweet harmonies and catchy pop-punk. “We’re so small / but we stand tall / Right the wrongs / and sing along,” they sing on “Resolution/Revoution.”\u003c/p>\n\u003cp>Now they’re no longer the supporting act: The Linda Lindas’ first headlining tour kicks off March 20 with a \u003ca href=\"https://theuctheatre.org/events/the-linda-lindas/detail\">show at the UC Theatre\u003c/a>, followed by a night at \u003ca href=\"https://concerts.livenation.com/the-linda-lindas-san-francisco-california-03-21-2025/event/1C006151A90029A7\">the Fillmore\u003c/a> on March 21. \u003ca href=\"https://www.byopband.com/\">Be Your Own Pet\u003c/a> — a punk/garage rock band from Nashville that formed when \u003ci>its\u003c/i> members were in high school, back in 2003 — opens for them at both shows.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cfigure id=\"attachment_13971707\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971707\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.uncropped.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.uncropped.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.uncropped-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.uncropped-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.uncropped-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.uncropped-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.uncropped-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.uncropped-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The stage and dance floor at Ceremony, a new 1,000-capacity music hall in downtown Oakland, as seen from the venue’s mezzanine. \u003ccite>(Courtesy of Ceremony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A new live music venue is opening next month in downtown Oakland near the corner of Broadway and 13th Street.\u003c/p>\n\u003cp>The 1,000-capacity hall, called Ceremony, will host touring acts of diverse genres — rap, R&B, punk, Latin, comedy, queer pop — alongside local acts and DJ nights.\u003c/p>\n\u003cp>The venue is owned and operated by the team behind \u003ca href=\"https://www.kqed.org/arts/13910010/crybaby-nightclub-oakland-opening-uptown\">Crybaby\u003c/a>, a smaller nightclub located several blocks away.[aside postID='arts_13971466']\u003c/p>\n\u003cp>While San Francisco has similarly sized music venues like the Regency Ballroom, August Hall and the Fillmore, Ceremony will be the only music hall of its size in Oakland.\u003c/p>\n\u003cp>That’s an asset owners Jesse Tittsworth and Dominic Green are banking on.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As far as the booking landscape goes, “There’s a giant queue for a small handful of 1,000-capacity venues in the city. There’s nothing in the East Bay,” Tittsworth says in a recent interview about the opening.\u003c/p>\n\u003cp>Additionally, certain types of shows, Tittsworth adds, just make more sense in Oakland, where there’s a more diverse audience for Latin acts, rap artists and queer dance nights.\u003c/p>\n\u003cp>The venue’s initial lineup in March has yet to be announced. But Tittsworth says that “there’s rave stuff on there, there’s a well-known comedian on there, there’s well-known DJs on there. There’s an extremely well-known rapper in there. All this stuff is confirming as we speak.”\u003c/p>\n\u003cfigure id=\"attachment_13971713\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971713\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.tittsworth.green_.jpg\" alt=\"\" width=\"2000\" height=\"670\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.tittsworth.green_.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.tittsworth.green_-800x268.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.tittsworth.green_-1020x342.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.tittsworth.green_-160x54.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.tittsworth.green_-768x257.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.tittsworth.green_-1536x515.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.tittsworth.green_-1920x643.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Jesse Tittsworth and Dominic Green, owners of Ceremony, established themselves in Oakland in 2022 with the nightclub Crybaby. \u003ccite>(Courtesy Ceremony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>An injection of nightlife downtown\u003c/h3>\n\u003cp>Green has deep local roots — his grandfather was a mayor of Berkeley, and his father is a longtime jazz promoter. Tittsworth was a co-founder of Washington D.C.’s U Street Music Hall, an acclaimed smaller venue.\u003c/p>\n\u003cp>The pair opened the 400-capacity Crybaby in 2022 as a no-frills, no-bottle-service, no-VIP-area nightclub, a format quickly embraced by the Oakland music scene. The club has been profitable, Green and Tittsworth say.\u003c/p>\n\u003cp>[aside postID='arts_13953497']But Ceremony was, in fact, the duo’s initial plan. The two first signed a lease at 1220 Broadway six years ago, in 2019, just before the pandemic halted their plans. The building’s ownership has changed hands multiple times since.\u003c/p>\n\u003cp>After extensive renovations, including sound installation, stage construction and other build-outs, the venue is poised to bring an injection of nightlife to the downtown core.\u003c/p>\n\u003cp>With a 6,013-square-foot ground floor overlooked by a second-floor wrap-around mezzanine, the venue boasts a state-of-the-art D&B Audiotechnik sound system. Two bars on either side of the dance floor and a kitchen handle food and drinks.\u003c/p>\n\u003cp>Key to the location, Tittsworth points out, is Ceremony’s immediate proximity to the 12th Street BART station. The venue may also pursue block parties on 13th Street between Broadway and Franklin, which could accommodate between 2,500 to 6,000 people.\u003c/p>\n\u003cfigure id=\"attachment_13971685\" class=\"wp-caption aligncenter\" style=\"max-width: 812px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971685\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/LuxTheater.jpg\" alt=\"\" width=\"812\" height=\"1253\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/LuxTheater.jpg 812w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/LuxTheater-800x1234.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/LuxTheater-160x247.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/LuxTheater-768x1185.jpg 768w\" sizes=\"auto, (max-width: 812px) 100vw, 812px\">\u003cfigcaption class=\"wp-caption-text\">An newspaper advertisement from the Oakland Post Enquirer for the grand opening of the Lux Theater, July 17, 1948.\u003c/figcaption>\u003c/figure>\n\u003ch3>A historic building\u003c/h3>\n\u003cp>The building at 1220 Broadway has a storied past. Those of a certain age will remember it as the Lux Theater, which showed movies from its glistening grand opening in 1948 to its seedier demise in 1978. More recently, from 1988 to 2019, the former theater served as a Goodwill.\u003c/p>\n\u003cp>When the Oakland City Council approved the opening of Goodwill in 1988, it required the charity organization to remove the Lux Theater’s majestic, protruding marquee from the building.\u003c/p>\n\u003cp>Green finds a certain irony in this. When he met with the city’s historic preservation department recently, he was encouraged to add a marquee, similar to the Lux Theater’s, to the building’s facade.\u003c/p>\n\u003cp>[aside postID='arts_13968285']Renovations of the building have uncovered the usual oddities, especially in the basement. An old steam boiler. A door leading to nothing but bricks. A hollowed-out section of a wall where someone once lived.\u003c/p>\n\u003cp>“Dim light, you know, the dripping pipe. It’s really like \u003cem>Saw V\u003c/em> … it can be a little spooky down there,” says Green.\u003c/p>\n\u003cp>Tittsworth, rolling with the idea, jokes that the basement could host the world’s creepiest mini-rave.\u003c/p>\n\u003cp>Another point of clarification: the two did not name the venue after the Joy Division song “Ceremony,” nor the punk band Ceremony that came roaring out of the Bay Area suburb of Rohnert Park in the early 2000s, but the literal definition of a ceremony, and what it entails.\u003c/p>\n\u003cp>“It just hits on like every culture, right? Every culture has a ceremony, of any sort,” says Green. “For us, wanting to be a place that’s welcoming to all with diverse programming, it felt like a word that encompasses every division of culture.”\u003c/p>\n\u003ch3>Filling a need\u003c/h3>\n\u003cp>One thing that’s been elusive, as a potential driver of downtown revitalization, is bankable support from the cash-strapped city of Oakland.\u003c/p>\n\u003cp>In meetings with various departments, “I hear a lot of support in these rooms, all the way from D.O.T. to OPD to fellow business owners,” says Tittsworth. “It’s just the budgets don’t match the verbal support.”\u003c/p>\n\u003cp>[aside postID='arts_13910010']Oakland has radically reviewed its operating budget in the past year, and “arts and culture has really been slashed,” adds Green. “So we’re pretty much on our own out here.”\u003c/p>\n\u003cp>However, for Ceremony’s unique size, format and location, the two have found support from what’s technically their competitors.\u003c/p>\n\u003cp>Green and Tittsworth have talked with larger live music promoters like Goldenvoice, Another Planet Entertainment and Live Nation. To hear them tell it, they see Ceremony as complementing their Bay Area bookings instead of competing.\u003c/p>\n\u003cp>“It’s really this idea of like, how do we work together to put Oakland on the map?” Tittsworth says.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For updates on Ceremony’s grand opening and concert schedule, \u003ca href=\"https://www.instagram.com/ceremony.oakland/\">visit the venue’s Instagram\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13971707\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971707\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.uncropped.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.uncropped.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.uncropped-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.uncropped-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.uncropped-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.uncropped-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.uncropped-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.uncropped-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The stage and dance floor at Ceremony, a new 1,000-capacity music hall in downtown Oakland, as seen from the venue’s mezzanine. \u003ccite>(Courtesy of Ceremony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A new live music venue is opening next month in downtown Oakland near the corner of Broadway and 13th Street.\u003c/p>\n\u003cp>The 1,000-capacity hall, called Ceremony, will host touring acts of diverse genres — rap, R&B, punk, Latin, comedy, queer pop — alongside local acts and DJ nights.\u003c/p>\n\u003cp>The venue is owned and operated by the team behind \u003ca href=\"https://www.kqed.org/arts/13910010/crybaby-nightclub-oakland-opening-uptown\">Crybaby\u003c/a>, a smaller nightclub located several blocks away.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While San Francisco has similarly sized music venues like the Regency Ballroom, August Hall and the Fillmore, Ceremony will be the only music hall of its size in Oakland.\u003c/p>\n\u003cp>That’s an asset owners Jesse Tittsworth and Dominic Green are banking on.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As far as the booking landscape goes, “There’s a giant queue for a small handful of 1,000-capacity venues in the city. There’s nothing in the East Bay,” Tittsworth says in a recent interview about the opening.\u003c/p>\n\u003cp>Additionally, certain types of shows, Tittsworth adds, just make more sense in Oakland, where there’s a more diverse audience for Latin acts, rap artists and queer dance nights.\u003c/p>\n\u003cp>The venue’s initial lineup in March has yet to be announced. But Tittsworth says that “there’s rave stuff on there, there’s a well-known comedian on there, there’s well-known DJs on there. There’s an extremely well-known rapper in there. All this stuff is confirming as we speak.”\u003c/p>\n\u003cfigure id=\"attachment_13971713\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971713\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.tittsworth.green_.jpg\" alt=\"\" width=\"2000\" height=\"670\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.tittsworth.green_.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.tittsworth.green_-800x268.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.tittsworth.green_-1020x342.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.tittsworth.green_-160x54.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.tittsworth.green_-768x257.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.tittsworth.green_-1536x515.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.tittsworth.green_-1920x643.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Jesse Tittsworth and Dominic Green, owners of Ceremony, established themselves in Oakland in 2022 with the nightclub Crybaby. \u003ccite>(Courtesy Ceremony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>An injection of nightlife downtown\u003c/h3>\n\u003cp>Green has deep local roots — his grandfather was a mayor of Berkeley, and his father is a longtime jazz promoter. Tittsworth was a co-founder of Washington D.C.’s U Street Music Hall, an acclaimed smaller venue.\u003c/p>\n\u003cp>The pair opened the 400-capacity Crybaby in 2022 as a no-frills, no-bottle-service, no-VIP-area nightclub, a format quickly embraced by the Oakland music scene. The club has been profitable, Green and Tittsworth say.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But Ceremony was, in fact, the duo’s initial plan. The two first signed a lease at 1220 Broadway six years ago, in 2019, just before the pandemic halted their plans. The building’s ownership has changed hands multiple times since.\u003c/p>\n\u003cp>After extensive renovations, including sound installation, stage construction and other build-outs, the venue is poised to bring an injection of nightlife to the downtown core.\u003c/p>\n\u003cp>With a 6,013-square-foot ground floor overlooked by a second-floor wrap-around mezzanine, the venue boasts a state-of-the-art D&B Audiotechnik sound system. Two bars on either side of the dance floor and a kitchen handle food and drinks.\u003c/p>\n\u003cp>Key to the location, Tittsworth points out, is Ceremony’s immediate proximity to the 12th Street BART station. The venue may also pursue block parties on 13th Street between Broadway and Franklin, which could accommodate between 2,500 to 6,000 people.\u003c/p>\n\u003cfigure id=\"attachment_13971685\" class=\"wp-caption aligncenter\" style=\"max-width: 812px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971685\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/LuxTheater.jpg\" alt=\"\" width=\"812\" height=\"1253\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/LuxTheater.jpg 812w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/LuxTheater-800x1234.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/LuxTheater-160x247.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/LuxTheater-768x1185.jpg 768w\" sizes=\"auto, (max-width: 812px) 100vw, 812px\">\u003cfigcaption class=\"wp-caption-text\">An newspaper advertisement from the Oakland Post Enquirer for the grand opening of the Lux Theater, July 17, 1948.\u003c/figcaption>\u003c/figure>\n\u003ch3>A historic building\u003c/h3>\n\u003cp>The building at 1220 Broadway has a storied past. Those of a certain age will remember it as the Lux Theater, which showed movies from its glistening grand opening in 1948 to its seedier demise in 1978. More recently, from 1988 to 2019, the former theater served as a Goodwill.\u003c/p>\n\u003cp>When the Oakland City Council approved the opening of Goodwill in 1988, it required the charity organization to remove the Lux Theater’s majestic, protruding marquee from the building.\u003c/p>\n\u003cp>Green finds a certain irony in this. When he met with the city’s historic preservation department recently, he was encouraged to add a marquee, similar to the Lux Theater’s, to the building’s facade.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Renovations of the building have uncovered the usual oddities, especially in the basement. An old steam boiler. A door leading to nothing but bricks. A hollowed-out section of a wall where someone once lived.\u003c/p>\n\u003cp>“Dim light, you know, the dripping pipe. It’s really like \u003cem>Saw V\u003c/em> … it can be a little spooky down there,” says Green.\u003c/p>\n\u003cp>Tittsworth, rolling with the idea, jokes that the basement could host the world’s creepiest mini-rave.\u003c/p>\n\u003cp>Another point of clarification: the two did not name the venue after the Joy Division song “Ceremony,” nor the punk band Ceremony that came roaring out of the Bay Area suburb of Rohnert Park in the early 2000s, but the literal definition of a ceremony, and what it entails.\u003c/p>\n\u003cp>“It just hits on like every culture, right? Every culture has a ceremony, of any sort,” says Green. “For us, wanting to be a place that’s welcoming to all with diverse programming, it felt like a word that encompasses every division of culture.”\u003c/p>\n\u003ch3>Filling a need\u003c/h3>\n\u003cp>One thing that’s been elusive, as a potential driver of downtown revitalization, is bankable support from the cash-strapped city of Oakland.\u003c/p>\n\u003cp>In meetings with various departments, “I hear a lot of support in these rooms, all the way from D.O.T. to OPD to fellow business owners,” says Tittsworth. “It’s just the budgets don’t match the verbal support.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Oakland has radically reviewed its operating budget in the past year, and “arts and culture has really been slashed,” adds Green. “So we’re pretty much on our own out here.”\u003c/p>\n\u003cp>However, for Ceremony’s unique size, format and location, the two have found support from what’s technically their competitors.\u003c/p>\n\u003cp>Green and Tittsworth have talked with larger live music promoters like Goldenvoice, Another Planet Entertainment and Live Nation. To hear them tell it, they see Ceremony as complementing their Bay Area bookings instead of competing.\u003c/p>\n\u003cp>“It’s really this idea of like, how do we work together to put Oakland on the map?” Tittsworth says.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For updates on Ceremony’s grand opening and concert schedule, \u003ca href=\"https://www.instagram.com/ceremony.oakland/\">visit the venue’s Instagram\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Stand at the back of a punk club like Berkeley’s \u003ca href=\"https://www.kqed.org/arts/tag/924-gilman\">924 Gilman\u003c/a> nowadays, and the entire crowd will invariably be lit up with a hundred little screens, all recording a moment in time to share online later. But at the primordial 924 Gilman of yesteryear, there was often just a single camera in the crowd, held in Murray Bowles’ hand flicking out far above his head, followed by a quick flash.\u003c/p>\n\u003cfigure id=\"attachment_13968871\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968871\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-scaled.jpg\" alt=\"A black and white crowd shot at a punk show. Photographer Murray Bowles, a bearded white man in a flannel shirt, is featured mid-frame with his camera raised above his head.\" width=\"2560\" height=\"1917\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-1536x1150.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-2048x1534.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-1920x1438.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Murray Bowles’ signature ‘Hail Mary’ shooting style. \u003ccite>(Christian Larsen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://lastgasp.com/products/hail-murray\">\u003ci>Hail Murray!: The Bay Area Punk Photography of Murray Bowles, 1982–1995\u003c/i>\u003c/a> (Last Gasp; $39.95) is a sprawling, 270-page monograph of black and white photos representing a wildly creative and supercharged era of local underground music. If you attended any \u003ca href=\"https://www.kqed.org/arts/tag/punk\">Bay Area punk\u003c/a> shows from the 1980s through the 1990s, you likely crossed paths with Murray, its de facto chronicler. Wrapped in a decidedly civilian package — an older man with floppy brown hair, bearded, and bespectacled — he looked more like a computer programmer than a punk (and, unbeknownst to many, he actually \u003ci>was\u003c/i> a programmer of note in early Silicon Valley). At first glance, one might be surprised to learn that this understated character was an essential contributor to the chaotic music scene that birthed bands like Operation Ivy, Blatz and Green Day.\u003c/p>\n\u003cfigure id=\"attachment_13968865\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968865\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_01.jpg\" alt=\"A book cover featuring a black and white crowd photo of punk dancing at an outside show. The book title Hail Murray is in red font at the top.\" width=\"1600\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_01.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_01-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_01-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_01-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_01-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_01-1536x1152.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">‘Hail Murray!: The Punk Photography of Murray Bowles, 1982-1995.’ \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After the show had ended, while everyone else slept off their hangovers or rotted all night at the 24-hour donut shop, Murray would be hunkered down in the makeshift darkroom set up in his kitchen, spending hours developing pictures of bands. He would later gather up all of the prints and shove them into a shoebox to bring to shows to share and sell for 15¢ a piece, the cost of the paper. (This was later raised to a quarter. Inflation, y’all.) While rifling through Murray’s shoebox, eager eyeballs went on the lookout for pictures of favorite bands or secret crushes, but more than anything else, people were hoping to find a photo of themselves. Being captured in a Murray picture was a stamp of approval. It was a confirmation that you had indeed been there. That you belonged.\u003c/p>\n\u003cp>That manifestation of belonging takes on various forms in the punk scene. It doesn’t matter how shy a person is, or how lacking in musical ability. Everyone has a role. And while bands have always enjoyed the spotlight, they’re just one part of a complex ecosystem. There are zine editors, promoters, the people who feed and house the touring bands, \u003ca href=\"https://www.kqed.org/arts/13830408/going-strong-since-1990-this-low-budget-newsletter-is-a-punk-institution\">Steve List\u003c/a>, the volunteers who sweep the floors and clean the toilets. These often unsung community heroes are the reason the punk scene has been able to function and evolve.\u003c/p>\n\u003cfigure id=\"attachment_13968882\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13968882 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_11-800x599.jpg\" alt=\"A young white girl with long brown hair plays a Gibson guitar\" width=\"800\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_11-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_11-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_11-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_11-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_11-1536x1150.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_11-2048x1534.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_11-1920x1438.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Squat, Nightbreak, San Francisco, 1995. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Why do this work that is neither glamorous nor rewarded? Sometimes community service is a calling. As Murray famously said, “I wanted to be more than just a spectator.” There are those people who see something that needs to be done and are compelled to do it. Surely no one embodies this more than Anna Brown, teacher, longtime East Bay punk, and Murray’s most bulldogged advocate, the person who consented to take on the monumental task of compiling, designing, and editing \u003ci>Hail Murray!\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Anna first met Murray at a show in 1987; the next thing she knew, she was a regular passenger in his Rabbit Cabriolet, on the way to film screenings, art openings, punk shows and hikes. Murray was notoriously inscrutable, and didn’t often talk about himself. Anna, on the other hand, was articulate, outgoing and tough. Their personalities complementing each other, they became lifelong friends.\u003c/p>\n\u003cfigure id=\"attachment_13968961\" class=\"wp-caption aligncenter\" style=\"max-width: 1277px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968961\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Anna.Aaron_.1993.MurrayBowles.jpg\" alt=\"\" width=\"1277\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Anna.Aaron_.1993.MurrayBowles.jpg 1277w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Anna.Aaron_.1993.MurrayBowles-800x501.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Anna.Aaron_.1993.MurrayBowles-1020x639.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Anna.Aaron_.1993.MurrayBowles-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Anna.Aaron_.1993.MurrayBowles-768x481.jpg 768w\" sizes=\"(max-width: 1277px) 100vw, 1277px\">\u003cfigcaption class=\"wp-caption-text\">Anna Brown with friend Aaron, 1993. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When I ask Anna how long she’s been working on this book, she gets a faraway look in her eye. “I’d always wanted to make this book, ever since I was a teenager,” she tells me. “Murray was into the idea but he was very passive in general.”\u003c/p>\n\u003cp>Around 2010, the two began to tackle the project, mind-boggling in its scope. Murray took dozens of photos, every single weekend, for almost 40 years. What would a body of work of that magnitude look like? How could you even begin to catalog and curate it? They caught a break in 2017 when the documentary team behind \u003ci>\u003ca href=\"https://www.kqed.org/arts/13239750/the-definitive-documentary-on-east-bay-punk-is-coming-pit-warning\">Turn It Around: The Story of East Bay Punk\u003c/a>\u003c/i> digitized thousands of Murray’s photos, but that still left thousands \u003cem>more\u003c/em> to sift through.\u003c/p>\n\u003cp>[aside postid='arts_13938024']Then in 2019, Murray Bowles died unexpectedly.\u003c/p>\n\u003cp>“When he died, I felt super guilty because we had this whole plan,” Anna tells me. The two friends had planned to spend Murray’s retirement years going around the country doing book tours and gallery shows, the culmination of a life’s work.\u003c/p>\n\u003cp>“I felt really bad that he didn’t get a chance to do any of that stuff, or to see the book,” Anna says. “So I became extremely determined.”\u003c/p>\n\u003cfigure id=\"attachment_13968952\" class=\"wp-caption aligncenter\" style=\"max-width: 1428px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968952\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Hail-Murray-sampler_Page_06.OpIvy_.jpg\" alt=\"\" width=\"1428\" height=\"906\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Hail-Murray-sampler_Page_06.OpIvy_.jpg 1428w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Hail-Murray-sampler_Page_06.OpIvy_-800x508.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Hail-Murray-sampler_Page_06.OpIvy_-1020x647.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Hail-Murray-sampler_Page_06.OpIvy_-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Hail-Murray-sampler_Page_06.OpIvy_-768x487.jpg 768w\" sizes=\"(max-width: 1428px) 100vw, 1428px\">\u003cfigcaption class=\"wp-caption-text\">Operation Ivy, Gilman Street, Berkeley, 1988. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Anna transcribed interviews, received feedback, taught herself Photoshop and InDesign, solicited funding and found a publisher. Along the way, she experimented with different layouts, and how to best encapsulate the life’s work of her friend.\u003c/p>\n\u003cp>“I felt a lot of anxiety about these pictures that are sacred to our people,” she explains. “They mean so much to everyone. It felt like I was handling an incredibly fragile, delicate thing. I knew that everyone was going to have their own ideas about how they wanted the book to be.”\u003c/p>\n\u003cp>[aside postID='arts_13871151']In the end, Anna decided that Bowles’ aesthetic would be best captured as a monograph. Punk may be messy, but \u003cem>Hail Murray!\u003c/em> is impeccably clean and gorgeous. Each 12” x 9” landscape page is devoted to a single black and white photograph, giving it ample space to breathe.\u003c/p>\n\u003cp>Though there’s a multitude of band photos in the book — from lesser-known entities like thrash band Sluglords to well-known groups like Rancid — many of its most compelling images are moments captured between friends. Young people sprawled on the hoods of cars, friends drinking beer on couches or hunkered down in a stairwell, girls carrying other girls through the pit, inexplicable configurations of body parts at a crowded house show where you’re not even sure where one person ends and the next person begins. There is an implied intimacy to the work, underscored by a minimalist approach to titles and descriptions.\u003c/p>\n\u003cfigure id=\"attachment_13968877\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13968877 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_04-800x599.jpg\" alt=\"Punk band Special Forces plays at UC Berkeley's Sproul Plaza. Orlando, a tall Black man with a mohawk, stands in front with a microphone.\" width=\"800\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_04-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_04-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_04-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_04-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_04-1536x1150.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_04-2048x1534.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_04-1920x1438.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Special Forces, Sproul Plaza, UC Berkeley, 1985. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the absence of elaborate captions or other explicit context cues, one might ask how \u003cem>Hail Murray!\u003c/em> will be perceived by those outside of the community it chronicles. For punks, part of the excitement was digging through Murray’s photo box, scanning the faces in the crowd and wondering: “Am I in here?” But outsiders to the punk scene may be surprised to see themselves here, too, reflected in the universal quest for fun and belonging.\u003c/p>\n\u003cp>“If Murray’s work is ‘about’ anything, it’s about the joy of punk,” Anna says. “Going through his archives, you come away feeling that Murray’s mission, in simplest terms, was to celebrate the feeling of being there on any given night or afternoon — the collective energy of a singular moment.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Hail Murray!: The Bay Area Punk Photography of Murray Bowles 1982–1995’ is celebrated in a release party with live music by Smokers and Nasty World on Sunday, Dec. 8, at 111 Minna Gallery in San Francisco. 4pm–9pm. \u003ca href=\"https://111minnagallery.com/event/hail-murray-book-party/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Stand at the back of a punk club like Berkeley’s \u003ca href=\"https://www.kqed.org/arts/tag/924-gilman\">924 Gilman\u003c/a> nowadays, and the entire crowd will invariably be lit up with a hundred little screens, all recording a moment in time to share online later. But at the primordial 924 Gilman of yesteryear, there was often just a single camera in the crowd, held in Murray Bowles’ hand flicking out far above his head, followed by a quick flash.\u003c/p>\n\u003cfigure id=\"attachment_13968871\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968871\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-scaled.jpg\" alt=\"A black and white crowd shot at a punk show. Photographer Murray Bowles, a bearded white man in a flannel shirt, is featured mid-frame with his camera raised above his head.\" width=\"2560\" height=\"1917\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-1536x1150.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-2048x1534.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-1920x1438.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Murray Bowles’ signature ‘Hail Mary’ shooting style. \u003ccite>(Christian Larsen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://lastgasp.com/products/hail-murray\">\u003ci>Hail Murray!: The Bay Area Punk Photography of Murray Bowles, 1982–1995\u003c/i>\u003c/a> (Last Gasp; $39.95) is a sprawling, 270-page monograph of black and white photos representing a wildly creative and supercharged era of local underground music. If you attended any \u003ca href=\"https://www.kqed.org/arts/tag/punk\">Bay Area punk\u003c/a> shows from the 1980s through the 1990s, you likely crossed paths with Murray, its de facto chronicler. Wrapped in a decidedly civilian package — an older man with floppy brown hair, bearded, and bespectacled — he looked more like a computer programmer than a punk (and, unbeknownst to many, he actually \u003ci>was\u003c/i> a programmer of note in early Silicon Valley). At first glance, one might be surprised to learn that this understated character was an essential contributor to the chaotic music scene that birthed bands like Operation Ivy, Blatz and Green Day.\u003c/p>\n\u003cfigure id=\"attachment_13968865\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968865\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_01.jpg\" alt=\"A book cover featuring a black and white crowd photo of punk dancing at an outside show. The book title Hail Murray is in red font at the top.\" width=\"1600\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_01.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_01-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_01-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_01-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_01-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_01-1536x1152.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">‘Hail Murray!: The Punk Photography of Murray Bowles, 1982-1995.’ \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After the show had ended, while everyone else slept off their hangovers or rotted all night at the 24-hour donut shop, Murray would be hunkered down in the makeshift darkroom set up in his kitchen, spending hours developing pictures of bands. He would later gather up all of the prints and shove them into a shoebox to bring to shows to share and sell for 15¢ a piece, the cost of the paper. (This was later raised to a quarter. Inflation, y’all.) While rifling through Murray’s shoebox, eager eyeballs went on the lookout for pictures of favorite bands or secret crushes, but more than anything else, people were hoping to find a photo of themselves. Being captured in a Murray picture was a stamp of approval. It was a confirmation that you had indeed been there. That you belonged.\u003c/p>\n\u003cp>That manifestation of belonging takes on various forms in the punk scene. It doesn’t matter how shy a person is, or how lacking in musical ability. Everyone has a role. And while bands have always enjoyed the spotlight, they’re just one part of a complex ecosystem. There are zine editors, promoters, the people who feed and house the touring bands, \u003ca href=\"https://www.kqed.org/arts/13830408/going-strong-since-1990-this-low-budget-newsletter-is-a-punk-institution\">Steve List\u003c/a>, the volunteers who sweep the floors and clean the toilets. These often unsung community heroes are the reason the punk scene has been able to function and evolve.\u003c/p>\n\u003cfigure id=\"attachment_13968882\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13968882 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_11-800x599.jpg\" alt=\"A young white girl with long brown hair plays a Gibson guitar\" width=\"800\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_11-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_11-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_11-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_11-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_11-1536x1150.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_11-2048x1534.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_11-1920x1438.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Squat, Nightbreak, San Francisco, 1995. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Why do this work that is neither glamorous nor rewarded? Sometimes community service is a calling. As Murray famously said, “I wanted to be more than just a spectator.” There are those people who see something that needs to be done and are compelled to do it. Surely no one embodies this more than Anna Brown, teacher, longtime East Bay punk, and Murray’s most bulldogged advocate, the person who consented to take on the monumental task of compiling, designing, and editing \u003ci>Hail Murray!\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Anna first met Murray at a show in 1987; the next thing she knew, she was a regular passenger in his Rabbit Cabriolet, on the way to film screenings, art openings, punk shows and hikes. Murray was notoriously inscrutable, and didn’t often talk about himself. Anna, on the other hand, was articulate, outgoing and tough. Their personalities complementing each other, they became lifelong friends.\u003c/p>\n\u003cfigure id=\"attachment_13968961\" class=\"wp-caption aligncenter\" style=\"max-width: 1277px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968961\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Anna.Aaron_.1993.MurrayBowles.jpg\" alt=\"\" width=\"1277\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Anna.Aaron_.1993.MurrayBowles.jpg 1277w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Anna.Aaron_.1993.MurrayBowles-800x501.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Anna.Aaron_.1993.MurrayBowles-1020x639.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Anna.Aaron_.1993.MurrayBowles-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Anna.Aaron_.1993.MurrayBowles-768x481.jpg 768w\" sizes=\"(max-width: 1277px) 100vw, 1277px\">\u003cfigcaption class=\"wp-caption-text\">Anna Brown with friend Aaron, 1993. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When I ask Anna how long she’s been working on this book, she gets a faraway look in her eye. “I’d always wanted to make this book, ever since I was a teenager,” she tells me. “Murray was into the idea but he was very passive in general.”\u003c/p>\n\u003cp>Around 2010, the two began to tackle the project, mind-boggling in its scope. Murray took dozens of photos, every single weekend, for almost 40 years. What would a body of work of that magnitude look like? How could you even begin to catalog and curate it? They caught a break in 2017 when the documentary team behind \u003ci>\u003ca href=\"https://www.kqed.org/arts/13239750/the-definitive-documentary-on-east-bay-punk-is-coming-pit-warning\">Turn It Around: The Story of East Bay Punk\u003c/a>\u003c/i> digitized thousands of Murray’s photos, but that still left thousands \u003cem>more\u003c/em> to sift through.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Then in 2019, Murray Bowles died unexpectedly.\u003c/p>\n\u003cp>“When he died, I felt super guilty because we had this whole plan,” Anna tells me. The two friends had planned to spend Murray’s retirement years going around the country doing book tours and gallery shows, the culmination of a life’s work.\u003c/p>\n\u003cp>“I felt really bad that he didn’t get a chance to do any of that stuff, or to see the book,” Anna says. “So I became extremely determined.”\u003c/p>\n\u003cfigure id=\"attachment_13968952\" class=\"wp-caption aligncenter\" style=\"max-width: 1428px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968952\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Hail-Murray-sampler_Page_06.OpIvy_.jpg\" alt=\"\" width=\"1428\" height=\"906\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Hail-Murray-sampler_Page_06.OpIvy_.jpg 1428w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Hail-Murray-sampler_Page_06.OpIvy_-800x508.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Hail-Murray-sampler_Page_06.OpIvy_-1020x647.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Hail-Murray-sampler_Page_06.OpIvy_-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Hail-Murray-sampler_Page_06.OpIvy_-768x487.jpg 768w\" sizes=\"(max-width: 1428px) 100vw, 1428px\">\u003cfigcaption class=\"wp-caption-text\">Operation Ivy, Gilman Street, Berkeley, 1988. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Anna transcribed interviews, received feedback, taught herself Photoshop and InDesign, solicited funding and found a publisher. Along the way, she experimented with different layouts, and how to best encapsulate the life’s work of her friend.\u003c/p>\n\u003cp>“I felt a lot of anxiety about these pictures that are sacred to our people,” she explains. “They mean so much to everyone. It felt like I was handling an incredibly fragile, delicate thing. I knew that everyone was going to have their own ideas about how they wanted the book to be.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In the end, Anna decided that Bowles’ aesthetic would be best captured as a monograph. Punk may be messy, but \u003cem>Hail Murray!\u003c/em> is impeccably clean and gorgeous. Each 12” x 9” landscape page is devoted to a single black and white photograph, giving it ample space to breathe.\u003c/p>\n\u003cp>Though there’s a multitude of band photos in the book — from lesser-known entities like thrash band Sluglords to well-known groups like Rancid — many of its most compelling images are moments captured between friends. Young people sprawled on the hoods of cars, friends drinking beer on couches or hunkered down in a stairwell, girls carrying other girls through the pit, inexplicable configurations of body parts at a crowded house show where you’re not even sure where one person ends and the next person begins. There is an implied intimacy to the work, underscored by a minimalist approach to titles and descriptions.\u003c/p>\n\u003cfigure id=\"attachment_13968877\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13968877 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_04-800x599.jpg\" alt=\"Punk band Special Forces plays at UC Berkeley's Sproul Plaza. Orlando, a tall Black man with a mohawk, stands in front with a microphone.\" width=\"800\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_04-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_04-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_04-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_04-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_04-1536x1150.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_04-2048x1534.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_04-1920x1438.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Special Forces, Sproul Plaza, UC Berkeley, 1985. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the absence of elaborate captions or other explicit context cues, one might ask how \u003cem>Hail Murray!\u003c/em> will be perceived by those outside of the community it chronicles. For punks, part of the excitement was digging through Murray’s photo box, scanning the faces in the crowd and wondering: “Am I in here?” But outsiders to the punk scene may be surprised to see themselves here, too, reflected in the universal quest for fun and belonging.\u003c/p>\n\u003cp>“If Murray’s work is ‘about’ anything, it’s about the joy of punk,” Anna says. “Going through his archives, you come away feeling that Murray’s mission, in simplest terms, was to celebrate the feeling of being there on any given night or afternoon — the collective energy of a singular moment.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Hail Murray!: The Bay Area Punk Photography of Murray Bowles 1982–1995’ is celebrated in a release party with live music by Smokers and Nasty World on Sunday, Dec. 8, at 111 Minna Gallery in San Francisco. 4pm–9pm. \u003ca href=\"https://111minnagallery.com/event/hail-murray-book-party/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "the-cramps-the-mutants-live-at-napa-state-hospital-target-video-streaming",
"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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"content": "\u003cp>There are only a handful of punk logos that have stood the test of time, and they’re almost universally recognized: \u003ca href=\"https://www.kqed.org/arts/13962592/raymond-pettibon-auction-black-flag-fliers-punk-rock-ephemera-fab-mab-on-broadway\">Black Flag\u003c/a>‘s bars, Misfits’ Crimson Ghost and Crass’ anti-authority cross.\u003c/p>\n\u003cp>[aside postid='arts_13967093']The last was designed by \u003ca href=\"https://www.kqed.org/arts/13868611/david-king-san-francisco-artist-who-designed-iconic-crass-emblem-dies-at-71\">David King\u003c/a>, a British experimental artist, graphic designer and musician. He moved from England to New York City in 1977, before relocating to San Francisco three years later. Here, he made art and zines, performed in bands (including \u003ca href=\"https://www.discogs.com/master/673023-Brain-Rust-Brain-Rust\">Brain Rust\u003c/a>) and attended the \u003ca href=\"https://www.kqed.org/arts/tag/sfai\">San Francisco Art Institute\u003c/a>. King died in 2019 at the age of 71, but left a wealth of subversive, era-defining work behind him.\u003c/p>\n\u003cp>A selection of that work is currently on display at the San Francisco Center for the Book. \u003cem>David King Publications 1977-2019\u003c/em> focuses on the artist’s zine work and, to a lesser degree, his show flyers. King’s work, as curated by Luca Antonucci and Matt Borruso, is consistently imposing, provocative and caustically humorous. Many of his designs also clearly reflect the moment each piece was made. His 1980s work, in particular, makes a mockery of the leaders of the day, including Margaret Thatcher, Ronald Reagan and Queen Elizabeth II. (One doctored image of the Queen kicking a baby into a manhole is as funny as it is jarring.)\u003c/p>\n\u003cfigure id=\"attachment_13967299\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967299\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sleeping-dogs.png\" alt=\"Two black and white pages. One featuring a bat signal with the Crass band logo. The other features Batman and Robin looking at a chart of symbols.\" width=\"2000\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sleeping-dogs.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sleeping-dogs-800x512.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sleeping-dogs-1020x653.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sleeping-dogs-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sleeping-dogs-768x492.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sleeping-dogs-1536x983.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sleeping-dogs-1920x1229.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The first issue of ‘Sleeping Dogs’ zine, 1983. \u003ccite>(Courtesy of San Francisco Center for the Book)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There is, of course, a Crass component within the exhibit. Original stencils hang starkly in frames. One comic book-style panel has the band logo projected into the night sky, like the Bat Signal. Sitting tantalizingly in a display case is even a copy of \u003cem>Christ’s Reality Asylum\u003c/em>, the 1977 pamphlet written by Crass drummer Penny Rimbaud that inspired the very first use of the now-legendary anti-authority symbol.\u003c/p>\n\u003cp>[aside postid='arts_13938024']Other ephemera from King’s life includes home photos (of himself, Crass singer Steve Ignorant and a series of masked figures) and book covers designed by the artist, including the sci-fi paperback \u003ca href=\"https://en.wikipedia.org/wiki/Non-Stop_(novel)\">\u003cem>Non-Stop\u003c/em> by Brian Aldiss\u003c/a>. There are a couple of curious collages too — one now-ironic piece titled \u003cem>21st Century Lower Manhattan\u003c/em>, depicts the New York skyline awash with World Trade Center towers. (A demonstration that even the sharpest social critics can’t predict \u003cem>everything\u003c/em>.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>King was prolific to a point that only the hugest of exhibitions could ever capture the breadth of what he created in his lifetime. \u003cem>David King Publications 1977-2019\u003c/em> can only act as a sort of tasting menu — but oh, what a delicious introduction it is.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘\u003ca href=\"https://sfcb.org/davidanthonyking\">David King Publications 1977-2019\u003c/a>’ is on display now through Dec. 22, 2024 at \u003ca href=\"https://sfcb.org/\">San Francisco Center for the Book\u003c/a> (375 Rhode Island St.). \u003c/em>\u003c/p>\n\u003cp>\u003cem>An accompanying book, ‘David King Publications 1977–2019’ will be available in November via \u003ca href=\"https://www.colpapress.com/collections/frontpage\">Colpa Press\u003c/a> and San Francisco Center for the Book.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>On Dec. 6, San Francisco Center for the Book will host a roundtable discussion with curators Luca Antonucci and Matt Borruso in conversation with David Senior, SF MoMA’s Director of the Library.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are only a handful of punk logos that have stood the test of time, and they’re almost universally recognized: \u003ca href=\"https://www.kqed.org/arts/13962592/raymond-pettibon-auction-black-flag-fliers-punk-rock-ephemera-fab-mab-on-broadway\">Black Flag\u003c/a>‘s bars, Misfits’ Crimson Ghost and Crass’ anti-authority cross.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The last was designed by \u003ca href=\"https://www.kqed.org/arts/13868611/david-king-san-francisco-artist-who-designed-iconic-crass-emblem-dies-at-71\">David King\u003c/a>, a British experimental artist, graphic designer and musician. He moved from England to New York City in 1977, before relocating to San Francisco three years later. Here, he made art and zines, performed in bands (including \u003ca href=\"https://www.discogs.com/master/673023-Brain-Rust-Brain-Rust\">Brain Rust\u003c/a>) and attended the \u003ca href=\"https://www.kqed.org/arts/tag/sfai\">San Francisco Art Institute\u003c/a>. King died in 2019 at the age of 71, but left a wealth of subversive, era-defining work behind him.\u003c/p>\n\u003cp>A selection of that work is currently on display at the San Francisco Center for the Book. \u003cem>David King Publications 1977-2019\u003c/em> focuses on the artist’s zine work and, to a lesser degree, his show flyers. King’s work, as curated by Luca Antonucci and Matt Borruso, is consistently imposing, provocative and caustically humorous. Many of his designs also clearly reflect the moment each piece was made. His 1980s work, in particular, makes a mockery of the leaders of the day, including Margaret Thatcher, Ronald Reagan and Queen Elizabeth II. (One doctored image of the Queen kicking a baby into a manhole is as funny as it is jarring.)\u003c/p>\n\u003cfigure id=\"attachment_13967299\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967299\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sleeping-dogs.png\" alt=\"Two black and white pages. One featuring a bat signal with the Crass band logo. The other features Batman and Robin looking at a chart of symbols.\" width=\"2000\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sleeping-dogs.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sleeping-dogs-800x512.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sleeping-dogs-1020x653.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sleeping-dogs-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sleeping-dogs-768x492.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sleeping-dogs-1536x983.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sleeping-dogs-1920x1229.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The first issue of ‘Sleeping Dogs’ zine, 1983. \u003ccite>(Courtesy of San Francisco Center for the Book)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There is, of course, a Crass component within the exhibit. Original stencils hang starkly in frames. One comic book-style panel has the band logo projected into the night sky, like the Bat Signal. Sitting tantalizingly in a display case is even a copy of \u003cem>Christ’s Reality Asylum\u003c/em>, the 1977 pamphlet written by Crass drummer Penny Rimbaud that inspired the very first use of the now-legendary anti-authority symbol.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Other ephemera from King’s life includes home photos (of himself, Crass singer Steve Ignorant and a series of masked figures) and book covers designed by the artist, including the sci-fi paperback \u003ca href=\"https://en.wikipedia.org/wiki/Non-Stop_(novel)\">\u003cem>Non-Stop\u003c/em> by Brian Aldiss\u003c/a>. There are a couple of curious collages too — one now-ironic piece titled \u003cem>21st Century Lower Manhattan\u003c/em>, depicts the New York skyline awash with World Trade Center towers. (A demonstration that even the sharpest social critics can’t predict \u003cem>everything\u003c/em>.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>King was prolific to a point that only the hugest of exhibitions could ever capture the breadth of what he created in his lifetime. \u003cem>David King Publications 1977-2019\u003c/em> can only act as a sort of tasting menu — but oh, what a delicious introduction it is.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘\u003ca href=\"https://sfcb.org/davidanthonyking\">David King Publications 1977-2019\u003c/a>’ is on display now through Dec. 22, 2024 at \u003ca href=\"https://sfcb.org/\">San Francisco Center for the Book\u003c/a> (375 Rhode Island St.). \u003c/em>\u003c/p>\n\u003cp>\u003cem>An accompanying book, ‘David King Publications 1977–2019’ will be available in November via \u003ca href=\"https://www.colpapress.com/collections/frontpage\">Colpa Press\u003c/a> and San Francisco Center for the Book.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>On Dec. 6, San Francisco Center for the Book will host a roundtable discussion with curators Luca Antonucci and Matt Borruso in conversation with David Senior, SF MoMA’s Director of the Library.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>At first glance there doesn’t seem to be room for overlap between a traditional hard-boiled detective story and the crucibles of a group of punks in West Oakland. But in Joshua Mohr’s new book, \u003cem>\u003ca href=\"https://www.unnamedpress.com/all-books/p/saint-the-terrifying\">Saint the Terrifying\u003c/a>\u003c/em>, these two worlds collide head on, exploding across the page in glittering sentences that tell an eccentric and grimy vigilante story. \u003c/p>\n\u003cp>\u003cem>Saint the Terrifying\u003c/em> has an unlikely origin story in a different music genre entirely. A friend contacted Mohr about contributing to an anthology of stories based on Taylor Swift songs, and Mohr, who has a 10-year-old Swift-loving daughter, jumped at the opportunity. \u003c/p>\n\u003cp>“I finished it and I was like, ‘This guy’s not done squawking in my ear,’” Mohr says over Zoom. A very different version of that first self-contained piece became chapter one of his new novel. \u003c/p>\n\u003cp>Further inspiration came to the author, who splits his time between San Francisco and Seattle, after a visit to Seattle’s National Nordic Museum. The trip prompted a deep dive into Viking mythology and Mohr, a “card-carrying nerd,” found himself 30-plus books deep into the lore. \u003c/p>\n\u003cp>“The cool thing about these books is it’s every possible genre,” he says excitedly. “It’s magical realism, it’s horror, love stories, fantasies. Whatever I wanted to throw in there, I could. It became this really beautiful blank canvas to really allow my imagination to leap down every rabbit hole I possibly could find.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That narrative flexibility led to a realization: “There were no limits in the Saint universe.” Mohr’s already found enough story to turn Saint’s Viking punk tales into a three-book saga. \u003c/p>\n\u003cfigure id=\"attachment_13966978\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/josh-20-scaled.jpg\" alt=\"white man with arms behind back on a leafy street\" width=\"1707\" height=\"2560\" class=\"size-full wp-image-13966978\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/josh-20-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/josh-20-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/josh-20-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/josh-20-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/josh-20-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/josh-20-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/josh-20-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/josh-20-1920x2880.jpg 1920w\" sizes=\"auto, (max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Joshua Mohr drew from his own experiences as a teenager in a punk house for the novel. \u003ccite>(Unnamed Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A punk mystery\u003c/h2>\n\u003cp>\u003cem>Saint the Terrifying\u003c/em>, the first installment of Saint’s saga, has a simple premise. A local punk bands’ gear goes missing and Saint, a middling guitarist in the West Oakland scene, takes it upon himself to investigate on behalf of his peers. Mohr strikes a harmonious chord between the tropes of hard-boiled detective stories: a central mystery, a cynical anti-hero playing lead investigator, events taking place in low-rent places, and the anti-establishment and anti-consumerist ethos of punk culture. \u003c/p>\n\u003cp>Saint has a freewheeling spirit (an inheritance from his Viking ancestors) and spent eight years at San Quentin where he got a glass eye and a neck tattoo that reads “No More Drunken Mistakes.” Throughout the book he is plagued by visions of blown-glass birds that circle his head like he’s a concussed cartoon character. \u003c/p>\n\u003cp>The book possesses a dark whimsy and humor — there’s a busker named Elon Busk — that is anchored by Saint’s thirst for truth and street justice. There’s also a colorfully degenerate cast of characters in his life, including someone named Got Jokes. The Bay Area’s preternaturally gloomy weather nurtures the novel’s dark mood. “The day gave off a gray stare,” Mohr writes. “You never knew if the fog was gonna burn off.” \u003c/p>\n\u003cp>Mohr even adopts the noir trope of first-person narration. The book opens with a run-on sentence written stream-of-consciousness style, a succession of alternately manic and beautiful rambling. “Amphetamine poetry,” as one character puts it. And then, quite fittingly, Saint loses his train of thought before finishing his sentence. The book unfolds in this stop and start zigzag style, mirroring the short frenetic bursts of punk songs. \u003c/p>\n\u003cp>[aside postID='arts_13966951,arts_13966911,arts_13966390' label='More Books']\u003c/p>\n\u003ch2>Dramatizing gentrification\u003c/h2>\n\u003cp>Mohr’s punchy writing and observations draw from his own experiences as a 17-year-old in a San Francisco punk house. “No house starts out as a punk house,” the author says of the slow but natural way he ended up living with his friend, a member of the band American Steel, in a place where the basement and kitchen ended up becoming home to even more people. \u003c/p>\n\u003cp>“There are things that chronologically probably wouldn’t have happened when Saint was telling his story, that I would be scraping from a memory of mine from 1995 or 1999,” he explains. “I used to play in shitty punk bands, we practiced in West Oakland. In the book, I called [the rehearsal space] Sound Check, but in reality it’s called Sound Wave, and it was a pretty wild place in the ’90s.” \u003c/p>\n\u003cp>Another scraped-from-reality sequence finds Saint in a warehouse fire similar to the \u003ca href=\"https://www.kqed.org/ghostshipmemorial\">Ghost Ship fire\u003c/a> that claimed 36 lives in 2016. In it, Saint experiences a kind of theoretical time slip as he ponders how the outcome may have changed if he arrived at another time: in an alternate universe, in an alternate warehouse, lives may have been lost. He imagines 36 names to attach to these lives, the names of the actual Ghost Ship fire victims, “friends who can still live forever if we fan their story.” In Mohr’s book they are immortal.\u003c/p>\n\u003cp>The rollicking pace of the book is only ever interrupted by hallucinatory interludes in an imaginary Whole Foods. There, Saint and the frontman of a popular pop punk band Saint despises (because he’s a more hardcore Butthole Surfers and Bad Brains kind of guy) have tête-à-têtes in a checkout line. \u003c/p>\n\u003cp>“I’d lived in West Oakland since it was really West Oakland,” a fresh from lockup Saint remarks early on in the book. “I made it back … and it had a Whole Foods.” \u003c/p>\n\u003cp>“It’s a really difficult thing to make gentrification interesting because it immediately sounds as though you’re trying to feed your audience the vegetables she probably doesn’t want to eat,” Mohr says. “You have to figure out a way to dramatize it in the most compelling way, but also subtextually get at the heart of those stories. When a pal of mine told me that there was a Whole Foods in West Oakland, I was like, ‘What?’ And then that became the running joke in Saint’s life: he can either be a Viking or he can have a Whole Foods.” \u003c/p>\n\u003cp>Saint’s spiritual wrestling match with gentrification will be particularly familiar to Bay Area residents. There is a mystery to unravel in this book, but Saint’s story is ultimately about so much more than the who, what, where and why of this case. It is a search for salvation, for Valhalla, for community in a shifting and merciless world, that is ultimately deeply human.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.unnamedpress.com/all-books/p/saint-the-terrifying\">Saint the Terrifying\u003c/a>’ is out Oct. 29, 2024 from Unnamed Press. A musical companion project by Slummy (Saint’s fictional band), a five-song EP titled ‘The Wrong Side,’ will be released in late October.\u003cbr>\n\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At first glance there doesn’t seem to be room for overlap between a traditional hard-boiled detective story and the crucibles of a group of punks in West Oakland. But in Joshua Mohr’s new book, \u003cem>\u003ca href=\"https://www.unnamedpress.com/all-books/p/saint-the-terrifying\">Saint the Terrifying\u003c/a>\u003c/em>, these two worlds collide head on, exploding across the page in glittering sentences that tell an eccentric and grimy vigilante story. \u003c/p>\n\u003cp>\u003cem>Saint the Terrifying\u003c/em> has an unlikely origin story in a different music genre entirely. A friend contacted Mohr about contributing to an anthology of stories based on Taylor Swift songs, and Mohr, who has a 10-year-old Swift-loving daughter, jumped at the opportunity. \u003c/p>\n\u003cp>“I finished it and I was like, ‘This guy’s not done squawking in my ear,’” Mohr says over Zoom. A very different version of that first self-contained piece became chapter one of his new novel. \u003c/p>\n\u003cp>Further inspiration came to the author, who splits his time between San Francisco and Seattle, after a visit to Seattle’s National Nordic Museum. The trip prompted a deep dive into Viking mythology and Mohr, a “card-carrying nerd,” found himself 30-plus books deep into the lore. \u003c/p>\n\u003cp>“The cool thing about these books is it’s every possible genre,” he says excitedly. “It’s magical realism, it’s horror, love stories, fantasies. Whatever I wanted to throw in there, I could. It became this really beautiful blank canvas to really allow my imagination to leap down every rabbit hole I possibly could find.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That narrative flexibility led to a realization: “There were no limits in the Saint universe.” Mohr’s already found enough story to turn Saint’s Viking punk tales into a three-book saga. \u003c/p>\n\u003cfigure id=\"attachment_13966978\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/josh-20-scaled.jpg\" alt=\"white man with arms behind back on a leafy street\" width=\"1707\" height=\"2560\" class=\"size-full wp-image-13966978\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/josh-20-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/josh-20-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/josh-20-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/josh-20-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/josh-20-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/josh-20-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/josh-20-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/josh-20-1920x2880.jpg 1920w\" sizes=\"auto, (max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Joshua Mohr drew from his own experiences as a teenager in a punk house for the novel. \u003ccite>(Unnamed Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A punk mystery\u003c/h2>\n\u003cp>\u003cem>Saint the Terrifying\u003c/em>, the first installment of Saint’s saga, has a simple premise. A local punk bands’ gear goes missing and Saint, a middling guitarist in the West Oakland scene, takes it upon himself to investigate on behalf of his peers. Mohr strikes a harmonious chord between the tropes of hard-boiled detective stories: a central mystery, a cynical anti-hero playing lead investigator, events taking place in low-rent places, and the anti-establishment and anti-consumerist ethos of punk culture. \u003c/p>\n\u003cp>Saint has a freewheeling spirit (an inheritance from his Viking ancestors) and spent eight years at San Quentin where he got a glass eye and a neck tattoo that reads “No More Drunken Mistakes.” Throughout the book he is plagued by visions of blown-glass birds that circle his head like he’s a concussed cartoon character. \u003c/p>\n\u003cp>The book possesses a dark whimsy and humor — there’s a busker named Elon Busk — that is anchored by Saint’s thirst for truth and street justice. There’s also a colorfully degenerate cast of characters in his life, including someone named Got Jokes. The Bay Area’s preternaturally gloomy weather nurtures the novel’s dark mood. “The day gave off a gray stare,” Mohr writes. “You never knew if the fog was gonna burn off.” \u003c/p>\n\u003cp>Mohr even adopts the noir trope of first-person narration. The book opens with a run-on sentence written stream-of-consciousness style, a succession of alternately manic and beautiful rambling. “Amphetamine poetry,” as one character puts it. And then, quite fittingly, Saint loses his train of thought before finishing his sentence. The book unfolds in this stop and start zigzag style, mirroring the short frenetic bursts of punk songs. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>Dramatizing gentrification\u003c/h2>\n\u003cp>Mohr’s punchy writing and observations draw from his own experiences as a 17-year-old in a San Francisco punk house. “No house starts out as a punk house,” the author says of the slow but natural way he ended up living with his friend, a member of the band American Steel, in a place where the basement and kitchen ended up becoming home to even more people. \u003c/p>\n\u003cp>“There are things that chronologically probably wouldn’t have happened when Saint was telling his story, that I would be scraping from a memory of mine from 1995 or 1999,” he explains. “I used to play in shitty punk bands, we practiced in West Oakland. In the book, I called [the rehearsal space] Sound Check, but in reality it’s called Sound Wave, and it was a pretty wild place in the ’90s.” \u003c/p>\n\u003cp>Another scraped-from-reality sequence finds Saint in a warehouse fire similar to the \u003ca href=\"https://www.kqed.org/ghostshipmemorial\">Ghost Ship fire\u003c/a> that claimed 36 lives in 2016. In it, Saint experiences a kind of theoretical time slip as he ponders how the outcome may have changed if he arrived at another time: in an alternate universe, in an alternate warehouse, lives may have been lost. He imagines 36 names to attach to these lives, the names of the actual Ghost Ship fire victims, “friends who can still live forever if we fan their story.” In Mohr’s book they are immortal.\u003c/p>\n\u003cp>The rollicking pace of the book is only ever interrupted by hallucinatory interludes in an imaginary Whole Foods. There, Saint and the frontman of a popular pop punk band Saint despises (because he’s a more hardcore Butthole Surfers and Bad Brains kind of guy) have tête-à-têtes in a checkout line. \u003c/p>\n\u003cp>“I’d lived in West Oakland since it was really West Oakland,” a fresh from lockup Saint remarks early on in the book. “I made it back … and it had a Whole Foods.” \u003c/p>\n\u003cp>“It’s a really difficult thing to make gentrification interesting because it immediately sounds as though you’re trying to feed your audience the vegetables she probably doesn’t want to eat,” Mohr says. “You have to figure out a way to dramatize it in the most compelling way, but also subtextually get at the heart of those stories. When a pal of mine told me that there was a Whole Foods in West Oakland, I was like, ‘What?’ And then that became the running joke in Saint’s life: he can either be a Viking or he can have a Whole Foods.” \u003c/p>\n\u003cp>Saint’s spiritual wrestling match with gentrification will be particularly familiar to Bay Area residents. There is a mystery to unravel in this book, but Saint’s story is ultimately about so much more than the who, what, where and why of this case. It is a search for salvation, for Valhalla, for community in a shifting and merciless world, that is ultimately deeply human.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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},
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"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
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},
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},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
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"order": 8
},
"link": "/californiareport",
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},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
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"order": 10
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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},
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"order": 1
},
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
},
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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},
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"id": "fresh-air",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"source": "NPR"
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"how-i-built-this": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"order": 18
},
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
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