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"content": "\u003cp>\u003ca href=\"https://www.instagram.com/chrisestradacomic/?hl=en\">Chris Estrada\u003c/a> loves wandering around San Francisco.\u003c/p>\n\u003cp>Standing on the corner of Columbus and Vallejo with a slicked-back gentlemen’s cut and a crisp, black T-shirt, the Los Angeles-born stand-up comedian is arguably one of today’s funniest entertainers. [pullquote size=\"medium\" align=\"right\" citation=\"Comedian Chris Estrada\"]‘I truly love walking around San Francisco just because it’s such a beautiful city.’[/pullquote] He’s also the star and co-creator of the widely acclaimed TV series \u003cem>This Fool\u003c/em>, now in its second season on Hulu. While actors and writers, including Estrada, continue to \u003ca href=\"https://www.kqed.org/news/11956178/its-now-or-never-writers-and-actors-see-conflict-with-big-tech-as-existential\">strike over labor disputes\u003c/a>, the 39-year-old is making audiences laugh in person at some of the best comedy clubs in the country, including a \u003ca href=\"https://www.punchlinecomedyclub.com/\">current run at the Punch Line\u003c/a> in San Francisco.\u003c/p>\n\u003cp>“I truly love walking around San Francisco just because it’s such a beautiful city,” said Estrada while visiting Molinari Delicatessen for a quick lunch on Thursday afternoon. “We’re right down the street from City Lights. I love City Lights. It’s one of my favorite bookstores in the country.”\u003c/p>\n\u003cp>He’s also a fan of Mr. Bings in North Beach and the quieter side of the Sunset because it’s right by the water (he loves the fog). Estrada’s no stranger to the Punch Line, where he’s previously been an opener, and he’s performed at Cobb’s and Comedy Central’s Clusterfest at the Civic Center.\u003c/p>\n\u003cp>This time, however, Estrada makes his headline debut at the venue where the likes of comedy figures such as the late Robin Williams, Dana Carvey and Dave Chappelle have all stood on stage making audiences laugh through the decades.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This weekend, Estrada isn’t alone. He’s tapped local comedian Allison Hooker as host, and L.A.-based comic Zack Chapaloni to warm up the crowd.\u003c/p>\n\u003cp>Estrada’s comedy style is both personal and universal. He can write a joke with details that instantly resonate with Latinos, and still have the entire audience laughing. He wants everyone in on the joke.\u003c/p>\n\u003cp>He also draws on his own life: the absurdity of missing the thrill of toxic relationships, or how being nice is an “ugly people quality” while calling himself “an ugly fool with a heart of gold.”\u003c/p>\n\u003cp>Making audiences erupt in laughter at clubs like the Punch Line this past week is something Estrada said he’s been working toward for the last decade — and it feels good.\u003c/p>\n\u003cp>“That club is really special. It’s just beautiful in there. To me, it’s one of the perfect clubs in the country,” Estrada said. “It’s low ceilings. It’s incredibly intimate. It fits about 180, maybe 200 [people], which is nice. It’s just small, wide and that backdrop is iconic. That painted backdrop of San Francisco — I love it.”\u003c/p>\n\u003ch2>‘I just kept going and going’\u003c/h2>\n\u003cp>Losing a nighttime job as a valet for the Beverly Hilton changed the trajectory of Estrada’s life. Having grown up in working-class neighborhoods like Inglewood and South Central, he often jokes that he always held “three shitty jobs” that would pay him the equivalent of one shitty job.\u003c/p>\n\u003cp>When he lost the valet gig — parking luxury cars at star-studded events like the Golden Globes — his nights suddenly freed up. Estrada worked up the nerve to finally give his stand-up comedy dreams a chance.\u003c/p>\n\u003cfigure id=\"attachment_13933490\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933490\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/RS68038_230817-ComedianChrisEstrada-12-BL-qut.jpg\" alt=\"A man in a blue jacket sits inside a bookstore with a full bookshelf behind him.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68038_230817-ComedianChrisEstrada-12-BL-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68038_230817-ComedianChrisEstrada-12-BL-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68038_230817-ComedianChrisEstrada-12-BL-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68038_230817-ComedianChrisEstrada-12-BL-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68038_230817-ComedianChrisEstrada-12-BL-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68038_230817-ComedianChrisEstrada-12-BL-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Comedian Chris Estrada hangs out at City Lights Bookstore in San Francisco’s North Beach neighborhood on Aug. 17, 2023, during a headlining run at the Punchline comedy club. \u003ccite>(Beth LeBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I went and I had a decent set the first time. And then, I was like, ‘Fuck it. I don’t have anything to do at night anymore so I’m just going to keep doing this,’” he said. “I kept doing it blindly. I just kept going and going.”\u003c/p>\n\u003cp>He said headlining the Punch Line feels like a real stepping stone, especially when he reflects on the trips he used to make to San Francisco from Los Angeles just to watch performances and get a feel for the local scene.\u003c/p>\n\u003cp>“The clubs out here, the people out here, they’re pretty savvy, comedically,” he said. “Audiences, they’re just a sharp, city audience.”\u003c/p>\n\u003ch2>Getting inspiration from Bay Area punk\u003c/h2>\n\u003cp>Besides his affinity for stand-up, Estrada is also a huge music enthusiast. He admits to driving out of his way to places like Going Underground Records in downtown Bakersfield just to pick up a rare album. He loves Joe Strummer, and often wears punk and hardcore T-shirts from local and national bands. So it’s no surprise to learn that Estrada is well-versed in Bay Area punk bands and long-lost music venues in San Francisco. [pullquote size=\"medium\" align=\"right\" citation=\"Comedian Chris Estrada\"]‘San Francisco itself has such a history of punk music. I also love Dead Kennedys. I love Spazz, an old powerviolence band. There are so many Bay Area punk bands that I love.’[/pullquote] “I also like to walk around and look for old punk venues that don’t exist anymore. There was this Filipino place out here in the ’70s called Mabuhay Gardens and they used to rent out its place to punk shows,” he said. “There was another place not too far from here called the Deaf Club. It was a club for deaf people and then a lot of punk bands used to perform there. I always look around for these places.”\u003c/p>\n\u003cp>He’s a fan of Berkeley-formed hardcore punk band Spitboy, and said drummer \u003ca href=\"https://www.kqed.org/arts/11470573/the-struggles-and-victories-of-a-chicana-woman-in-a-hardcore-band\">Michelle Cruz Gonzales\u003c/a> attended one of his Punch Line shows this week. He enjoys The Avengers, The Dils and Crime. He also recommends new bands like Oakland punks Deseos Primitivos, who he found on Bandcamp and whose album he immediately bought at a record store in downtown L.A.\u003c/p>\n\u003cp>“San Francisco itself has such a history of punk music,” he said. “I also love Dead Kennedys. I love Spazz, an old powerviolence band. There are so many Bay Area punk bands that I love.”\u003c/p>\n\u003cp>Music accompanies Estrada on the road, bringing him comfort on long drives and flights while on tour. It’s also what gets him in the right mindset before he takes the stage. [aside label='More on Bay Area Music' tag='bay-area-punk'] “There’s a song, it’s not like an energetic song, it’s called ‘\u003ca href=\"https://youtu.be/3Ifb_Zs0X9s\">State of the Art\u003c/a>’ by Jesse Malin. Then, there’s another song called ‘\u003ca href=\"https://youtu.be/3MUGAxpI0Bc\">Ante Up’\u003c/a> by a hip-hop group called M.O.P. — and that just has such a strong energy,” he said. “‘Ante Up,’ because it’s such an amped-up, hyped song, it’s about robbing rappers, it just gets me in a really good mood when I need it. But when I feel anxiety, the other one calms me down.”\u003c/p>\n\u003cp>With his last remaining performances at the Punch Line, Estrada hopes to win over people in the crowd who aren’t as familiar with his stand-up career. He recognizes that Hollywood fame only lasts a few seasons for many in the industry. It’s comedy he’s betting on — and he aims to leave audiences across the country wanting an encore.\u003c/p>\n\u003cp>“Because of \u003cem>This Fool\u003c/em>, most people are coming to see me because of that. Some of them don’t know me as a stand-up comedian. I don’t know how long I’ll have the show. Maybe we’ll have a third season, maybe we won’t. Who knows? At some point, it ends,” Estrada said.\u003c/p>\n\u003cp>“I don’t want [audiences] to keep coming because they know the show,” he added. “I want a large part of them to keep coming because they know me as a comedian.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Chris Estrada performs at the Punch Line in San Francisco through Aug. 19. \u003c/em>\u003ca href=\"https://www.punchlinecomedyclub.com/\">\u003cem>Details here\u003c/em>\u003c/a>\u003cem>. \u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This weekend, Estrada isn’t alone. He’s tapped local comedian Allison Hooker as host, and L.A.-based comic Zack Chapaloni to warm up the crowd.\u003c/p>\n\u003cp>Estrada’s comedy style is both personal and universal. He can write a joke with details that instantly resonate with Latinos, and still have the entire audience laughing. He wants everyone in on the joke.\u003c/p>\n\u003cp>He also draws on his own life: the absurdity of missing the thrill of toxic relationships, or how being nice is an “ugly people quality” while calling himself “an ugly fool with a heart of gold.”\u003c/p>\n\u003cp>Making audiences erupt in laughter at clubs like the Punch Line this past week is something Estrada said he’s been working toward for the last decade — and it feels good.\u003c/p>\n\u003cp>“That club is really special. It’s just beautiful in there. To me, it’s one of the perfect clubs in the country,” Estrada said. “It’s low ceilings. It’s incredibly intimate. It fits about 180, maybe 200 [people], which is nice. It’s just small, wide and that backdrop is iconic. That painted backdrop of San Francisco — I love it.”\u003c/p>\n\u003ch2>‘I just kept going and going’\u003c/h2>\n\u003cp>Losing a nighttime job as a valet for the Beverly Hilton changed the trajectory of Estrada’s life. Having grown up in working-class neighborhoods like Inglewood and South Central, he often jokes that he always held “three shitty jobs” that would pay him the equivalent of one shitty job.\u003c/p>\n\u003cp>When he lost the valet gig — parking luxury cars at star-studded events like the Golden Globes — his nights suddenly freed up. Estrada worked up the nerve to finally give his stand-up comedy dreams a chance.\u003c/p>\n\u003cfigure id=\"attachment_13933490\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933490\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/RS68038_230817-ComedianChrisEstrada-12-BL-qut.jpg\" alt=\"A man in a blue jacket sits inside a bookstore with a full bookshelf behind him.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68038_230817-ComedianChrisEstrada-12-BL-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68038_230817-ComedianChrisEstrada-12-BL-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68038_230817-ComedianChrisEstrada-12-BL-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68038_230817-ComedianChrisEstrada-12-BL-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68038_230817-ComedianChrisEstrada-12-BL-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68038_230817-ComedianChrisEstrada-12-BL-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Comedian Chris Estrada hangs out at City Lights Bookstore in San Francisco’s North Beach neighborhood on Aug. 17, 2023, during a headlining run at the Punchline comedy club. \u003ccite>(Beth LeBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I went and I had a decent set the first time. And then, I was like, ‘Fuck it. I don’t have anything to do at night anymore so I’m just going to keep doing this,’” he said. “I kept doing it blindly. I just kept going and going.”\u003c/p>\n\u003cp>He said headlining the Punch Line feels like a real stepping stone, especially when he reflects on the trips he used to make to San Francisco from Los Angeles just to watch performances and get a feel for the local scene.\u003c/p>\n\u003cp>“The clubs out here, the people out here, they’re pretty savvy, comedically,” he said. “Audiences, they’re just a sharp, city audience.”\u003c/p>\n\u003ch2>Getting inspiration from Bay Area punk\u003c/h2>\n\u003cp>Besides his affinity for stand-up, Estrada is also a huge music enthusiast. He admits to driving out of his way to places like Going Underground Records in downtown Bakersfield just to pick up a rare album. He loves Joe Strummer, and often wears punk and hardcore T-shirts from local and national bands. So it’s no surprise to learn that Estrada is well-versed in Bay Area punk bands and long-lost music venues in San Francisco. \u003c/p>\u003c/div>",
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"content": "‘San Francisco itself has such a history of punk music. I also love Dead Kennedys. I love Spazz, an old powerviolence band. There are so many Bay Area punk bands that I love.’",
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"content": "\u003cdiv class=\"post-body\">\u003cp> “I also like to walk around and look for old punk venues that don’t exist anymore. There was this Filipino place out here in the ’70s called Mabuhay Gardens and they used to rent out its place to punk shows,” he said. “There was another place not too far from here called the Deaf Club. It was a club for deaf people and then a lot of punk bands used to perform there. I always look around for these places.”\u003c/p>\n\u003cp>He’s a fan of Berkeley-formed hardcore punk band Spitboy, and said drummer \u003ca href=\"https://www.kqed.org/arts/11470573/the-struggles-and-victories-of-a-chicana-woman-in-a-hardcore-band\">Michelle Cruz Gonzales\u003c/a> attended one of his Punch Line shows this week. He enjoys The Avengers, The Dils and Crime. He also recommends new bands like Oakland punks Deseos Primitivos, who he found on Bandcamp and whose album he immediately bought at a record store in downtown L.A.\u003c/p>\n\u003cp>“San Francisco itself has such a history of punk music,” he said. “I also love Dead Kennedys. I love Spazz, an old powerviolence band. There are so many Bay Area punk bands that I love.”\u003c/p>\n\u003cp>Music accompanies Estrada on the road, bringing him comfort on long drives and flights while on tour. It’s also what gets him in the right mindset before he takes the stage. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp> “There’s a song, it’s not like an energetic song, it’s called ‘\u003ca href=\"https://youtu.be/3Ifb_Zs0X9s\">State of the Art\u003c/a>’ by Jesse Malin. Then, there’s another song called ‘\u003ca href=\"https://youtu.be/3MUGAxpI0Bc\">Ante Up’\u003c/a> by a hip-hop group called M.O.P. — and that just has such a strong energy,” he said. “‘Ante Up,’ because it’s such an amped-up, hyped song, it’s about robbing rappers, it just gets me in a really good mood when I need it. But when I feel anxiety, the other one calms me down.”\u003c/p>\n\u003cp>With his last remaining performances at the Punch Line, Estrada hopes to win over people in the crowd who aren’t as familiar with his stand-up career. He recognizes that Hollywood fame only lasts a few seasons for many in the industry. It’s comedy he’s betting on — and he aims to leave audiences across the country wanting an encore.\u003c/p>\n\u003cp>“Because of \u003cem>This Fool\u003c/em>, most people are coming to see me because of that. Some of them don’t know me as a stand-up comedian. I don’t know how long I’ll have the show. Maybe we’ll have a third season, maybe we won’t. Who knows? At some point, it ends,” Estrada said.\u003c/p>\n\u003cp>“I don’t want [audiences] to keep coming because they know the show,” he added. “I want a large part of them to keep coming because they know me as a comedian.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Chris Estrada performs at the Punch Line in San Francisco through Aug. 19. \u003c/em>\u003ca href=\"https://www.punchlinecomedyclub.com/\">\u003cem>Details here\u003c/em>\u003c/a>\u003cem>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "‘Hit Girls’ Explores Early, Female-Led Bay Area Punk at the San Francisco Library",
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"content": "\u003cp>In January, 2023, Jen B. Larson released \u003ca href=\"https://bookshop.org/p/books/hit-girls-women-of-punk-in-the-usa-1975-1983-jen-b-larson/17273216?ean=9781627311236\">\u003cem>Hit Girls: Women of Punk in the USA, 1975-1983\u003c/em>\u003c/a>. The book was a comprehensive overview of the under-sung female artists who lit up punk scenes across America in the genre’s earliest days. Broken down by region, the “West Coast (North)” section of the book compiled some of the Bay Area’s most influential women, including members of Avengers, Frightwig, The Nuns, Romeo Void, Mary Monday and the Bitches and many more.\u003c/p>\n\u003cp>[aside postid='arts_13902953']This week, in support of \u003cem>Hit Girls,\u003c/em> Larson is appearing at the San Francisco Public Library in conversation with \u003ca href=\"http://frightwig.org/?page_id=36\">Frightwig\u003c/a>‘s Deanna Mitchell and Avengers’ \u003ca href=\"https://www.penelope.net/\">Penelope Houston\u003c/a>. (They will be moderated by \u003ca href=\"https://www.sfai.edu/bios/nicholas-gamso\">Nicholas Gamso\u003c/a>.) Houston is no stranger to the venue; she’s both a longtime library employee and the person responsible for starting a punk rock archive at the San Francisco History Center. (Houston also recently showcased some of her own art on the sixth floor, featuring \u003ca href=\"https://www.kqed.org/arts/13926347/identities-penelope-houston-xandra-ibarra-mugshots-sfpl\">historic mugshots from San Francisco\u003c/a>.)\u003c/p>\n\u003cp>[aside postid='arts_13928586']Together, the women will be sharing anecdotes and discussing what the Bay Area punk community was like in its earliest days, as well as examining its influence on later periods of punk and riot grrrl. A slideshow will highlight other female punk artists of the period, as well as fans and figures from the scene. Larson will also expand on the making of \u003cem>Hit Girls\u003c/em> and what she learned in the writing, research and interview process.\u003c/p>\n\u003cdiv>\n\u003cp>As \u003cem>Hit Girls\u003c/em> emphasizes repeatedly in its pages, the earliest days of punk, particularly in San Francisco, were some of the most open, experimental and beautifully chaotic times for the genre. The combination of Mitchell and Houston’s firsthand experiences with Larson’s expertise is sure to make this a fascinating look back at what made it all so special.\u003c/p>\n\u003cp>As musician and actress \u003ca href=\"https://en.wikipedia.org/wiki/Ann_Magnuson\">Ann Magnuson\u003c/a> wrote so passionately in the foreword to \u003cem>Hit Girls\u003c/em>:\u003c/p>\n\u003cblockquote>\u003cp>[These artists] were dismembering the old concepts of womanhood — to a primal beat … It was as if all the female Beatles fans screaming in the stands at Shea Stadium fled the bleachers, trampled the cops and rushed the stage, pushing aside the Fab Four, grabbing their instruments and proclaiming ‘I don’t wanna hold your hand, I wanna play your guitar.’ Danger is still in the air.\u003c/p>\u003c/blockquote>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003c/div>\n\u003cdiv>\n\u003cp>\u003cem>Jen B. Larson will be in conversation with Deanna Mitchell and Penelope Houston at the San Francisco Public Library (100 Larkin St.) on Thursday, June 29 at 3:30 p.m. \u003ca href=\"https://sfpl.org/events/2023/06/29/panel-hit-girls-women-punk-usa-1975-1983\">Details here\u003c/a>. Houston’s band Avengers will be performing at Mosswood Meltdown (Mosswood Park, Oakland) on Sunday, July 2. \u003ca href=\"https://mosswoodmeltdown.com/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In January, 2023, Jen B. Larson released \u003ca href=\"https://bookshop.org/p/books/hit-girls-women-of-punk-in-the-usa-1975-1983-jen-b-larson/17273216?ean=9781627311236\">\u003cem>Hit Girls: Women of Punk in the USA, 1975-1983\u003c/em>\u003c/a>. The book was a comprehensive overview of the under-sung female artists who lit up punk scenes across America in the genre’s earliest days. Broken down by region, the “West Coast (North)” section of the book compiled some of the Bay Area’s most influential women, including members of Avengers, Frightwig, The Nuns, Romeo Void, Mary Monday and the Bitches and many more.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Together, the women will be sharing anecdotes and discussing what the Bay Area punk community was like in its earliest days, as well as examining its influence on later periods of punk and riot grrrl. A slideshow will highlight other female punk artists of the period, as well as fans and figures from the scene. Larson will also expand on the making of \u003cem>Hit Girls\u003c/em> and what she learned in the writing, research and interview process.\u003c/p>\n\u003cdiv>\n\u003cp>As \u003cem>Hit Girls\u003c/em> emphasizes repeatedly in its pages, the earliest days of punk, particularly in San Francisco, were some of the most open, experimental and beautifully chaotic times for the genre. The combination of Mitchell and Houston’s firsthand experiences with Larson’s expertise is sure to make this a fascinating look back at what made it all so special.\u003c/p>\n\u003cp>As musician and actress \u003ca href=\"https://en.wikipedia.org/wiki/Ann_Magnuson\">Ann Magnuson\u003c/a> wrote so passionately in the foreword to \u003cem>Hit Girls\u003c/em>:\u003c/p>\n\u003cblockquote>\u003cp>[These artists] were dismembering the old concepts of womanhood — to a primal beat … It was as if all the female Beatles fans screaming in the stands at Shea Stadium fled the bleachers, trampled the cops and rushed the stage, pushing aside the Fab Four, grabbing their instruments and proclaiming ‘I don’t wanna hold your hand, I wanna play your guitar.’ Danger is still in the air.\u003c/p>\u003c/blockquote>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003c/div>\n\u003cdiv>\n\u003cp>\u003cem>Jen B. Larson will be in conversation with Deanna Mitchell and Penelope Houston at the San Francisco Public Library (100 Larkin St.) on Thursday, June 29 at 3:30 p.m. \u003ca href=\"https://sfpl.org/events/2023/06/29/panel-hit-girls-women-punk-usa-1975-1983\">Details here\u003c/a>. Houston’s band Avengers will be performing at Mosswood Meltdown (Mosswood Park, Oakland) on Sunday, July 2. \u003ca href=\"https://mosswoodmeltdown.com/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Las Vegas, Nevada. Late Saturday afternoon inside the newly opened \u003ca href=\"https://www.thepunkrockmuseum.com/\">Punk Rock Museum\u003c/a>. Eugene Hütz, frontman for \u003ca href=\"https://www.gogolbordello.com/\">Gogol Bordello\u003c/a>, is giving a tour of the building to 20 or so fans. Nearing the end of the ground floor’s maze of memorabilia rooms, Hütz makes a casual reference to GG Allin — one of the most nihilistic and controversial figures in punk’s history. Immediately, all the power in the building suddenly goes out.\u003c/p>\n\u003cp>“Oh my God,” one woman on the tour says. “Did the ghost of GG Allin just f–king do that?!”\u003c/p>\n\u003cp>[aside postid='arts_13928196']It’s not a setup. Nobody who works at the museum has any idea what’s going on. Employees grab flashlights, check fuse boxes and scurry in different directions trying to figure out what the problem is. Right on cue, NOFX frontman and museum co-founder “Fat” Mike Burkett emerges from the on-site bar, the \u003ca href=\"https://www.thepunkrockmuseum.com/the-triple-down-bar\">Triple Down\u003c/a> (named in honor of legendary Vegas punk venue the \u003ca href=\"https://www.facebook.com/DoubleDownLV/\">Doubledown Saloon\u003c/a>), and offers everyone free shots.\u003c/p>\n\u003cp>Museum visitors pile into the bar while Fat Mike holds court. He may not be beloved by the entire punk scene — thanks to a number of \u003ca href=\"https://www.theguardian.com/music/2010/mar/29/fat-mike-nofx-spiked-fans-drink-urine\">controversies over the years\u003c/a> — but today’s visitors are clearly excited to be in his proximity for the 25 minutes or so it takes to get the lights back on. Only one visitor leaves early, visibly irritated by the inability to finish her visit or buy merch at the on-site gift shop.\u003c/p>\n\u003cfigure id=\"attachment_13928645\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928645\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/lookout-gd-scaled-e1683159357667-800x495.jpg\" alt='Photo 1: A pink sandwich board that says \"Lookout! Records drop in\" with a black, shabby guitar. Photo 2: A colorful Green Day poster featuring a cartoon bear wearing a hat and shirt next to a pale blue, sticker covered guitar.' width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/lookout-gd-scaled-e1683159357667-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/lookout-gd-scaled-e1683159357667-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/lookout-gd-scaled-e1683159357667-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/lookout-gd-scaled-e1683159357667-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/lookout-gd-scaled-e1683159357667-1536x950.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/lookout-gd-scaled-e1683159357667.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L) Vintage Lookout! Records signage, alongside the guitar Tim Armstrong played in Operation Ivy, and (R) a vintage Green Day concert poster with one of Billie Joe Armstrong’s “Blue” guitars. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When the lights are on, The Punk Rock Museum is a thoughtfully curated collection of punk memorabilia organized by both time period and region. The Bay Area is represented consistently, starting with portraits of \u003ca href=\"https://rancidrancid.com/\">Rancid\u003c/a> and No Use For a Name frontman \u003ca href=\"https://en.wikipedia.org/wiki/Tony_Sly\">Tony Sly\u003c/a> in the entrance hall. Around the way sits a cabinet of historic ephemera (including posters, flyers, instruments, outfits and photos) relating to San Francisco bands like \u003ca href=\"https://en.wikipedia.org/wiki/The_Nuns\">The Nuns\u003c/a>, \u003ca href=\"https://en.wikipedia.org/wiki/Avengers_(band)\">Avengers\u003c/a>, \u003ca href=\"https://en.wikipedia.org/wiki/Flipper_(band)\">Flipper\u003c/a>, \u003ca href=\"http://frightwig.org/\">Frightwig\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Crime_(band)\">Crime\u003c/a>. All of which is accompanied by original artwork by \u003ca href=\"https://www.winstonsmith.com/\">Winston Smith\u003c/a> — best known for his album artwork for \u003ca href=\"http://www.deadkennedys.com/\">Dead Kennedys\u003c/a> — and classic issues of legendary San Francisco punk fanzine, \u003ca href=\"https://www.maximumrocknroll.com/\">Maximum Rocknroll\u003c/a>. Elsewhere, a cabinet marked “Punk’s Big Break” includes homages to other local favorites like Green Day, Operation Ivy and Rancid.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As is to be expected at a museum co-founded by Fat Mike, there is a ton of NOFX and Fat Wreck Chords memorabilia. This includes an entire wall of photography, album artwork and old mail order flyers, along with a No Use For a Name setlist written on a longboard, plus a whole corner dedicated to Japanese Fat band \u003ca href=\"https://en.wikipedia.org/wiki/Hi-Standard\">Hi-Standard\u003c/a>. Most delightfully, a handwritten Fat Wreck record contract sits framed on a wall. There’s also a sloppily penned interview by NOFX that was sent to a fanzine before the age of the internet. Sample text: “We just like to go on tour a lot. We want to go to Europe this summer and eat good food. We are also concerned about crabs.”\u003c/p>\n\u003cp>Indeed, there is a dizzying array of punk rock collectibles in this 12,000-square-foot black box of a building — some of which are bizarre to say the least. Joe Strummer’s last bag of weed, labeled “Joe Strummer’s San Francisco Stash, 2005,” sits half-submerged in a tin foil wrapper. A handwritten letter to a fan by The Damned’s Captain Sensible is present. Pennywise’s garage practice space is here in its entirety, after bassist Fletcher Dragge emptied it, hauled its contents to Nevada, and rebuilt the entire thing in the museum.\u003c/p>\n\u003cfigure id=\"attachment_13928646\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928646\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/20230503_173954-scaled-e1683161047994-800x657.jpg\" alt=\"A room with a security chain running in front of it contains musical equipment, a grimy carpet and numerous flyers and posters.\" width=\"800\" height=\"657\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/20230503_173954-scaled-e1683161047994-800x657.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/20230503_173954-scaled-e1683161047994-1020x838.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/20230503_173954-scaled-e1683161047994-160x131.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/20230503_173954-scaled-e1683161047994-768x631.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/20230503_173954-scaled-e1683161047994-1536x1262.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/20230503_173954-scaled-e1683161047994.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pennywise’s practice space as moved and rebuilt by bassist and museum co-founder Fletcher Dragge. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the blackout during KQED’s visit reflects, the opening of The Punk Rock Museum has not been smooth sailing. Its original opening, slated for January, was delayed because the museum hadn’t come together in time. Then the scheduled March opening got pushed back after a failed fire inspection. Though the museum is open and operating now, some of its advertised attractions — a wedding chapel and on-site tattoo shop — remain closed. It’s also impossible not to notice various inconsistencies when it comes to photo credits. (Some walls simply have none at all.) An entire wall of leather jackets — presumably donated by famous musicians — remains unlabeled.\u003c/p>\n\u003cp>[aside postid='arts_13927278']There are a variety of reasons for the ongoing chaos at the museum. First and foremost, this supremely ambitious entity has been put together by a tiny team of 12 punks, almost none of whom have any experience in setting up a museum. In addition to Fat Mike and Dragge, the team includes former Less Than Jake drummer \u003ca href=\"https://en.wikipedia.org/wiki/Vinnie_Fiorello\">Vinnie Fiorello\u003c/a>, Warped Tour manager \u003ca href=\"https://www.instagram.com/brixton23/?hl=en\">Lisa Brownlee\u003c/a>, rock photographer \u003ca href=\"https://www.facebook.com/LisaJohnsonRockPhotographer/\">Lisa Johnson\u003c/a> and production manager \u003ca href=\"https://www.instagram.com/lockneck/?hl=en\">Mona Whetzel\u003c/a>.\u003c/p>\n\u003cp>The most experienced team member is San Jose-born \u003ca href=\"https://www.bryanrayturcotte.com/\">Bryan Ray Turcotte\u003c/a>, a jack of all trades who has worked in publishing, music journalism, music production and museum curation. The museum’s setup was funded by punks too, including Obey artist \u003ca href=\"https://obeygiant.com/\">Shepard Fairey\u003c/a>, Foo Fighters guitarist \u003ca href=\"https://en.wikipedia.org/wiki/Pat_Smear\">Pat Smear\u003c/a>, and skateboarding legend \u003ca href=\"https://en.wikipedia.org/wiki/Tony_Hawk\">Tony Hawk\u003c/a>. (Hawk \u003ca href=\"https://www.instagram.com/p/CrgNwWfO6rL/?hl=en\">paid the museum a visit\u003c/a> two days before KQED and apparently, bedlam ensued.)\u003c/p>\n\u003cfigure id=\"attachment_13928661\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928661\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/20230429_175235-scaled-e1683230579390-800x600.jpg\" alt=\"A young man with long black, dressed in tattered black jeans, t-shirt and studded belt stands arms outstretched and smiling in a practice space. He is holding up a pink guitar.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/20230429_175235-scaled-e1683230579390-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/20230429_175235-scaled-e1683230579390-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/20230429_175235-scaled-e1683230579390-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/20230429_175235-scaled-e1683230579390-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/20230429_175235-scaled-e1683230579390-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/20230429_175235-scaled-e1683230579390.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Punk Museum guide Alan holds up a donated guitar from Rancid’s Tim Armstong in the on-site ‘Jam Room.’ \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Punk Rock Museum reflects punk’s DIY ethos to a tee, as well as the tight communities that hold the scene together. That community has supported the museum opening with valuable donations and few questions asked. Donors have the option of loaning their property to the museum for a fixed period or handing it over, in perpetuity. When that happens, donors must sign a contract stating that they are granting the museum: “Absolute and unconditional ownership of the property described herein.” They agree to “assign to the museum full powers of management, access, display, conservation and disposition at its sole discretion.”\u003c/p>\n\u003cp>The museum’s appeal to the punk and hardcore community has been strong since even the earliest days of set-up began back in 2021. Now the doors are finally open, prominent musicians are lining up to guide fans around the property. In May alone, members of Sick of it All, Social Distortion, The Casualties, Bad Religion, Less Than Jake and The Vandals are all giving tours. (Regular tickets to the museum cost $30. Tickets with tours are $100. Fees are in addition in both cases.)\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>To be clear: the average lay person, or even anyone looking for critical, intellectual discussion of punk history, will not find it at the Punk Rock Museum. It wastes no time explaining why punk started or who the genre is for, and really provides little information alongside the mountains of memorabilia it has collected. No, this museum, like so many of the dingy rooms from whence punk sprang, assumes that you are there because you already know. And in many ways, that will make it a more appealing proposition for punk fans everywhere — ongoing screw-ups and all.\u003c/p>\n\n",
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"title": "The Punk Museum Review: Las Vegas Attraction Appeals to Fans | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Las Vegas, Nevada. Late Saturday afternoon inside the newly opened \u003ca href=\"https://www.thepunkrockmuseum.com/\">Punk Rock Museum\u003c/a>. Eugene Hütz, frontman for \u003ca href=\"https://www.gogolbordello.com/\">Gogol Bordello\u003c/a>, is giving a tour of the building to 20 or so fans. Nearing the end of the ground floor’s maze of memorabilia rooms, Hütz makes a casual reference to GG Allin — one of the most nihilistic and controversial figures in punk’s history. Immediately, all the power in the building suddenly goes out.\u003c/p>\n\u003cp>“Oh my God,” one woman on the tour says. “Did the ghost of GG Allin just f–king do that?!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It’s not a setup. Nobody who works at the museum has any idea what’s going on. Employees grab flashlights, check fuse boxes and scurry in different directions trying to figure out what the problem is. Right on cue, NOFX frontman and museum co-founder “Fat” Mike Burkett emerges from the on-site bar, the \u003ca href=\"https://www.thepunkrockmuseum.com/the-triple-down-bar\">Triple Down\u003c/a> (named in honor of legendary Vegas punk venue the \u003ca href=\"https://www.facebook.com/DoubleDownLV/\">Doubledown Saloon\u003c/a>), and offers everyone free shots.\u003c/p>\n\u003cp>Museum visitors pile into the bar while Fat Mike holds court. He may not be beloved by the entire punk scene — thanks to a number of \u003ca href=\"https://www.theguardian.com/music/2010/mar/29/fat-mike-nofx-spiked-fans-drink-urine\">controversies over the years\u003c/a> — but today’s visitors are clearly excited to be in his proximity for the 25 minutes or so it takes to get the lights back on. Only one visitor leaves early, visibly irritated by the inability to finish her visit or buy merch at the on-site gift shop.\u003c/p>\n\u003cfigure id=\"attachment_13928645\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928645\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/lookout-gd-scaled-e1683159357667-800x495.jpg\" alt='Photo 1: A pink sandwich board that says \"Lookout! Records drop in\" with a black, shabby guitar. Photo 2: A colorful Green Day poster featuring a cartoon bear wearing a hat and shirt next to a pale blue, sticker covered guitar.' width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/lookout-gd-scaled-e1683159357667-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/lookout-gd-scaled-e1683159357667-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/lookout-gd-scaled-e1683159357667-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/lookout-gd-scaled-e1683159357667-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/lookout-gd-scaled-e1683159357667-1536x950.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/lookout-gd-scaled-e1683159357667.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L) Vintage Lookout! Records signage, alongside the guitar Tim Armstrong played in Operation Ivy, and (R) a vintage Green Day concert poster with one of Billie Joe Armstrong’s “Blue” guitars. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When the lights are on, The Punk Rock Museum is a thoughtfully curated collection of punk memorabilia organized by both time period and region. The Bay Area is represented consistently, starting with portraits of \u003ca href=\"https://rancidrancid.com/\">Rancid\u003c/a> and No Use For a Name frontman \u003ca href=\"https://en.wikipedia.org/wiki/Tony_Sly\">Tony Sly\u003c/a> in the entrance hall. Around the way sits a cabinet of historic ephemera (including posters, flyers, instruments, outfits and photos) relating to San Francisco bands like \u003ca href=\"https://en.wikipedia.org/wiki/The_Nuns\">The Nuns\u003c/a>, \u003ca href=\"https://en.wikipedia.org/wiki/Avengers_(band)\">Avengers\u003c/a>, \u003ca href=\"https://en.wikipedia.org/wiki/Flipper_(band)\">Flipper\u003c/a>, \u003ca href=\"http://frightwig.org/\">Frightwig\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Crime_(band)\">Crime\u003c/a>. All of which is accompanied by original artwork by \u003ca href=\"https://www.winstonsmith.com/\">Winston Smith\u003c/a> — best known for his album artwork for \u003ca href=\"http://www.deadkennedys.com/\">Dead Kennedys\u003c/a> — and classic issues of legendary San Francisco punk fanzine, \u003ca href=\"https://www.maximumrocknroll.com/\">Maximum Rocknroll\u003c/a>. Elsewhere, a cabinet marked “Punk’s Big Break” includes homages to other local favorites like Green Day, Operation Ivy and Rancid.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As is to be expected at a museum co-founded by Fat Mike, there is a ton of NOFX and Fat Wreck Chords memorabilia. This includes an entire wall of photography, album artwork and old mail order flyers, along with a No Use For a Name setlist written on a longboard, plus a whole corner dedicated to Japanese Fat band \u003ca href=\"https://en.wikipedia.org/wiki/Hi-Standard\">Hi-Standard\u003c/a>. Most delightfully, a handwritten Fat Wreck record contract sits framed on a wall. There’s also a sloppily penned interview by NOFX that was sent to a fanzine before the age of the internet. Sample text: “We just like to go on tour a lot. We want to go to Europe this summer and eat good food. We are also concerned about crabs.”\u003c/p>\n\u003cp>Indeed, there is a dizzying array of punk rock collectibles in this 12,000-square-foot black box of a building — some of which are bizarre to say the least. Joe Strummer’s last bag of weed, labeled “Joe Strummer’s San Francisco Stash, 2005,” sits half-submerged in a tin foil wrapper. A handwritten letter to a fan by The Damned’s Captain Sensible is present. Pennywise’s garage practice space is here in its entirety, after bassist Fletcher Dragge emptied it, hauled its contents to Nevada, and rebuilt the entire thing in the museum.\u003c/p>\n\u003cfigure id=\"attachment_13928646\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928646\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/20230503_173954-scaled-e1683161047994-800x657.jpg\" alt=\"A room with a security chain running in front of it contains musical equipment, a grimy carpet and numerous flyers and posters.\" width=\"800\" height=\"657\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/20230503_173954-scaled-e1683161047994-800x657.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/20230503_173954-scaled-e1683161047994-1020x838.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/20230503_173954-scaled-e1683161047994-160x131.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/20230503_173954-scaled-e1683161047994-768x631.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/20230503_173954-scaled-e1683161047994-1536x1262.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/20230503_173954-scaled-e1683161047994.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pennywise’s practice space as moved and rebuilt by bassist and museum co-founder Fletcher Dragge. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the blackout during KQED’s visit reflects, the opening of The Punk Rock Museum has not been smooth sailing. Its original opening, slated for January, was delayed because the museum hadn’t come together in time. Then the scheduled March opening got pushed back after a failed fire inspection. Though the museum is open and operating now, some of its advertised attractions — a wedding chapel and on-site tattoo shop — remain closed. It’s also impossible not to notice various inconsistencies when it comes to photo credits. (Some walls simply have none at all.) An entire wall of leather jackets — presumably donated by famous musicians — remains unlabeled.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There are a variety of reasons for the ongoing chaos at the museum. First and foremost, this supremely ambitious entity has been put together by a tiny team of 12 punks, almost none of whom have any experience in setting up a museum. In addition to Fat Mike and Dragge, the team includes former Less Than Jake drummer \u003ca href=\"https://en.wikipedia.org/wiki/Vinnie_Fiorello\">Vinnie Fiorello\u003c/a>, Warped Tour manager \u003ca href=\"https://www.instagram.com/brixton23/?hl=en\">Lisa Brownlee\u003c/a>, rock photographer \u003ca href=\"https://www.facebook.com/LisaJohnsonRockPhotographer/\">Lisa Johnson\u003c/a> and production manager \u003ca href=\"https://www.instagram.com/lockneck/?hl=en\">Mona Whetzel\u003c/a>.\u003c/p>\n\u003cp>The most experienced team member is San Jose-born \u003ca href=\"https://www.bryanrayturcotte.com/\">Bryan Ray Turcotte\u003c/a>, a jack of all trades who has worked in publishing, music journalism, music production and museum curation. The museum’s setup was funded by punks too, including Obey artist \u003ca href=\"https://obeygiant.com/\">Shepard Fairey\u003c/a>, Foo Fighters guitarist \u003ca href=\"https://en.wikipedia.org/wiki/Pat_Smear\">Pat Smear\u003c/a>, and skateboarding legend \u003ca href=\"https://en.wikipedia.org/wiki/Tony_Hawk\">Tony Hawk\u003c/a>. (Hawk \u003ca href=\"https://www.instagram.com/p/CrgNwWfO6rL/?hl=en\">paid the museum a visit\u003c/a> two days before KQED and apparently, bedlam ensued.)\u003c/p>\n\u003cfigure id=\"attachment_13928661\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928661\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/20230429_175235-scaled-e1683230579390-800x600.jpg\" alt=\"A young man with long black, dressed in tattered black jeans, t-shirt and studded belt stands arms outstretched and smiling in a practice space. He is holding up a pink guitar.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/20230429_175235-scaled-e1683230579390-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/20230429_175235-scaled-e1683230579390-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/20230429_175235-scaled-e1683230579390-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/20230429_175235-scaled-e1683230579390-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/20230429_175235-scaled-e1683230579390-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/20230429_175235-scaled-e1683230579390.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Punk Museum guide Alan holds up a donated guitar from Rancid’s Tim Armstong in the on-site ‘Jam Room.’ \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Punk Rock Museum reflects punk’s DIY ethos to a tee, as well as the tight communities that hold the scene together. That community has supported the museum opening with valuable donations and few questions asked. Donors have the option of loaning their property to the museum for a fixed period or handing it over, in perpetuity. When that happens, donors must sign a contract stating that they are granting the museum: “Absolute and unconditional ownership of the property described herein.” They agree to “assign to the museum full powers of management, access, display, conservation and disposition at its sole discretion.”\u003c/p>\n\u003cp>The museum’s appeal to the punk and hardcore community has been strong since even the earliest days of set-up began back in 2021. Now the doors are finally open, prominent musicians are lining up to guide fans around the property. In May alone, members of Sick of it All, Social Distortion, The Casualties, Bad Religion, Less Than Jake and The Vandals are all giving tours. (Regular tickets to the museum cost $30. Tickets with tours are $100. Fees are in addition in both cases.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>To be clear: the average lay person, or even anyone looking for critical, intellectual discussion of punk history, will not find it at the Punk Rock Museum. It wastes no time explaining why punk started or who the genre is for, and really provides little information alongside the mountains of memorabilia it has collected. No, this museum, like so many of the dingy rooms from whence punk sprang, assumes that you are there because you already know. And in many ways, that will make it a more appealing proposition for punk fans everywhere — ongoing screw-ups and all.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "How a Punk Rock–Inspired Pizza Shop Helped Me Feel at Home in Sacramento",
"headTitle": "How a Punk Rock–Inspired Pizza Shop Helped Me Feel at Home in Sacramento | KQED",
"content": "\u003cp>Two summers ago, when I told a fellow skater and frequent local of the Rockridge BART parking lot — a popular Oakland skate spot — that I was moving to Sacramento, he immediately recommended \u003ca href=\"https://www.pizzasupremebeing.com/\">Pizza Supreme Being\u003c/a>. The downtown pizzeria was, in his opinion, one of the city’s best.\u003c/p>\n\u003cp>Food recommendations are an everyday occurrence, but a referral from a skater — a member of a subculture rich with niche tastes and preferences measured to the millimeter, plus a ground level relationship with cities — is something I take to heart.\u003c/p>\n\u003cp>Located steps from the California State Capitol Park on the corner of 14th and O Streets, Pizza Supreme Being is what I frequently describe as a spotless, well-organized merch table at a hardcore show that just happens to sell amazing sourdough slices and pies. According to co-owner Ben Roberts, I’m not far off.\u003c/p>\n\u003cp>“I legitimately run this brand like I would a hardcore band or like a skateboard company,” Roberts explains. He approaches speciality pizza pies “as like a single for a band.” Limited, one-and-done merch drops create the type of cultural FOMO Roberts himself has fallen victim to, growing up skateboarding, playing in bands and going to underground shows. “I love seeing things out in the wild that I did happen to miss,” he explains. “It brings me back to those moments and things in my life that I was always so drawn to. I gotta make sure that I don’t lose touch with that.”\u003c/p>\n\u003cfigure id=\"attachment_13928215\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13928215\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/pizza-supreme-being-crew-color-correct.jpg\" alt=\"Ben Roberts in a black punk rock T-shirt poses along with his pizza shop's employees, all dressed in white.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/pizza-supreme-being-crew-color-correct.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/pizza-supreme-being-crew-color-correct-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/pizza-supreme-being-crew-color-correct-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/pizza-supreme-being-crew-color-correct-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/pizza-supreme-being-crew-color-correct-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/pizza-supreme-being-crew-color-correct-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Roberts (left) and his crew run the shop like it’s a skateboard brand or like they’re selling merch at a hardcore punk show. \u003ccite>(José Vadi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After years in fine dining, Roberts started Pizza Supreme Being as a pop-up around 2015 after building a transportable wood-fire oven. He spent four years serving slices at bars and wineries on weekends, building a local following serving pies with a more standard yeasted dough before transitioning to naturally leavened sourdough per the recommendation of wife and business partner, Pembe Sonmez-Roberts.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“You have to feed the [sourdough] starter twice a day,” Roberts says, explaining that this wasn’t practical in the business’s early years. Once they made the switch, however, the end result tasted “worlds better.”\u003c/p>\n\u003cp>They got keys to the restaurant in March 2019, opened by April, and celebrated their one-year anniversary by transitioning to shelter in place during the first wave of the COVID-19 pandemic. Three years later, “I feel like this is what’s normal,” Roberts explains. Even now the restaurant only offers outdoor dining and to-go orders.\u003c/p>\n\u003cp>And while the original restaurant dream was fork and knives with wood-fired pies, the reality-driven plan is affordable slices and pies “with superior ingredients.”\u003c/p>\n\u003cp>“I put all of our focus on our dough and our cheese blend,” Roberts says, detailing the organic tomatoes and never-bromated U.S. milled flour he uses daily. He also makes a signature homemade ranch dressing that when purchased online includes a YouTube tutorial link from Roberts himself. But lest you think everything on the menu has artisanal ambitions, Roberts says, “I also put Spam on pizza.”\u003c/p>\n\u003cp>The Spam is a trademark of the restaurant’s take on Hawaiian pizza, along with jalapeño and pineapple. The Heatwave Pizza combines hot coppa with jalapeño and Mike’s Hot Honey. And regulars know to come early (and hungry) enough to snag a square pepperoni slice, topped to the Detroit-style corners with pepperoni cups, before they sell out — and make no mistake, Pizza Supreme Being’s whole lineup of pizza always winds up selling out. Lining up to the kiosk window to place an order feels less like an exclusive foodie experience and more akin to buying tickets to a show. Slices are served to your seats outside, where government professionals, cross-city bike crews, pre-gaming hardcore show kids, skaters, families and beyond intersect in allegiance to a supreme being of a sourdough crust perfected to the last bite.\u003c/p>\n\u003cfigure id=\"attachment_13928222\" class=\"wp-caption alignnone\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13928222\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/332794941_174738161951148_860703287127675705_n.jpg\" alt=\"Overhead view of a pizza topped with hot coppa and jalapeños. \" width=\"1080\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/332794941_174738161951148_860703287127675705_n.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/332794941_174738161951148_860703287127675705_n-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/332794941_174738161951148_860703287127675705_n-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/332794941_174738161951148_860703287127675705_n-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/332794941_174738161951148_860703287127675705_n-768x768.jpg 768w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">The Heatwave pizza combines hot coppa, jalapeños and Mike’s Hot Honey. \u003ccite>(Courtesy of Pizza Supreme Being/Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What’s also impressive for such a small restaurant is that it hosts a whole network of local, multicultural food industry upstarts. Eddie Torres, who works full-time at Pizza Supreme Being, recently debuted a pizza featuring achiote marinated pork sausage and mojo verde as part of his own pop-up, \u003ca href=\"https://www.instagram.com/lacocina_de_carmen/\">La Cocina de Carmen\u003c/a> — his “vision of a California cuisine restaurant with Puerto Rican influence.” The restaurant has also hosted \u003ca href=\"https://www.instagram.com/congeecult/\">Congee Cult\u003c/a>, a two-person pop-up serving new takes on Chinese rice porridge.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13919707,arts_13915581,news_11815327']\u003c/span>Part of this community-driven mindset is a direct product of the music scenes Roberts grew up with. Now, with limited free time as a business owner and new parent, Roberts stays connected to those scenes by offering a good meal to visiting hardcore acts like Candy, Extinguish, Big Boy and the Los Angeles powerviolence band Zulu.\u003c/p>\n\u003cp>“I try my best to look at tour dates of bands that I really enjoy, or even ones I haven’t listened to that much, and just say ‘Pull up and I’ll feed you,’” Robert explains. “I know that they’re hungry, on the road, eating fast food.”\u003c/p>\n\u003cp>Sometimes Roberts lets these touring bands, like San Jose’s Sunami, set up a little merch pop-up — and, like any proper skate shop or hardcore band, the restaurant offers its own line of cheeky merch as well. One of my personal favorites is a T-shirt featuring a hand-drawn character inspired by Youth of Today lead singer Ray Cappo leaping mid-air, mid-song. The restaurant sells \u003ca href=\"https://www.instagram.com/p/CpBhzYzvJpm/?hl=en\">bumper stickers\u003c/a> that advocate for pepperoni cups and playfully trolls corporate ranch dressing manufacturers with the simple question, “Where the Heck is Hidden Valley?”\u003c/p>\n\u003cfigure id=\"attachment_13928223\" class=\"wp-caption alignnone\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13928223\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/332557431_949086672784735_8808409291648642488_n.jpg\" alt='Bumper stickers arranged on a white pizza box: \"Gas...Brake...Dip...Your Pizza in Ranch,\" \"I Went to Pizza Supreme Being and All I Got Was This Lousy Bumper Sticker,\" \"Welcome to Sacramento, We Dip Our Pizza in Ranch,\" \"I Brake for Pepperoni Cups,\" and \"Where the Heck Is Hidden Valley?\"' width=\"1080\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/332557431_949086672784735_8808409291648642488_n.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/332557431_949086672784735_8808409291648642488_n-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/332557431_949086672784735_8808409291648642488_n-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/332557431_949086672784735_8808409291648642488_n-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/332557431_949086672784735_8808409291648642488_n-768x768.jpg 768w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">The pizza brand’s merch lineup includes a selection of cheeky pepperoni- and ranch dressing-themed bumper stickers. \u003ccite>(Courtesy of Pizza Supreme Being/Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While a small, punk-inspired pizza shop might seem like an unlikely avatar for Sacramento’s acclaimed food scene, a sense of local pride is palpable in everything that Pizza Supreme Being produces. The restaurant’s Instagram Stories often feature selfies of Roberts posing in front of the beam lit above the Golden 1 Center after every Kings win, and the chef is effusive about how much cool stuff is happening in the capital city.\u003c/p>\n\u003cp>If the best parts of skateboarding, hardcore and similar subcultures are the communities they engender, why wouldn’t that also be true for a pizza restaurant? For me, Pizza Supreme Being has been a welcome portal into a Sacramento scene I’m still slowly getting to know — one whose hard-working ethos speaks for itself.\u003c/p>\n\u003cp>“I get really tired of being compared to other cities — the rising this or the next that,” Roberts says. “Just let us be us and see what we got.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ca href=\"https://www.pizzasupremebeing.com/\">\u003ci>Pizza Supreme Being\u003c/i>\u003c/a>\u003ci> is located at 1425 14th St., Ste. C, in Sacramento. Open Wed.–Sun., noon to 8:30 p.m. (or until sold out). Cashless — order \u003c/i>\u003ca href=\"https://curbyourpickup.square.site/\">\u003ci>online\u003c/i>\u003c/a>\u003ci> or call 916-917-5559. Follow them on \u003c/i>\u003ca href=\"https://www.instagram.com/pizzasupremebeing/\">\u003ci>Instagram\u003c/i>\u003c/a>\u003ci>. \u003c/i>\u003ci>\u003cbr>\n\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Two summers ago, when I told a fellow skater and frequent local of the Rockridge BART parking lot — a popular Oakland skate spot — that I was moving to Sacramento, he immediately recommended \u003ca href=\"https://www.pizzasupremebeing.com/\">Pizza Supreme Being\u003c/a>. The downtown pizzeria was, in his opinion, one of the city’s best.\u003c/p>\n\u003cp>Food recommendations are an everyday occurrence, but a referral from a skater — a member of a subculture rich with niche tastes and preferences measured to the millimeter, plus a ground level relationship with cities — is something I take to heart.\u003c/p>\n\u003cp>Located steps from the California State Capitol Park on the corner of 14th and O Streets, Pizza Supreme Being is what I frequently describe as a spotless, well-organized merch table at a hardcore show that just happens to sell amazing sourdough slices and pies. According to co-owner Ben Roberts, I’m not far off.\u003c/p>\n\u003cp>“I legitimately run this brand like I would a hardcore band or like a skateboard company,” Roberts explains. He approaches speciality pizza pies “as like a single for a band.” Limited, one-and-done merch drops create the type of cultural FOMO Roberts himself has fallen victim to, growing up skateboarding, playing in bands and going to underground shows. “I love seeing things out in the wild that I did happen to miss,” he explains. “It brings me back to those moments and things in my life that I was always so drawn to. I gotta make sure that I don’t lose touch with that.”\u003c/p>\n\u003cfigure id=\"attachment_13928215\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13928215\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/pizza-supreme-being-crew-color-correct.jpg\" alt=\"Ben Roberts in a black punk rock T-shirt poses along with his pizza shop's employees, all dressed in white.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/pizza-supreme-being-crew-color-correct.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/pizza-supreme-being-crew-color-correct-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/pizza-supreme-being-crew-color-correct-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/pizza-supreme-being-crew-color-correct-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/pizza-supreme-being-crew-color-correct-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/pizza-supreme-being-crew-color-correct-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Roberts (left) and his crew run the shop like it’s a skateboard brand or like they’re selling merch at a hardcore punk show. \u003ccite>(José Vadi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After years in fine dining, Roberts started Pizza Supreme Being as a pop-up around 2015 after building a transportable wood-fire oven. He spent four years serving slices at bars and wineries on weekends, building a local following serving pies with a more standard yeasted dough before transitioning to naturally leavened sourdough per the recommendation of wife and business partner, Pembe Sonmez-Roberts.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“You have to feed the [sourdough] starter twice a day,” Roberts says, explaining that this wasn’t practical in the business’s early years. Once they made the switch, however, the end result tasted “worlds better.”\u003c/p>\n\u003cp>They got keys to the restaurant in March 2019, opened by April, and celebrated their one-year anniversary by transitioning to shelter in place during the first wave of the COVID-19 pandemic. Three years later, “I feel like this is what’s normal,” Roberts explains. Even now the restaurant only offers outdoor dining and to-go orders.\u003c/p>\n\u003cp>And while the original restaurant dream was fork and knives with wood-fired pies, the reality-driven plan is affordable slices and pies “with superior ingredients.”\u003c/p>\n\u003cp>“I put all of our focus on our dough and our cheese blend,” Roberts says, detailing the organic tomatoes and never-bromated U.S. milled flour he uses daily. He also makes a signature homemade ranch dressing that when purchased online includes a YouTube tutorial link from Roberts himself. But lest you think everything on the menu has artisanal ambitions, Roberts says, “I also put Spam on pizza.”\u003c/p>\n\u003cp>The Spam is a trademark of the restaurant’s take on Hawaiian pizza, along with jalapeño and pineapple. The Heatwave Pizza combines hot coppa with jalapeño and Mike’s Hot Honey. And regulars know to come early (and hungry) enough to snag a square pepperoni slice, topped to the Detroit-style corners with pepperoni cups, before they sell out — and make no mistake, Pizza Supreme Being’s whole lineup of pizza always winds up selling out. Lining up to the kiosk window to place an order feels less like an exclusive foodie experience and more akin to buying tickets to a show. Slices are served to your seats outside, where government professionals, cross-city bike crews, pre-gaming hardcore show kids, skaters, families and beyond intersect in allegiance to a supreme being of a sourdough crust perfected to the last bite.\u003c/p>\n\u003cfigure id=\"attachment_13928222\" class=\"wp-caption alignnone\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13928222\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/332794941_174738161951148_860703287127675705_n.jpg\" alt=\"Overhead view of a pizza topped with hot coppa and jalapeños. \" width=\"1080\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/332794941_174738161951148_860703287127675705_n.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/332794941_174738161951148_860703287127675705_n-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/332794941_174738161951148_860703287127675705_n-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/332794941_174738161951148_860703287127675705_n-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/332794941_174738161951148_860703287127675705_n-768x768.jpg 768w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">The Heatwave pizza combines hot coppa, jalapeños and Mike’s Hot Honey. \u003ccite>(Courtesy of Pizza Supreme Being/Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What’s also impressive for such a small restaurant is that it hosts a whole network of local, multicultural food industry upstarts. Eddie Torres, who works full-time at Pizza Supreme Being, recently debuted a pizza featuring achiote marinated pork sausage and mojo verde as part of his own pop-up, \u003ca href=\"https://www.instagram.com/lacocina_de_carmen/\">La Cocina de Carmen\u003c/a> — his “vision of a California cuisine restaurant with Puerto Rican influence.” The restaurant has also hosted \u003ca href=\"https://www.instagram.com/congeecult/\">Congee Cult\u003c/a>, a two-person pop-up serving new takes on Chinese rice porridge.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>Part of this community-driven mindset is a direct product of the music scenes Roberts grew up with. Now, with limited free time as a business owner and new parent, Roberts stays connected to those scenes by offering a good meal to visiting hardcore acts like Candy, Extinguish, Big Boy and the Los Angeles powerviolence band Zulu.\u003c/p>\n\u003cp>“I try my best to look at tour dates of bands that I really enjoy, or even ones I haven’t listened to that much, and just say ‘Pull up and I’ll feed you,’” Robert explains. “I know that they’re hungry, on the road, eating fast food.”\u003c/p>\n\u003cp>Sometimes Roberts lets these touring bands, like San Jose’s Sunami, set up a little merch pop-up — and, like any proper skate shop or hardcore band, the restaurant offers its own line of cheeky merch as well. One of my personal favorites is a T-shirt featuring a hand-drawn character inspired by Youth of Today lead singer Ray Cappo leaping mid-air, mid-song. The restaurant sells \u003ca href=\"https://www.instagram.com/p/CpBhzYzvJpm/?hl=en\">bumper stickers\u003c/a> that advocate for pepperoni cups and playfully trolls corporate ranch dressing manufacturers with the simple question, “Where the Heck is Hidden Valley?”\u003c/p>\n\u003cfigure id=\"attachment_13928223\" class=\"wp-caption alignnone\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13928223\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/332557431_949086672784735_8808409291648642488_n.jpg\" alt='Bumper stickers arranged on a white pizza box: \"Gas...Brake...Dip...Your Pizza in Ranch,\" \"I Went to Pizza Supreme Being and All I Got Was This Lousy Bumper Sticker,\" \"Welcome to Sacramento, We Dip Our Pizza in Ranch,\" \"I Brake for Pepperoni Cups,\" and \"Where the Heck Is Hidden Valley?\"' width=\"1080\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/332557431_949086672784735_8808409291648642488_n.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/332557431_949086672784735_8808409291648642488_n-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/332557431_949086672784735_8808409291648642488_n-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/332557431_949086672784735_8808409291648642488_n-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/332557431_949086672784735_8808409291648642488_n-768x768.jpg 768w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">The pizza brand’s merch lineup includes a selection of cheeky pepperoni- and ranch dressing-themed bumper stickers. \u003ccite>(Courtesy of Pizza Supreme Being/Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While a small, punk-inspired pizza shop might seem like an unlikely avatar for Sacramento’s acclaimed food scene, a sense of local pride is palpable in everything that Pizza Supreme Being produces. The restaurant’s Instagram Stories often feature selfies of Roberts posing in front of the beam lit above the Golden 1 Center after every Kings win, and the chef is effusive about how much cool stuff is happening in the capital city.\u003c/p>\n\u003cp>If the best parts of skateboarding, hardcore and similar subcultures are the communities they engender, why wouldn’t that also be true for a pizza restaurant? For me, Pizza Supreme Being has been a welcome portal into a Sacramento scene I’m still slowly getting to know — one whose hard-working ethos speaks for itself.\u003c/p>\n\u003cp>“I get really tired of being compared to other cities — the rising this or the next that,” Roberts says. “Just let us be us and see what we got.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.pizzasupremebeing.com/\">\u003ci>Pizza Supreme Being\u003c/i>\u003c/a>\u003ci> is located at 1425 14th St., Ste. C, in Sacramento. Open Wed.–Sun., noon to 8:30 p.m. (or until sold out). Cashless — order \u003c/i>\u003ca href=\"https://curbyourpickup.square.site/\">\u003ci>online\u003c/i>\u003c/a>\u003ci> or call 916-917-5559. Follow them on \u003c/i>\u003ca href=\"https://www.instagram.com/pizzasupremebeing/\">\u003ci>Instagram\u003c/i>\u003c/a>\u003ci>. \u003c/i>\u003ci>\u003cbr>\n\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Meet the Oakland Guy Making Fun of Your Favorite California Punk Bands",
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"content": "\u003cp>His name is \u003ca href=\"https://www.instagram.com/gabekatz_music/\">Gabe Katz\u003c/a>. He’s 37 years old and lives in Oakland. And for weeks, punks all over the Bay Area (and beyond) have been sharing his hilarious impersonations of California’s favorite punk bands.\u003c/p>\n\u003cp>Katz, a music teacher by day and \u003ca href=\"https://gabekatz1.bandcamp.com/\">guitarist\u003c/a> and punk rock drummer by night, also co-hosts \u003ca href=\"https://podcasts.apple.com/us/podcast/turd-polisher/id1513288302\">\u003cem>Turd Polisher\u003c/em>\u003c/a>: a podcast that relentlessly (and gloriously) dismantles guests’ least favorite songs of all time. In short, the man understands song structure. And punk rock. And hilarity. Which is how he came up with the now-widely shared, supremely knowing, one-minute takedowns.\u003c/p>\n\u003cp>It all started back in January with the Rancid one. “Every Rancid Song” expertly captures the essence of the East Bay quartet in five easy steps:\u003c/p>\n\u003cp>✓Enunciation that’s just a little bit British\u003cbr>\n✓Talking about walking\u003cbr>\n✓References to drab infrastructural entities\u003cbr>\n✓A vague suggestion of poverty\u003cbr>\n✓Gratuitously mentioning geographic locations (Rancid does this so often, \u003ca href=\"https://i.redd.it/qhjhwdivfnv01.jpg\">someone on Reddit made a map\u003c/a>)\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" cite=\"https://www.tiktok.com/@gabekatz_/video/7194630909063384362\" data-video-id=\"7194630909063384362\" style=\"max-width: 605px;min-width: 325px\">\n\u003csection> \u003ca target=\"_blank\" title=\"@gabekatz_\" href=\"https://www.tiktok.com/@gabekatz_?refer=embed\" rel=\"noopener\">@gabekatz_\u003c/a> Every Rancid Song \u003ca title=\"punk\" target=\"_blank\" href=\"https://www.tiktok.com/tag/punk?refer=embed\" rel=\"noopener\">#punk\u003c/a> \u003ca title=\"punkrock\" target=\"_blank\" href=\"https://www.tiktok.com/tag/punkrock?refer=embed\" rel=\"noopener\">#punkrock\u003c/a> \u003ca title=\"rancid\" target=\"_blank\" href=\"https://www.tiktok.com/tag/rancid?refer=embed\" rel=\"noopener\">#rancid\u003c/a> \u003ca title=\"rancidpunks\" target=\"_blank\" href=\"https://www.tiktok.com/tag/rancidpunks?refer=embed\" rel=\"noopener\">#rancidpunks\u003c/a> \u003ca title=\"funny\" target=\"_blank\" href=\"https://www.tiktok.com/tag/funny?refer=embed\" rel=\"noopener\">#funny\u003c/a> \u003ca title=\"music\" target=\"_blank\" href=\"https://www.tiktok.com/tag/music?refer=embed\" rel=\"noopener\">#music\u003c/a> \u003ca title=\"punkrock\" target=\"_blank\" href=\"https://www.tiktok.com/tag/punkrock?refer=embed\" rel=\"noopener\">#punkrock\u003c/a> \u003ca title=\"oakland\" target=\"_blank\" href=\"https://www.tiktok.com/tag/oakland?refer=embed\" rel=\"noopener\">#oakland\u003c/a> \u003ca title=\"hellcatrecords\" target=\"_blank\" href=\"https://www.tiktok.com/tag/hellcatrecords?refer=embed\" rel=\"noopener\">#hellcatrecords\u003c/a> \u003ca title=\"thisiswhatgetsmecancelled\" target=\"_blank\" href=\"https://www.tiktok.com/tag/thisiswhatgetsmecancelled?refer=embed\" rel=\"noopener\">#thisiswhatgetsmecancelled\u003c/a> \u003ca title=\"comedy\" target=\"_blank\" href=\"https://www.tiktok.com/tag/comedy?refer=embed\" rel=\"noopener\">#comedy\u003c/a> \u003ca target=\"_blank\" title=\"♬ original sound - Gabe Katz\" href=\"https://www.tiktok.com/music/original-sound-7194630908639759150?refer=embed\" rel=\"noopener\">♬ original sound – Gabe Katz\u003c/a> \u003c/section>\n\u003c/blockquote>\n\u003cp> [tiktok]\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>(If you have no idea why this is funny, go and listen to Rancid’s “\u003ca href=\"https://www.youtube.com/watch?v=j5HZ5Bd6DUY\">Olympia, WA\u003c/a>,” “\u003ca href=\"https://www.youtube.com/watch?v=bJy823DXgk4\">Lulu\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=2WOx4U3sCuQ\">Nihilism\u003c/a>.”)\u003c/p>\n\u003cp>Next up is Katz’s “Every NOFX Song,” which perfectly encapsulates the San Francisco pop punks using the following elements:\u003c/p>\n\u003cp>✓A reference to drugs\u003cbr>\n✓At least one person’s full name\u003cbr>\n✓A reference to a bar\u003cbr>\n✓A reference to another band\u003cbr>\n✓A reference to pee\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Boom!\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@gabekatz_/video/7201598891245030698\" data-video-id=\"7201598891245030698\">\n\u003csection>\u003ca title=\"@gabekatz_\" href=\"https://www.tiktok.com/@gabekatz_?refer=embed\" target=\"_blank\" rel=\"noopener\">@gabekatz_\u003c/a> Every NoFX song. \u003ca title=\"nofx\" href=\"https://www.tiktok.com/tag/nofx?refer=embed\" target=\"_blank\" rel=\"noopener\">#nofx\u003c/a> \u003ca title=\"fatmike\" href=\"https://www.tiktok.com/tag/fatmike?refer=embed\" target=\"_blank\" rel=\"noopener\">#fatmike\u003c/a> \u003ca title=\"fatmikeddude\" href=\"https://www.tiktok.com/tag/fatmikeddude?refer=embed\" target=\"_blank\" rel=\"noopener\">#fatmikeddude\u003c/a> \u003ca title=\"punk\" href=\"https://www.tiktok.com/tag/punk?refer=embed\" target=\"_blank\" rel=\"noopener\">#punk\u003c/a> \u003ca title=\"punkrock\" href=\"https://www.tiktok.com/tag/punkrock?refer=embed\" target=\"_blank\" rel=\"noopener\">#punkrock\u003c/a> \u003ca title=\"fatwreckchords\" href=\"https://www.tiktok.com/tag/fatwreckchords?refer=embed\" target=\"_blank\" rel=\"noopener\">#fatwreckchords\u003c/a> \u003ca title=\"sanfrancisco\" href=\"https://www.tiktok.com/tag/sanfrancisco?refer=embed\" target=\"_blank\" rel=\"noopener\">#sanfrancisco\u003c/a> \u003ca title=\"sf\" href=\"https://www.tiktok.com/tag/sf?refer=embed\" target=\"_blank\" rel=\"noopener\">#sf\u003c/a> \u003ca title=\"fishermanswharf\" href=\"https://www.tiktok.com/tag/fishermanswharf?refer=embed\" target=\"_blank\" rel=\"noopener\">#fishermanswharf\u003c/a> \u003ca title=\"vanswarpedtour\" href=\"https://www.tiktok.com/tag/vanswarpedtour?refer=embed\" target=\"_blank\" rel=\"noopener\">#vanswarpedtour\u003c/a> \u003ca title=\"warpedtour\" href=\"https://www.tiktok.com/tag/warpedtour?refer=embed\" target=\"_blank\" rel=\"noopener\">#warpedtour\u003c/a> \u003ca title=\"theeparkside\" href=\"https://www.tiktok.com/tag/theeparkside?refer=embed\" target=\"_blank\" rel=\"noopener\">#theeparkside\u003c/a> \u003ca title=\"funny\" href=\"https://www.tiktok.com/tag/funny?refer=embed\" target=\"_blank\" rel=\"noopener\">#funny\u003c/a> \u003ca title=\"comedyvideo\" href=\"https://www.tiktok.com/tag/comedyvideo?refer=embed\" target=\"_blank\" rel=\"noopener\">#comedyvideo\u003c/a> \u003ca title=\"music\" href=\"https://www.tiktok.com/tag/music?refer=embed\" target=\"_blank\" rel=\"noopener\">#music\u003c/a> \u003ca title=\"thisiswhatgetsmecancelled\" href=\"https://www.tiktok.com/tag/thisiswhatgetsmecancelled?refer=embed\" target=\"_blank\" rel=\"noopener\">#thisiswhatgetsmecancelled\u003c/a> \u003ca title=\"whythefuckwouldtheydothisshit\" href=\"https://www.tiktok.com/tag/whythefuckwouldtheydothisshit?refer=embed\" target=\"_blank\" rel=\"noopener\">#whythefuckwouldtheydothisshit\u003c/a> \u003ca title=\"♬ original sound - Gabe Katz\" href=\"https://www.tiktok.com/music/original-sound-7201598923704929070?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – Gabe Katz\u003c/a>\u003c/section>\n\u003cp>[tiktok]\u003c/p>\n\u003cp>(If you have no idea why this is funny, go and listen to NOFX’s “\u003ca href=\"https://www.youtube.com/watch?v=rEZ2sha5994\">Kids of the K-Hole\u003c/a>,” “\u003ca href=\"https://www.youtube.com/watch?v=LI-Gjg_vi3A\">Seeing Double at the Triple Rock\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=O4IEFLgYAoc\">See Her Pee\u003c/a>.”)\u003c/p>\n\u003cp>Finally, there’s “Every Bad Religion Song,” which captures the So-Cal legends using the following formula:\u003c/p>\n\u003cp>✓A staccato delivery\u003cbr>\n✓References to scientific pursuits\u003cbr>\n✓Rolling your eyes at God\u003cbr>\n✓Relentless assonance\u003cbr>\n✓Throwing shade at mindless mainstream culture\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@gabekatz_/video/7215641460652297518\" data-video-id=\"7215641460652297518\">\n\u003csection>\u003ca title=\"@gabekatz_\" href=\"https://www.tiktok.com/@gabekatz_?refer=embed\" target=\"_blank\" rel=\"noopener\">@gabekatz_\u003c/a> Every Bad Religion song. \u003ca title=\"badreligion\" href=\"https://www.tiktok.com/tag/badreligion?refer=embed\" target=\"_blank\" rel=\"noopener\">#badreligion\u003c/a> \u003ca title=\"epitaphrecords\" href=\"https://www.tiktok.com/tag/epitaphrecords?refer=embed\" target=\"_blank\" rel=\"noopener\">#epitaphrecords\u003c/a> \u003ca title=\"punk\" href=\"https://www.tiktok.com/tag/punk?refer=embed\" target=\"_blank\" rel=\"noopener\">#punk\u003c/a> \u003ca title=\"punkrock\" href=\"https://www.tiktok.com/tag/punkrock?refer=embed\" target=\"_blank\" rel=\"noopener\">#punkrock\u003c/a> \u003ca title=\"comedyvideo\" href=\"https://www.tiktok.com/tag/comedyvideo?refer=embed\" target=\"_blank\" rel=\"noopener\">#comedyvideo\u003c/a> \u003ca title=\"funny\" href=\"https://www.tiktok.com/tag/funny?refer=embed\" target=\"_blank\" rel=\"noopener\">#funny\u003c/a> \u003ca title=\"thisiswhatgetsmecancelled\" href=\"https://www.tiktok.com/tag/thisiswhatgetsmecancelled?refer=embed\" target=\"_blank\" rel=\"noopener\">#thisiswhatgetsmecancelled\u003c/a> \u003ca title=\"gabekatzcomedy\" href=\"https://www.tiktok.com/tag/gabekatzcomedy?refer=embed\" target=\"_blank\" rel=\"noopener\">#gabekatzcomedy\u003c/a> \u003ca title=\"♬ original sound - Gabe Katz\" href=\"https://www.tiktok.com/music/original-sound-7215641415353781035?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – Gabe Katz\u003c/a>\u003c/section>\n\u003cp>[tiktok]\u003c/p>\n\u003cp>(If you have no idea why this is funny, go and listen to Bad Religion’s “\u003ca href=\"https://www.youtube.com/watch?v=12kcpP-8jfM\">American Jesus\u003c/a>,” “\u003ca href=\"https://www.youtube.com/watch?v=AhzhiQA6-Aw\">Atomic Garden\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=JikOUxstTZ4\">Modern Day Catastrophists\u003c/a>.”)\u003c/p>\n\u003cp>Katz says we can definitely expect more videos like these from him in future, but asked which other bands he has in his sights, he says simply: “I cannot divulge that information at this time.”\u003c/p>\n\u003cp>Katz is hoping to move into comedy writing and voice acting full-time soon. Asked why he started making fun of these beloved bands in the first place, he is firm. “They had it coming,” he says.\u003c/p>\n\u003cp>Place your bets now on who’s got it coming next. Lagwagon? Dead Kennedys? Green Day? Pennywise? Black Flag? Fingers crossed for all of the above.\u003c/p>\u003c/blockquote>\n\u003c/blockquote>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>His name is \u003ca href=\"https://www.instagram.com/gabekatz_music/\">Gabe Katz\u003c/a>. He’s 37 years old and lives in Oakland. And for weeks, punks all over the Bay Area (and beyond) have been sharing his hilarious impersonations of California’s favorite punk bands.\u003c/p>\n\u003cp>Katz, a music teacher by day and \u003ca href=\"https://gabekatz1.bandcamp.com/\">guitarist\u003c/a> and punk rock drummer by night, also co-hosts \u003ca href=\"https://podcasts.apple.com/us/podcast/turd-polisher/id1513288302\">\u003cem>Turd Polisher\u003c/em>\u003c/a>: a podcast that relentlessly (and gloriously) dismantles guests’ least favorite songs of all time. In short, the man understands song structure. And punk rock. And hilarity. Which is how he came up with the now-widely shared, supremely knowing, one-minute takedowns.\u003c/p>\n\u003cp>It all started back in January with the Rancid one. “Every Rancid Song” expertly captures the essence of the East Bay quartet in five easy steps:\u003c/p>\n\u003cp>✓Enunciation that’s just a little bit British\u003cbr>\n✓Talking about walking\u003cbr>\n✓References to drab infrastructural entities\u003cbr>\n✓A vague suggestion of poverty\u003cbr>\n✓Gratuitously mentioning geographic locations (Rancid does this so often, \u003ca href=\"https://i.redd.it/qhjhwdivfnv01.jpg\">someone on Reddit made a map\u003c/a>)\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" cite=\"https://www.tiktok.com/@gabekatz_/video/7194630909063384362\" data-video-id=\"7194630909063384362\" style=\"max-width: 605px;min-width: 325px\">\n\u003csection> \u003ca target=\"_blank\" title=\"@gabekatz_\" href=\"https://www.tiktok.com/@gabekatz_?refer=embed\" rel=\"noopener\">@gabekatz_\u003c/a> Every Rancid Song \u003ca title=\"punk\" target=\"_blank\" href=\"https://www.tiktok.com/tag/punk?refer=embed\" rel=\"noopener\">#punk\u003c/a> \u003ca title=\"punkrock\" target=\"_blank\" href=\"https://www.tiktok.com/tag/punkrock?refer=embed\" rel=\"noopener\">#punkrock\u003c/a> \u003ca title=\"rancid\" target=\"_blank\" href=\"https://www.tiktok.com/tag/rancid?refer=embed\" rel=\"noopener\">#rancid\u003c/a> \u003ca title=\"rancidpunks\" target=\"_blank\" href=\"https://www.tiktok.com/tag/rancidpunks?refer=embed\" rel=\"noopener\">#rancidpunks\u003c/a> \u003ca title=\"funny\" target=\"_blank\" href=\"https://www.tiktok.com/tag/funny?refer=embed\" rel=\"noopener\">#funny\u003c/a> \u003ca title=\"music\" target=\"_blank\" href=\"https://www.tiktok.com/tag/music?refer=embed\" rel=\"noopener\">#music\u003c/a> \u003ca title=\"punkrock\" target=\"_blank\" href=\"https://www.tiktok.com/tag/punkrock?refer=embed\" rel=\"noopener\">#punkrock\u003c/a> \u003ca title=\"oakland\" target=\"_blank\" href=\"https://www.tiktok.com/tag/oakland?refer=embed\" rel=\"noopener\">#oakland\u003c/a> \u003ca title=\"hellcatrecords\" target=\"_blank\" href=\"https://www.tiktok.com/tag/hellcatrecords?refer=embed\" rel=\"noopener\">#hellcatrecords\u003c/a> \u003ca title=\"thisiswhatgetsmecancelled\" target=\"_blank\" href=\"https://www.tiktok.com/tag/thisiswhatgetsmecancelled?refer=embed\" rel=\"noopener\">#thisiswhatgetsmecancelled\u003c/a> \u003ca title=\"comedy\" target=\"_blank\" href=\"https://www.tiktok.com/tag/comedy?refer=embed\" rel=\"noopener\">#comedy\u003c/a> \u003ca target=\"_blank\" title=\"♬ original sound - Gabe Katz\" href=\"https://www.tiktok.com/music/original-sound-7194630908639759150?refer=embed\" rel=\"noopener\">♬ original sound – Gabe Katz\u003c/a> \u003c/section>\n\u003c/blockquote>\n\u003cp> \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>(If you have no idea why this is funny, go and listen to Rancid’s “\u003ca href=\"https://www.youtube.com/watch?v=j5HZ5Bd6DUY\">Olympia, WA\u003c/a>,” “\u003ca href=\"https://www.youtube.com/watch?v=bJy823DXgk4\">Lulu\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=2WOx4U3sCuQ\">Nihilism\u003c/a>.”)\u003c/p>\n\u003cp>Next up is Katz’s “Every NOFX Song,” which perfectly encapsulates the San Francisco pop punks using the following elements:\u003c/p>\n\u003cp>✓A reference to drugs\u003cbr>\n✓At least one person’s full name\u003cbr>\n✓A reference to a bar\u003cbr>\n✓A reference to another band\u003cbr>\n✓A reference to pee\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Boom!\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@gabekatz_/video/7201598891245030698\" data-video-id=\"7201598891245030698\">\n\u003csection>\u003ca title=\"@gabekatz_\" href=\"https://www.tiktok.com/@gabekatz_?refer=embed\" target=\"_blank\" rel=\"noopener\">@gabekatz_\u003c/a> Every NoFX song. \u003ca title=\"nofx\" href=\"https://www.tiktok.com/tag/nofx?refer=embed\" target=\"_blank\" rel=\"noopener\">#nofx\u003c/a> \u003ca title=\"fatmike\" href=\"https://www.tiktok.com/tag/fatmike?refer=embed\" target=\"_blank\" rel=\"noopener\">#fatmike\u003c/a> \u003ca title=\"fatmikeddude\" href=\"https://www.tiktok.com/tag/fatmikeddude?refer=embed\" target=\"_blank\" rel=\"noopener\">#fatmikeddude\u003c/a> \u003ca title=\"punk\" href=\"https://www.tiktok.com/tag/punk?refer=embed\" target=\"_blank\" rel=\"noopener\">#punk\u003c/a> \u003ca title=\"punkrock\" href=\"https://www.tiktok.com/tag/punkrock?refer=embed\" target=\"_blank\" rel=\"noopener\">#punkrock\u003c/a> \u003ca title=\"fatwreckchords\" href=\"https://www.tiktok.com/tag/fatwreckchords?refer=embed\" target=\"_blank\" rel=\"noopener\">#fatwreckchords\u003c/a> \u003ca title=\"sanfrancisco\" href=\"https://www.tiktok.com/tag/sanfrancisco?refer=embed\" target=\"_blank\" rel=\"noopener\">#sanfrancisco\u003c/a> \u003ca title=\"sf\" href=\"https://www.tiktok.com/tag/sf?refer=embed\" target=\"_blank\" rel=\"noopener\">#sf\u003c/a> \u003ca title=\"fishermanswharf\" href=\"https://www.tiktok.com/tag/fishermanswharf?refer=embed\" target=\"_blank\" rel=\"noopener\">#fishermanswharf\u003c/a> \u003ca title=\"vanswarpedtour\" href=\"https://www.tiktok.com/tag/vanswarpedtour?refer=embed\" target=\"_blank\" rel=\"noopener\">#vanswarpedtour\u003c/a> \u003ca title=\"warpedtour\" href=\"https://www.tiktok.com/tag/warpedtour?refer=embed\" target=\"_blank\" rel=\"noopener\">#warpedtour\u003c/a> \u003ca title=\"theeparkside\" href=\"https://www.tiktok.com/tag/theeparkside?refer=embed\" target=\"_blank\" rel=\"noopener\">#theeparkside\u003c/a> \u003ca title=\"funny\" href=\"https://www.tiktok.com/tag/funny?refer=embed\" target=\"_blank\" rel=\"noopener\">#funny\u003c/a> \u003ca title=\"comedyvideo\" href=\"https://www.tiktok.com/tag/comedyvideo?refer=embed\" target=\"_blank\" rel=\"noopener\">#comedyvideo\u003c/a> \u003ca title=\"music\" href=\"https://www.tiktok.com/tag/music?refer=embed\" target=\"_blank\" rel=\"noopener\">#music\u003c/a> \u003ca title=\"thisiswhatgetsmecancelled\" href=\"https://www.tiktok.com/tag/thisiswhatgetsmecancelled?refer=embed\" target=\"_blank\" rel=\"noopener\">#thisiswhatgetsmecancelled\u003c/a> \u003ca title=\"whythefuckwouldtheydothisshit\" href=\"https://www.tiktok.com/tag/whythefuckwouldtheydothisshit?refer=embed\" target=\"_blank\" rel=\"noopener\">#whythefuckwouldtheydothisshit\u003c/a> \u003ca title=\"♬ original sound - Gabe Katz\" href=\"https://www.tiktok.com/music/original-sound-7201598923704929070?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – Gabe Katz\u003c/a>\u003c/section>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>(If you have no idea why this is funny, go and listen to NOFX’s “\u003ca href=\"https://www.youtube.com/watch?v=rEZ2sha5994\">Kids of the K-Hole\u003c/a>,” “\u003ca href=\"https://www.youtube.com/watch?v=LI-Gjg_vi3A\">Seeing Double at the Triple Rock\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=O4IEFLgYAoc\">See Her Pee\u003c/a>.”)\u003c/p>\n\u003cp>Finally, there’s “Every Bad Religion Song,” which captures the So-Cal legends using the following formula:\u003c/p>\n\u003cp>✓A staccato delivery\u003cbr>\n✓References to scientific pursuits\u003cbr>\n✓Rolling your eyes at God\u003cbr>\n✓Relentless assonance\u003cbr>\n✓Throwing shade at mindless mainstream culture\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@gabekatz_/video/7215641460652297518\" data-video-id=\"7215641460652297518\">\n\u003csection>\u003ca title=\"@gabekatz_\" href=\"https://www.tiktok.com/@gabekatz_?refer=embed\" target=\"_blank\" rel=\"noopener\">@gabekatz_\u003c/a> Every Bad Religion song. \u003ca title=\"badreligion\" href=\"https://www.tiktok.com/tag/badreligion?refer=embed\" target=\"_blank\" rel=\"noopener\">#badreligion\u003c/a> \u003ca title=\"epitaphrecords\" href=\"https://www.tiktok.com/tag/epitaphrecords?refer=embed\" target=\"_blank\" rel=\"noopener\">#epitaphrecords\u003c/a> \u003ca title=\"punk\" href=\"https://www.tiktok.com/tag/punk?refer=embed\" target=\"_blank\" rel=\"noopener\">#punk\u003c/a> \u003ca title=\"punkrock\" href=\"https://www.tiktok.com/tag/punkrock?refer=embed\" target=\"_blank\" rel=\"noopener\">#punkrock\u003c/a> \u003ca title=\"comedyvideo\" href=\"https://www.tiktok.com/tag/comedyvideo?refer=embed\" target=\"_blank\" rel=\"noopener\">#comedyvideo\u003c/a> \u003ca title=\"funny\" href=\"https://www.tiktok.com/tag/funny?refer=embed\" target=\"_blank\" rel=\"noopener\">#funny\u003c/a> \u003ca title=\"thisiswhatgetsmecancelled\" href=\"https://www.tiktok.com/tag/thisiswhatgetsmecancelled?refer=embed\" target=\"_blank\" rel=\"noopener\">#thisiswhatgetsmecancelled\u003c/a> \u003ca title=\"gabekatzcomedy\" href=\"https://www.tiktok.com/tag/gabekatzcomedy?refer=embed\" target=\"_blank\" rel=\"noopener\">#gabekatzcomedy\u003c/a> \u003ca title=\"♬ original sound - Gabe Katz\" href=\"https://www.tiktok.com/music/original-sound-7215641415353781035?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – Gabe Katz\u003c/a>\u003c/section>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>(If you have no idea why this is funny, go and listen to Bad Religion’s “\u003ca href=\"https://www.youtube.com/watch?v=12kcpP-8jfM\">American Jesus\u003c/a>,” “\u003ca href=\"https://www.youtube.com/watch?v=AhzhiQA6-Aw\">Atomic Garden\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=JikOUxstTZ4\">Modern Day Catastrophists\u003c/a>.”)\u003c/p>\n\u003cp>Katz says we can definitely expect more videos like these from him in future, but asked which other bands he has in his sights, he says simply: “I cannot divulge that information at this time.”\u003c/p>\n\u003cp>Katz is hoping to move into comedy writing and voice acting full-time soon. Asked why he started making fun of these beloved bands in the first place, he is firm. “They had it coming,” he says.\u003c/p>\n\u003cp>Place your bets now on who’s got it coming next. Lagwagon? Dead Kennedys? Green Day? Pennywise? Black Flag? Fingers crossed for all of the above.\u003c/p>\u003c/blockquote>\n\u003c/blockquote>\n\n\u003c/div>\u003c/p>",
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"title": "There Was a Punk Show on BART Friday Night",
"headTitle": "There Was a Punk Show on BART Friday Night | KQED",
"content": "\u003cp>If you live in the Bay Area, you’ve undoubtedly seen some unexpected entertainment on BART in your time. Dancers, magicians, those dudes that hang upside down from poles, drunk people. What you’ve probably \u003cem>never\u003c/em> seen is a car packed to the gills with punks there to see a two-band show.\u003c/p>\n\u003cp>That’s exactly what happened Friday night when noisy San Francisco outfits \u003ca href=\"https://www.instagram.com/falseflagsf/\" target=\"_blank\" rel=\"noopener noreferrer\">False Flag\u003c/a> and \u003ca href=\"https://www.instagram.com/surpriseprivilege/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Surprise Privilege\u003c/a> managed to organize a show on a blue line BART train. Having boarded at the 16th St. Mission station at 7pm, the bands rode to Dublin Pleasanton as more than 100 fans squeezed in along the way — and then, on the way back to the city, started playing.\u003c/p>\n\u003cp>Unbridled chaos ensued:\u003c/p>\n\u003cp>https://www.instagram.com/p/CnGrbg6D2JR/\u003c/p>\n\u003cp>Round of applause for the human mic stand.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Reached by phone the next day, band members said they were surprised at the turnout for what started as “kind of a half-joke” that “we all egged each other on to do,” according to False Flag’s bassist, Pretty. \u003c/p>\n\u003cp>“We weren’t expecting that many people to show up,” she added. “We didn’t even know if we were gonna be able to play because the train was so packed.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/BART.PunkShow.jpg\" alt=\"\" width=\"600\" height=\"712\" class=\"aligncenter size-full wp-image-13923451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/BART.PunkShow.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/BART.PunkShow-160x190.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>The show required a fair bit of pre-planning. On Instagram, the bands outlined a timetable of BART stops for attendees; directed them to the rear cars, away from commuters; and reminded everyone to pay their fare, stay civil and pick up after themselves.\u003c/p>\n\u003cp>“It’s not our intention to wreck the place or cause any kind of damage — this is meant to be fun,” they wrote. “Be respectful of each other and don’t let anyone get hurt.”\u003c/p>\n\u003cp>Things went awry six stations in, when the train was stalled at Fruitvale due to an obstructed door. “And BART police got on,” said Pretty, “and were just like, ‘Are you serious right now?’”\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@loserlees/video/7185796606355279150\" data-video-id=\"7185796606355279150\">\n\u003csection>\u003ca title=\"@loserlees\" href=\"https://www.tiktok.com/@loserlees?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">@loserlees\u003c/a> PUNK SHOW ON BART!¡ \u003ca title=\"fyp\" href=\"https://www.tiktok.com/tag/fyp?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#fyp\u003c/a> \u003ca title=\"fypシ\" href=\"https://www.tiktok.com/tag/fyp%E3%82%B7?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#fypシ\u003c/a> \u003ca title=\"punk\" href=\"https://www.tiktok.com/tag/punk?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#punk\u003c/a> \u003ca title=\"bayarea\" href=\"https://www.tiktok.com/tag/bayarea?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#bayarea\u003c/a> \u003ca title=\"sanfrancisco\" href=\"https://www.tiktok.com/tag/sanfrancisco?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#sanfrancisco\u003c/a> \u003ca title=\"diy\" href=\"https://www.tiktok.com/tag/diy?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#DIY\u003c/a> \u003ca title=\"♬ original sound - Lees\" href=\"https://www.tiktok.com/music/original-sound-7185796625409887022?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">♬ original sound – Lees\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>[tiktok]\u003c/p>\n\u003cp>As shown at the end of the above clip, the show was shut down, the cars were evacuated, and at least one reveler was escorted out of the station by authorities while crowds on the platform chanted, “Let him go! Let him go!”\u003c/p>\n\u003cp>Cody, bassist for Surprise Privilege, said the bands still managed to play six songs each, powered by a portable battery — and noted that every band member paid their BART fare.\u003c/p>\n\u003cp>[aside postid='arts_13865042']“All we want to do is raise as much money as possible for BART,” he said. “It’s all just a big publicity campaign to show the world how fine our state-of-the-art public transportation system is.”\u003c/p>\n\u003cp>BART, which \u003ca href=\"https://www.kqed.org/arts/13865042/free-speech-tone-oliver-and-barts-proposed-ban-on-busking\">rejected a 2019 proposal to ban busking on its trains\u003c/a>, did not respond to a request for comment. \u003c/p>\n\u003cp>“The main reaction from the public I’ve seen is people talking about how it must have smelled really bad on the train,” said False Flag guitarist Strong. (“Which it did,” Cody added.)\u003c/p>\n\u003cp>While it lasted, though, the on-train show looked like a damn good time, crowd surfing and all.\u003c/p>\n\u003cp>https://www.instagram.com/p/CnIRhGhSMjf/\u003c/p>\n\u003cp>For those who regret missing a historic slice of what’s known as “\u003ca href=\"https://www.kqed.org/arts/13899154/sunami-review-san-jose-drain-gulch-show\">REAL BAY SHIT\u003c/a>,” and hope for a sequel, the bands’ Instagram post afterward summed it up: “we’re never doing that again lol.”\u003c/p>\n\u003cp>How was \u003cem>your\u003c/em> Friday night?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you live in the Bay Area, you’ve undoubtedly seen some unexpected entertainment on BART in your time. Dancers, magicians, those dudes that hang upside down from poles, drunk people. What you’ve probably \u003cem>never\u003c/em> seen is a car packed to the gills with punks there to see a two-band show.\u003c/p>\n\u003cp>That’s exactly what happened Friday night when noisy San Francisco outfits \u003ca href=\"https://www.instagram.com/falseflagsf/\" target=\"_blank\" rel=\"noopener noreferrer\">False Flag\u003c/a> and \u003ca href=\"https://www.instagram.com/surpriseprivilege/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Surprise Privilege\u003c/a> managed to organize a show on a blue line BART train. Having boarded at the 16th St. Mission station at 7pm, the bands rode to Dublin Pleasanton as more than 100 fans squeezed in along the way — and then, on the way back to the city, started playing.\u003c/p>\n\u003cp>Unbridled chaos ensued:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Round of applause for the human mic stand.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Reached by phone the next day, band members said they were surprised at the turnout for what started as “kind of a half-joke” that “we all egged each other on to do,” according to False Flag’s bassist, Pretty. \u003c/p>\n\u003cp>“We weren’t expecting that many people to show up,” she added. “We didn’t even know if we were gonna be able to play because the train was so packed.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/BART.PunkShow.jpg\" alt=\"\" width=\"600\" height=\"712\" class=\"aligncenter size-full wp-image-13923451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/BART.PunkShow.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/BART.PunkShow-160x190.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>The show required a fair bit of pre-planning. On Instagram, the bands outlined a timetable of BART stops for attendees; directed them to the rear cars, away from commuters; and reminded everyone to pay their fare, stay civil and pick up after themselves.\u003c/p>\n\u003cp>“It’s not our intention to wreck the place or cause any kind of damage — this is meant to be fun,” they wrote. “Be respectful of each other and don’t let anyone get hurt.”\u003c/p>\n\u003cp>Things went awry six stations in, when the train was stalled at Fruitvale due to an obstructed door. “And BART police got on,” said Pretty, “and were just like, ‘Are you serious right now?’”\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@loserlees/video/7185796606355279150\" data-video-id=\"7185796606355279150\">\n\u003csection>\u003ca title=\"@loserlees\" href=\"https://www.tiktok.com/@loserlees?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">@loserlees\u003c/a> PUNK SHOW ON BART!¡ \u003ca title=\"fyp\" href=\"https://www.tiktok.com/tag/fyp?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#fyp\u003c/a> \u003ca title=\"fypシ\" href=\"https://www.tiktok.com/tag/fyp%E3%82%B7?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#fypシ\u003c/a> \u003ca title=\"punk\" href=\"https://www.tiktok.com/tag/punk?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#punk\u003c/a> \u003ca title=\"bayarea\" href=\"https://www.tiktok.com/tag/bayarea?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#bayarea\u003c/a> \u003ca title=\"sanfrancisco\" href=\"https://www.tiktok.com/tag/sanfrancisco?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#sanfrancisco\u003c/a> \u003ca title=\"diy\" href=\"https://www.tiktok.com/tag/diy?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">#DIY\u003c/a> \u003ca title=\"♬ original sound - Lees\" href=\"https://www.tiktok.com/music/original-sound-7185796625409887022?refer=embed\" target=\"_blank\" rel=\"noopener noreferrer\">♬ original sound – Lees\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As shown at the end of the above clip, the show was shut down, the cars were evacuated, and at least one reveler was escorted out of the station by authorities while crowds on the platform chanted, “Let him go! Let him go!”\u003c/p>\n\u003cp>Cody, bassist for Surprise Privilege, said the bands still managed to play six songs each, powered by a portable battery — and noted that every band member paid their BART fare.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“All we want to do is raise as much money as possible for BART,” he said. “It’s all just a big publicity campaign to show the world how fine our state-of-the-art public transportation system is.”\u003c/p>\n\u003cp>BART, which \u003ca href=\"https://www.kqed.org/arts/13865042/free-speech-tone-oliver-and-barts-proposed-ban-on-busking\">rejected a 2019 proposal to ban busking on its trains\u003c/a>, did not respond to a request for comment. \u003c/p>\n\u003cp>“The main reaction from the public I’ve seen is people talking about how it must have smelled really bad on the train,” said False Flag guitarist Strong. (“Which it did,” Cody added.)\u003c/p>\n\u003cp>While it lasted, though, the on-train show looked like a damn good time, crowd surfing and all.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For those who regret missing a historic slice of what’s known as “\u003ca href=\"https://www.kqed.org/arts/13899154/sunami-review-san-jose-drain-gulch-show\">REAL BAY SHIT\u003c/a>,” and hope for a sequel, the bands’ Instagram post afterward summed it up: “we’re never doing that again lol.”\u003c/p>\n\u003cp>How was \u003cem>your\u003c/em> Friday night?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Vivienne Westwood, Influential Fashion Maverick and Punk Icon, Dies at 81",
"headTitle": "Vivienne Westwood, Influential Fashion Maverick and Punk Icon, Dies at 81 | KQED",
"content": "\u003cp>Vivienne Westwood, an influential fashion maverick who played a key role in the punk movement, died Thursday at 81.\u003c/p>\n\u003cp>Westwood’s eponymous fashion house announced her death on social media platforms, saying she died peacefully. A cause of death was not disclosed.\u003c/p>\n\u003cp>“Vivienne continued to do the things she loved, up until the last moment, designing, working on her art, writing her book, and changing the world for the better,” the statement said. “She led an amazing life. Her innovation and impact over the last 60 years has been immense and will continue into the future.”\u003c/p>\n\u003cp>Westwood’s fashion career began in the 1970s with the punk explosion, when her radical approach to urban street style took the world by storm. But she went on to enjoy a long career highlighted by a string of triumphant runway shows in London, Paris, Milan and New York.\u003c/p>\n\u003cp>The name Westwood became synonymous with style and attitude even as she shifted focus from year to year. Her range was vast and her work was never predictable.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As her stature grew, she seemed to transcend fashion, with her designs shown in museum collections throughout the world. The young woman who had scorned the British establishment eventually became one of its leading lights, and she used her elite position to lobby for environmental reforms even as she kept her hair dyed the bright shade of orange that became her trademark.\u003c/p>\n\u003cfigure id=\"attachment_13923142\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/GettyImages-1200810788_crap.jpg\" alt='Older white woman with finger in mouth and other hand pointing to \"I love crap\" button' width=\"1200\" height=\"794\" class=\"size-full wp-image-13923142\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1200810788_crap.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1200810788_crap-800x529.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1200810788_crap-1020x675.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1200810788_crap-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1200810788_crap-768x508.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Dame Vivienne Westwood attends the Vivienne Westwood AW20/21 presentation and exhibition during London Fashion Week, February 2020 at London’s Serpentine Gallery. \u003ccite>(Dave Benett/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Andrew Bolton, curator of the Costume Institute at the Metropolitan Museum of New York, said Westwood would be celebrated for pioneering the punk look, pairing a radical fashion approach with the anarchic punk sounds developed by the Sex Pistols, managed by her then-partner, Malcolm McLaren.\u003c/p>\n\u003cp>“They gave the punk movement a look, a style, and it was so radical it broke from anything in the past,” he said. “The ripped shirts, the safety pins, the provocative slogans. She introduced postmodernism. It was so influential from the mid-70s. The punk movement has never dissipated — it’s become part of our fashion vocabulary. It’s mainstream now.”\u003c/p>\n\u003cp>Westwood’s long career was full of contradictions: She was a lifelong rebel who was honored several times by Queen Elizabeth II. She dressed like a teenager even in her 60s and became an outspoken advocate of fighting global warming, warning of planetary doom if climate change was not controlled.\u003c/p>\n\u003cp>In her punk days, Westwood’s clothes were often intentionally shocking: T-shirts decorated with drawings of naked boys, and “bondage pants” with sadomasochistic overtones were standard fare in her popular London shops. But Westwood was able to make the transition from punk to haute couture without missing a beat, keeping her career going without stooping to self-caricature.\u003c/p>\n\u003cp>“She was always trying to reinvent fashion. Her work is provocative, it’s transgressive. It’s very much rooted in the English tradition of pastiche and irony and satire. She is very proud of her Englishness, and still she sends it up,” Bolton said.\u003c/p>\n\u003cp>One of those transgressive and contentious designs featured a swastika, an inverted image of Jesus Christ on the cross and the word “Destroy.” In an autobiography written with Ian Kelly, she said it was meant as part of a statement against politicians torturing people, citing Chile’s Augusto Pinochet. When asked if she regretted the swastika design in a 2009 interview with Time magazine, Westwood said no.\u003c/p>\n\u003cp>“I don’t, because we were just saying to the older generation, ‘We don’t accept your values or your taboos, and you’re all fascists,’” she responded.\u003c/p>\n\u003cfigure id=\"attachment_13923141\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/GettyImages-1181802149_1200.jpg\" alt=\"Group of people walking, talking, carrying flags and two men wearing headdresses\" width=\"1200\" height=\"798\" class=\"size-full wp-image-13923141\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1181802149_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1181802149_1200-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1181802149_1200-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1181802149_1200-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1181802149_1200-768x511.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Benny Wenda, the founder of the Free West Papua Campaign and Chairman of the United Liberation Movement for West Papua politically exiled in the UK, Dame Vivienne Westwood and Joe Corré and Extinction Rebellion on their way to a protest action. \u003ccite>(Ollie Millington/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She approached her work with gusto in her early years, but over time seemed to tire of the clamor and buzz. After decades of designing, she sometimes spoke wistfully of moving beyond fashion so she could concentrate on environmental matters and educational projects.\u003c/p>\n\u003cp>“Fashion can be so boring,” she told The Associated Press after unveiling one of her new collections at a 2010 show. “I’m trying to find something else to do.” At the time, she was talking up plans to start a television series about art and science.\u003c/p>\n\u003cp>Her runway shows were always the most chic events, drawing stars from the glittery world of film, music, and television who wanted to bask in Westwood’s reflected glory. But still she spoke out against consumerism and conspicuous consumption, even urging people not to buy her expensive, beautifully made clothes.\u003c/p>\n\u003cp>“I just tell people, stop buying clothes,” she said. “Why not protect this gift of life while we have it? I don’t take the attitude that destruction is inevitable. Some of us would like to stop that and help people survive.”\u003c/p>\n\u003cp>Westwood was a self-taught designer with no formal fashion training. She told \u003cem>Marie Claire\u003c/em> that she learned how to make her own clothes as a teenager by following patterns. When she wanted to sell 1950s-style clothes at her first shop, she found old clothes in markets and took them apart to understand the cut and construction.\u003c/p>\n\u003cp>“It was not a very efficient way of making clothes, but it was a great way for me to build up my technique,” she told the magazine.\u003c/p>\n\u003cp>Westwood was born in the Derbyshire village of Glossop on April 8, 1941. Her family moved to London in 1957 and she attended art school for one term.\u003c/p>\n\u003cp>She met McLaren in the 1960s while working as a primary school teacher after separating from her first husband, Derek Westwood. She and McLaren opened a small shop on the King’s Road in Chelsea in 1971, the tail end of the “Swinging London” era ushered in by the Beatles and the Rolling Stones.\u003c/p>\n\u003cfigure id=\"attachment_13923140\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/GettyImages-592334364_1200.jpg\" alt=\"White man holds up peace sign, white woman drapes arm over his neck\" width=\"1200\" height=\"803\" class=\"size-full wp-image-13923140\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-592334364_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-592334364_1200-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-592334364_1200-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-592334364_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-592334364_1200-768x514.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Malcolm McLaren and Vivienne Westwood outside Bow Street Magistrate Court after being remanded on bail for fighting in 1977. \u003ccite>(Bill Kennedy/Mirrorpix/Mirrorpix via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The shop changed its name and focus several times, operating as “SEX” — Westwood and McLaren were fined in 1975 for an “indecent exhibition” there — and “World’s End” and “Seditionaries.”\u003c/p>\n\u003cp>“Vivienne is gone and the world is already a less interesting place. Love you Viv,” \u003ca href=\"https://twitter.com/ChrissieHynde/status/1608579881528623104\">tweeted Chrissie Hynde\u003c/a>, the frontwoman of the Pretenders and a former worker at the couple’s store.\u003c/p>\n\u003cp>Westwood moved into a fresh type of designing with her “Pirates” collection, exhibited in her first catwalk show in 1981. That breakthrough is credited with taking Westwood in a more traditional direction, showing her interest in incorporating historical British designs into contemporary clothes.\u003c/p>\n\u003cp>It was also an important step in an ongoing rapprochement between Westwood and the fashion world. The rebel eventually became one of its most celebrated stars, known for reinterpreting opulent dresses from the past and often finding inspiration in 18th century paintings.\u003c/p>\n\u003cp>But she still found ways to shock: Her Statue of Liberty corset in 1987 is remembered as the start of “underwear as outerwear” trend.\u003c/p>\n\u003cp>She eventually branched out into a range of business activities, including an alliance with Italian designer Giorgio Armani, and developed her ready-to-wear Red Label line, her more exclusive Gold Label line, a menswear collection and fragrances called Boudoir and Libertine. Westwood shops opened in New York, Hong Kong, Milan and several other major cities.\u003c/p>\n\u003cp>She was named designer of the year by the British Fashion Council in 1990 and 1991.\u003c/p>\n\u003cp>Her uneasy relationship with the British establishment is perhaps best exemplified by her 1992 trip to Buckingham Palace to receive an Order of the British Empire medal from Queen Elizabeth II: She wore no underwear, and posed for photographers in a way that made that abundantly clear.\u003c/p>\n\u003cp>Apparently the queen was not offended: Westwood was invited back to receive the even more auspicious designation of Dame Commander of the British Empire — the female equivalent of a knighthood — in 2006.\u003c/p>\n\u003cp>Westwood is survived by her second husband, Austrian-born Andreas Kronthaler, and her two sons.\u003c/p>\n\u003cp>The first, fashion photographer Ben Westwood, was her son with Derek Westwood. The second, Joe Corré — her son with McLaren — co-founded the upscale Agent Provocateur lingerie line.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Katz, a longtime correspondent for The Associated Press who died in 2020, was the principal writer of this obituary.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As her stature grew, she seemed to transcend fashion, with her designs shown in museum collections throughout the world. The young woman who had scorned the British establishment eventually became one of its leading lights, and she used her elite position to lobby for environmental reforms even as she kept her hair dyed the bright shade of orange that became her trademark.\u003c/p>\n\u003cfigure id=\"attachment_13923142\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/GettyImages-1200810788_crap.jpg\" alt='Older white woman with finger in mouth and other hand pointing to \"I love crap\" button' width=\"1200\" height=\"794\" class=\"size-full wp-image-13923142\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1200810788_crap.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1200810788_crap-800x529.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1200810788_crap-1020x675.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1200810788_crap-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1200810788_crap-768x508.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Dame Vivienne Westwood attends the Vivienne Westwood AW20/21 presentation and exhibition during London Fashion Week, February 2020 at London’s Serpentine Gallery. \u003ccite>(Dave Benett/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Andrew Bolton, curator of the Costume Institute at the Metropolitan Museum of New York, said Westwood would be celebrated for pioneering the punk look, pairing a radical fashion approach with the anarchic punk sounds developed by the Sex Pistols, managed by her then-partner, Malcolm McLaren.\u003c/p>\n\u003cp>“They gave the punk movement a look, a style, and it was so radical it broke from anything in the past,” he said. “The ripped shirts, the safety pins, the provocative slogans. She introduced postmodernism. It was so influential from the mid-70s. The punk movement has never dissipated — it’s become part of our fashion vocabulary. It’s mainstream now.”\u003c/p>\n\u003cp>Westwood’s long career was full of contradictions: She was a lifelong rebel who was honored several times by Queen Elizabeth II. She dressed like a teenager even in her 60s and became an outspoken advocate of fighting global warming, warning of planetary doom if climate change was not controlled.\u003c/p>\n\u003cp>In her punk days, Westwood’s clothes were often intentionally shocking: T-shirts decorated with drawings of naked boys, and “bondage pants” with sadomasochistic overtones were standard fare in her popular London shops. But Westwood was able to make the transition from punk to haute couture without missing a beat, keeping her career going without stooping to self-caricature.\u003c/p>\n\u003cp>“She was always trying to reinvent fashion. Her work is provocative, it’s transgressive. It’s very much rooted in the English tradition of pastiche and irony and satire. She is very proud of her Englishness, and still she sends it up,” Bolton said.\u003c/p>\n\u003cp>One of those transgressive and contentious designs featured a swastika, an inverted image of Jesus Christ on the cross and the word “Destroy.” In an autobiography written with Ian Kelly, she said it was meant as part of a statement against politicians torturing people, citing Chile’s Augusto Pinochet. When asked if she regretted the swastika design in a 2009 interview with Time magazine, Westwood said no.\u003c/p>\n\u003cp>“I don’t, because we were just saying to the older generation, ‘We don’t accept your values or your taboos, and you’re all fascists,’” she responded.\u003c/p>\n\u003cfigure id=\"attachment_13923141\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/GettyImages-1181802149_1200.jpg\" alt=\"Group of people walking, talking, carrying flags and two men wearing headdresses\" width=\"1200\" height=\"798\" class=\"size-full wp-image-13923141\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1181802149_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1181802149_1200-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1181802149_1200-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1181802149_1200-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-1181802149_1200-768x511.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Benny Wenda, the founder of the Free West Papua Campaign and Chairman of the United Liberation Movement for West Papua politically exiled in the UK, Dame Vivienne Westwood and Joe Corré and Extinction Rebellion on their way to a protest action. \u003ccite>(Ollie Millington/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She approached her work with gusto in her early years, but over time seemed to tire of the clamor and buzz. After decades of designing, she sometimes spoke wistfully of moving beyond fashion so she could concentrate on environmental matters and educational projects.\u003c/p>\n\u003cp>“Fashion can be so boring,” she told The Associated Press after unveiling one of her new collections at a 2010 show. “I’m trying to find something else to do.” At the time, she was talking up plans to start a television series about art and science.\u003c/p>\n\u003cp>Her runway shows were always the most chic events, drawing stars from the glittery world of film, music, and television who wanted to bask in Westwood’s reflected glory. But still she spoke out against consumerism and conspicuous consumption, even urging people not to buy her expensive, beautifully made clothes.\u003c/p>\n\u003cp>“I just tell people, stop buying clothes,” she said. “Why not protect this gift of life while we have it? I don’t take the attitude that destruction is inevitable. Some of us would like to stop that and help people survive.”\u003c/p>\n\u003cp>Westwood was a self-taught designer with no formal fashion training. She told \u003cem>Marie Claire\u003c/em> that she learned how to make her own clothes as a teenager by following patterns. When she wanted to sell 1950s-style clothes at her first shop, she found old clothes in markets and took them apart to understand the cut and construction.\u003c/p>\n\u003cp>“It was not a very efficient way of making clothes, but it was a great way for me to build up my technique,” she told the magazine.\u003c/p>\n\u003cp>Westwood was born in the Derbyshire village of Glossop on April 8, 1941. Her family moved to London in 1957 and she attended art school for one term.\u003c/p>\n\u003cp>She met McLaren in the 1960s while working as a primary school teacher after separating from her first husband, Derek Westwood. She and McLaren opened a small shop on the King’s Road in Chelsea in 1971, the tail end of the “Swinging London” era ushered in by the Beatles and the Rolling Stones.\u003c/p>\n\u003cfigure id=\"attachment_13923140\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/GettyImages-592334364_1200.jpg\" alt=\"White man holds up peace sign, white woman drapes arm over his neck\" width=\"1200\" height=\"803\" class=\"size-full wp-image-13923140\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-592334364_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-592334364_1200-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-592334364_1200-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-592334364_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/GettyImages-592334364_1200-768x514.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Malcolm McLaren and Vivienne Westwood outside Bow Street Magistrate Court after being remanded on bail for fighting in 1977. \u003ccite>(Bill Kennedy/Mirrorpix/Mirrorpix via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The shop changed its name and focus several times, operating as “SEX” — Westwood and McLaren were fined in 1975 for an “indecent exhibition” there — and “World’s End” and “Seditionaries.”\u003c/p>\n\u003cp>“Vivienne is gone and the world is already a less interesting place. Love you Viv,” \u003ca href=\"https://twitter.com/ChrissieHynde/status/1608579881528623104\">tweeted Chrissie Hynde\u003c/a>, the frontwoman of the Pretenders and a former worker at the couple’s store.\u003c/p>\n\u003cp>Westwood moved into a fresh type of designing with her “Pirates” collection, exhibited in her first catwalk show in 1981. That breakthrough is credited with taking Westwood in a more traditional direction, showing her interest in incorporating historical British designs into contemporary clothes.\u003c/p>\n\u003cp>It was also an important step in an ongoing rapprochement between Westwood and the fashion world. The rebel eventually became one of its most celebrated stars, known for reinterpreting opulent dresses from the past and often finding inspiration in 18th century paintings.\u003c/p>\n\u003cp>But she still found ways to shock: Her Statue of Liberty corset in 1987 is remembered as the start of “underwear as outerwear” trend.\u003c/p>\n\u003cp>She eventually branched out into a range of business activities, including an alliance with Italian designer Giorgio Armani, and developed her ready-to-wear Red Label line, her more exclusive Gold Label line, a menswear collection and fragrances called Boudoir and Libertine. Westwood shops opened in New York, Hong Kong, Milan and several other major cities.\u003c/p>\n\u003cp>She was named designer of the year by the British Fashion Council in 1990 and 1991.\u003c/p>\n\u003cp>Her uneasy relationship with the British establishment is perhaps best exemplified by her 1992 trip to Buckingham Palace to receive an Order of the British Empire medal from Queen Elizabeth II: She wore no underwear, and posed for photographers in a way that made that abundantly clear.\u003c/p>\n\u003cp>Apparently the queen was not offended: Westwood was invited back to receive the even more auspicious designation of Dame Commander of the British Empire — the female equivalent of a knighthood — in 2006.\u003c/p>\n\u003cp>Westwood is survived by her second husband, Austrian-born Andreas Kronthaler, and her two sons.\u003c/p>\n\u003cp>The first, fashion photographer Ben Westwood, was her son with Derek Westwood. The second, Joe Corré — her son with McLaren — co-founded the upscale Agent Provocateur lingerie line.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Katz, a longtime correspondent for The Associated Press who died in 2020, was the principal writer of this obituary.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In Asian Art Museum's Cyberpunk Exhibition, an Ancient Poet Navigates the Future",
"headTitle": "In Asian Art Museum’s Cyberpunk Exhibition, an Ancient Poet Navigates the Future | KQED",
"content": "\u003cp>During China’s formative and tumultuous Warring States period — a time when various regions fought for territory and political power, from around 475 BCE to 221 BCE — the disillusioned and aging poet Qu Yuan decided to end his life in the Miluo river. In his new exhibition \u003cem>Warring States Cyberpunk\u003c/em>, \u003ca href=\"https://about.asianart.org/press/kongkee-warring-states-cyberpunk/\">opening Nov. 18 at the Asian Art Museum\u003c/a>, visual artist and animator Kongkee creates an alternative futuristic reality wherein Qu Yuan emerges and is granted a second chance.\u003c/p>\n\u003cp>As the poet readjusts to bright, jarring sounds and sights, museum-goers are invited into a similarly overwhelming space, drenched in flashy neon light. Floating projections, optical illusions and sound installations meld past and future, nostalgia and fantasy.\u003c/p>\n\u003cp>“I’m trying to find a way to deconstruct your senses, to push you to rediscover yourself a little bit more,” says Kongkee. Now based in London, the artist grew up in Hong Kong, where tradition and modernity intersect, both contradicting and coexisting with one another. In 2013, he began to incorporate futurism and sci-fi into his comic series, \u003ci>Mi Luo Virtual\u003c/i>, to explore how history can be reinvented — a journey that would eventually culminate in this exhibition.\u003c/p>\n\u003cfigure id=\"attachment_13921758\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Kongkee-comics-1-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921758\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Kongkee-comics-1-800x600.jpg\" alt=\"richly colored comic panels on a museum wall\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kongkee-comics-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kongkee-comics-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kongkee-comics-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kongkee-comics-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kongkee-comics-1-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kongkee-comics-1-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kongkee-comics-1-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Selected comic panels from Kongkee’s work on display. \u003ccite>(Kristie Song/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003ci>Warring States\u003c/i>, the artist uses fluorescent cyberpunk imagery to “rip out” and distort conventional understandings of time and history. In Kongkee’s artistic universe, nothing is linear. Here, he intentionally plays with viewers’ expectations to create a multidimensional timeline: one where where everything can exist at once.\u003c/p>\n\u003cp>“River,” one of many immersive video installations, features a large, moving projection of items drifting in blood-orange water. Kongkee imbues the haunting, dystopian scene with nostalgic objects he grew up seeing in his native Hong Kong: road signs, ferries and a book titled \u003cem>Borrowed Place, Borrowed Time\u003c/em> wade through still waters amidst an apocalyptic backdrop.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He hopes that his bright yet bleak vision of the future provokes hope, urgency and reflection from attendees. There is a universality, he says, that comes from “being a human — being put in the river of time, of the universe.”\u003c/p>\n\u003cfigure id=\"attachment_13921760\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Kongkee-LED--scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921760\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Kongkee-LED--800x600.jpg\" alt=\"colorful LED screen art in a museum\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kongkee-LED--800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kongkee-LED--1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kongkee-LED--160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kongkee-LED--768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kongkee-LED--1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kongkee-LED--2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kongkee-LED--1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">LED installations that explore loneliness and perspective in ‘Kongkee: Warring States Cyberpunk.’ \u003ccite>(Kristie Song/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As for Qu Yuan: Kongkee recasts him as a rock star, strutting through intense, highly saturated landscapes in fashionable robes. The artist speaks of the poet with reverence, noting this contemporary, edgy revamping suits Qu Yuan’s groundbreaking ways. During his time, Qu Yuan ushered in a new style of Romantic poetry that departed from conventional four-character verses in favor of lines that varied in length and expression. In his titular work, \u003cem>Lisao\u003c/em>, he wrote: “I plucked soft lotus petals to wipe my welling tears / That fell down in rivers and wet my coat front.” Like Kongkee, his work was neither minimalistic nor subtle — it was effusive and overflowing.\u003c/p>\n\u003cp>But beyond the aesthetic revitalization of the historical figure, Kongkee is interested in how thinking about alternative pasts can open up pathways to alternative futures.\u003c/p>\n\u003cp>Kongkee’s art doesn’t provide answers — it inundates the senses and scatters timelines so viewers might begin to question their own chronologies. “Art is not about solutions,” Kongkee says. “It’s about the feeling, the connection.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Kongkee: Warring States Cyberpunk’ will be on view Nov. 18, 2022 – Jan. 23, 2023 in the Akiko Yamazaki and Jerry Yang Pavilion at the Asian Art Museum in San Francisco. \u003ca href=\"https://about.asianart.org/plan-your-visit/\">Hours and ticket info here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>During China’s formative and tumultuous Warring States period — a time when various regions fought for territory and political power, from around 475 BCE to 221 BCE — the disillusioned and aging poet Qu Yuan decided to end his life in the Miluo river. In his new exhibition \u003cem>Warring States Cyberpunk\u003c/em>, \u003ca href=\"https://about.asianart.org/press/kongkee-warring-states-cyberpunk/\">opening Nov. 18 at the Asian Art Museum\u003c/a>, visual artist and animator Kongkee creates an alternative futuristic reality wherein Qu Yuan emerges and is granted a second chance.\u003c/p>\n\u003cp>As the poet readjusts to bright, jarring sounds and sights, museum-goers are invited into a similarly overwhelming space, drenched in flashy neon light. Floating projections, optical illusions and sound installations meld past and future, nostalgia and fantasy.\u003c/p>\n\u003cp>“I’m trying to find a way to deconstruct your senses, to push you to rediscover yourself a little bit more,” says Kongkee. Now based in London, the artist grew up in Hong Kong, where tradition and modernity intersect, both contradicting and coexisting with one another. In 2013, he began to incorporate futurism and sci-fi into his comic series, \u003ci>Mi Luo Virtual\u003c/i>, to explore how history can be reinvented — a journey that would eventually culminate in this exhibition.\u003c/p>\n\u003cfigure id=\"attachment_13921758\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Kongkee-comics-1-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921758\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Kongkee-comics-1-800x600.jpg\" alt=\"richly colored comic panels on a museum wall\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kongkee-comics-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kongkee-comics-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kongkee-comics-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kongkee-comics-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kongkee-comics-1-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kongkee-comics-1-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kongkee-comics-1-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Selected comic panels from Kongkee’s work on display. \u003ccite>(Kristie Song/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003ci>Warring States\u003c/i>, the artist uses fluorescent cyberpunk imagery to “rip out” and distort conventional understandings of time and history. In Kongkee’s artistic universe, nothing is linear. Here, he intentionally plays with viewers’ expectations to create a multidimensional timeline: one where where everything can exist at once.\u003c/p>\n\u003cp>“River,” one of many immersive video installations, features a large, moving projection of items drifting in blood-orange water. Kongkee imbues the haunting, dystopian scene with nostalgic objects he grew up seeing in his native Hong Kong: road signs, ferries and a book titled \u003cem>Borrowed Place, Borrowed Time\u003c/em> wade through still waters amidst an apocalyptic backdrop.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He hopes that his bright yet bleak vision of the future provokes hope, urgency and reflection from attendees. There is a universality, he says, that comes from “being a human — being put in the river of time, of the universe.”\u003c/p>\n\u003cfigure id=\"attachment_13921760\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Kongkee-LED--scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921760\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Kongkee-LED--800x600.jpg\" alt=\"colorful LED screen art in a museum\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kongkee-LED--800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kongkee-LED--1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kongkee-LED--160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kongkee-LED--768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kongkee-LED--1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kongkee-LED--2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kongkee-LED--1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">LED installations that explore loneliness and perspective in ‘Kongkee: Warring States Cyberpunk.’ \u003ccite>(Kristie Song/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As for Qu Yuan: Kongkee recasts him as a rock star, strutting through intense, highly saturated landscapes in fashionable robes. The artist speaks of the poet with reverence, noting this contemporary, edgy revamping suits Qu Yuan’s groundbreaking ways. During his time, Qu Yuan ushered in a new style of Romantic poetry that departed from conventional four-character verses in favor of lines that varied in length and expression. In his titular work, \u003cem>Lisao\u003c/em>, he wrote: “I plucked soft lotus petals to wipe my welling tears / That fell down in rivers and wet my coat front.” Like Kongkee, his work was neither minimalistic nor subtle — it was effusive and overflowing.\u003c/p>\n\u003cp>But beyond the aesthetic revitalization of the historical figure, Kongkee is interested in how thinking about alternative pasts can open up pathways to alternative futures.\u003c/p>\n\u003cp>Kongkee’s art doesn’t provide answers — it inundates the senses and scatters timelines so viewers might begin to question their own chronologies. “Art is not about solutions,” Kongkee says. “It’s about the feeling, the connection.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Kongkee: Warring States Cyberpunk’ will be on view Nov. 18, 2022 – Jan. 23, 2023 in the Akiko Yamazaki and Jerry Yang Pavilion at the Asian Art Museum in San Francisco. \u003ca href=\"https://about.asianart.org/plan-your-visit/\">Hours and ticket info here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Aklasan Fest, The Only Filipino Punk Festival in the U.S., Celebrates Its Return",
"headTitle": "Aklasan Fest, The Only Filipino Punk Festival in the U.S., Celebrates Its Return | KQED",
"content": "\u003cp>While the San Francisco Bay area was focused on the larger Outside Lands festival, where mainstream punk band Green Day took the main stage earlier this month, 3 miles south, in the city’s South of Market neighborhood, a smaller minority of predominantly POC and queer folks gathered at Bindlestiff Studios to enjoy the seventh annual Aklasan Fest. The punk scene as we know it is usually a space dominated by cis white men, but in true punk fashion, Aklasan Fest prioritized the often unheard and unseen voices of punk, creating an inclusive space that was not only educating attendees about Filpino oppression but also highlighting the struggles of marginalized identities through the lens of Filipinos and Filipino Americans.\u003c/p>\n\u003cp>Rupert Estanisalo, who founded the event in 2014, says Aklasan Fest is “the only Filipino punk festival or event like this.” He says he wanted to “create a space just for Filipino punks that looked like me and cared about the issues I cared about that are anti-imperialist, activist and pro-people of color.” In Tagalog, Aklasan means “Rise Up,” and after a two-year pandemic-induced hiatus, it returned, featuring 15 bands from across the country.\u003c/p>\n\u003cfigure id=\"attachment_13917915\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13917915 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1.png\" alt=\"\" width=\"2600\" height=\"1731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1-2048x1363.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1-1920x1278.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">Attendees headbang and dance to the music at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a Filipino-American photographer, Aklasan is important because it creates a space for us to gather, as a community, to express ourselves and tell our stories artistically. Being the only Filipino punk show in the nation in itself is special. The festival is carving its path and place in the punk scene, surrounded by a robust and tight-knit community who cares about the music and the people.\u003c/p>\n\u003cfigure id=\"attachment_13917916\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13917916 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-scaled.jpg\" alt=\"\" width=\"2560\" height=\"859\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-800x268.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-1020x342.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-160x54.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-768x258.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-1536x515.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-2048x687.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-1920x644.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Juan Salazar, the lead vocalist for Bomb PE, (left) and Brenton Aragon, a vocalist with Moxiebeat, (right) perform at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022 (\u003cspan class=\"credit\" aria-label=\"Image credit\">Justin Katigbak for NPR)\u003c/span> \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917919\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13917919 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1913\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85-800x589.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85-1020x750.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85-160x118.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85-768x565.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85-1536x1130.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85-2048x1507.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85-1920x1413.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">Rupert Estanislao, the lead vocalist for Toxic Culture and Bolo, performs at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the dark setting of Bindlestiff, you find yourself surrounded by straight-edge, immigrant, tatted, vegan, working class, Filipino and Filipino-American hardcore punks as well as fans who range in ages, races and genders, moshing to music in both Tagalog and English. Romeo Reyes-Pagdilao, the lead singer of Silakbo, says, “You got bands like us (Silakbo) or our friends like Material Support and Moxiebeat. They got songs talking about our experiences, being Filipino, working people, and growing up in the bell of the beast, the United States.”\u003c/p>\n\u003cfigure id=\"attachment_13917920\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917920\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85-2048x1363.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85-1920x1278.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">JJ Weber, of Obsolete Sun, performs at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917921\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917921\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85-2048x1363.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85-1920x1278.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">Jackie Maegan, the lead vocalist for Material Support, performs at the the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Material Support performed “Cost of Living,” written to highlight how difficult it is for working-class people to afford basic housing or food for their families in America. One of the most memorable moments of the festival was when Jackie Mariano, Material Support’s lead singer, gutturally sang out “racialized mass graves” to punctuate the end of the song. “When we wrote it,” Mariano says, “I was thinking of the concept of how we’re forced to navigate the world by class and race. My dad, who died in 2016, is buried in a nice Catholic cemetery in Queens (NY) in a conservative, white, middle-class neighborhood, and with that being our only ‘real estate,’ I still felt like we were out of place, didn’t belong there. What a different juxtaposition for my Filipino immigrant dad to be laid to rest in a nice place, versus many other people who die in war, occupation and are dumped in mass graves. When COVID happened, it’s like the concept of racialized mass graves was made real on Potter’s Field — people constantly forgotten because they were marginalized in life and in death.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Like Material Support, most of the bands featured at the festival highlighted the social and economic issues faced by thousands of Filipinos and Filipino-Americans here in the United States and in the Philippines. About the song “World of Death,” Reyes-Pagdilo tells me: “It’s about the world around me and how it can seem very bleak — from climate change (to) living in San Francisco, (the city) with the highest homeless population (where) drug abuse is really rampant — meanwhile, we don’t make enough to eat and (we) work ourselves to the bone.”\u003c/p>\n\u003cfigure id=\"attachment_13917922\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917922\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85-2048x1363.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85-1920x1278.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">Mango, of Mirrored Fatality, performs at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917923\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13917923 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85-2048x1363.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85-1920x1278.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">Mango and Samar, of Mirrored Fatality, perform at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Aklasan Fest is like no other, but it’s also become a place of community for many of those who played and attended. AJ Santos, of Material Support and a Filipino immigrant, says the festival is “one of the most important punk fests in the entire world … because it’s one of the festivals that feels like a genuine community — because most of the punk fests that I have been in don’t have the feeling of community.” Aklasan has created a space that centers the voices of Filipinos and Filipino-Americans to agitate, organize and mobilize their community to fight for genuine freedom in the Philippines.\u003c/p>\n\u003cfigure id=\"attachment_13917924\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917924\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1727\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85-800x531.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85-1020x678.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85-768x510.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85-1536x1020.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85-2048x1360.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85-1920x1275.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">Frankie Ortanez, the lead vocalist for Kanta Kanta, performs at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917925\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917925\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-scaled.jpg\" alt=\"\" width=\"2560\" height=\"850\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-800x266.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-1020x339.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-160x53.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-768x255.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-1536x510.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-2048x680.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-1920x637.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Romeo Reyes-Pagdilao, the lead vocalist for Silakbo, performs (left) as attendees headbang and dance to the music (right) at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022.\u003c/figcaption>\u003c/figure>\n\u003cp>As someone new to punk music and who’s only been to a few shows, I felt connected to the people there through their music and how they showed up for each other. As in any gathering of Filipinos, you’re greeted by everyone, taken care of and walk away well fed. At the festival, people in the crowd were handing out water, socializing in between sets and picking up people who’d fallen down during the mosh pit. Bands let other bands borrow their instruments and then stuck around to watch the others play their sets in a show of support. At times, it felt more like I was spending time with family than at a festival.\u003c/p>\n\u003cp>Closing out the night’s lineup, after the last notes from Material Support, Rupert led the crowd in a chant of “Makibaka! Huwag matakot!,” which translates to “Fight! Do not be afraid!”, reminding fans that this festival is bigger than just the beats, screams and guitar riffs: More importantly, it’s about community and our fight for freedom.\u003c/p>\n\u003cfigure id=\"attachment_13917926\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917926\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85-2048x1363.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85-1920x1278.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">Attendees dance to the music at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917927\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917927\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85-2048x1363.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85-1920x1278.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">JJ Weber, of Obsolete Sun, performs at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917928\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917928\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85-2048x1363.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85-1920x1278.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">Mango, of Mirrored Fatality, performs at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Justin Katigbak is a Filipino-American documentary photographer and videographer. See more of Justin Katigbak’s work on his website, \u003c/em>\u003ca href=\"http://www.justinkatigbak.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>justinkatigbak.com\u003c/em>\u003c/a>\u003cem>, or on Instagram, at \u003c/em>\u003ca href=\"https://www.instagram.com/justin.katigbak/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>@justin.katigbak\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\n\u003cp>\u003cb>\u003ci>Copyright 2022 NPR. To see more, \u003c/i>\u003c/b>\u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cb>\u003ci>visit NPR\u003c/i>\u003c/b>\u003c/a>.\u003c/p>\n\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>While the San Francisco Bay area was focused on the larger Outside Lands festival, where mainstream punk band Green Day took the main stage earlier this month, 3 miles south, in the city’s South of Market neighborhood, a smaller minority of predominantly POC and queer folks gathered at Bindlestiff Studios to enjoy the seventh annual Aklasan Fest. The punk scene as we know it is usually a space dominated by cis white men, but in true punk fashion, Aklasan Fest prioritized the often unheard and unseen voices of punk, creating an inclusive space that was not only educating attendees about Filpino oppression but also highlighting the struggles of marginalized identities through the lens of Filipinos and Filipino Americans.\u003c/p>\n\u003cp>Rupert Estanisalo, who founded the event in 2014, says Aklasan Fest is “the only Filipino punk festival or event like this.” He says he wanted to “create a space just for Filipino punks that looked like me and cared about the issues I cared about that are anti-imperialist, activist and pro-people of color.” In Tagalog, Aklasan means “Rise Up,” and after a two-year pandemic-induced hiatus, it returned, featuring 15 bands from across the country.\u003c/p>\n\u003cfigure id=\"attachment_13917915\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13917915 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1.png\" alt=\"\" width=\"2600\" height=\"1731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1-2048x1363.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-343_custom-43ebba8432337dc5b83507d7902c7283fe1b8ec8-s2600-c85-1-1920x1278.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">Attendees headbang and dance to the music at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a Filipino-American photographer, Aklasan is important because it creates a space for us to gather, as a community, to express ourselves and tell our stories artistically. Being the only Filipino punk show in the nation in itself is special. The festival is carving its path and place in the punk scene, surrounded by a robust and tight-knit community who cares about the music and the people.\u003c/p>\n\u003cfigure id=\"attachment_13917916\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13917916 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-scaled.jpg\" alt=\"\" width=\"2560\" height=\"859\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-800x268.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-1020x342.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-160x54.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-768x258.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-1536x515.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-2048x687.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk9_custom-0ec71ece9026d42f64310ada91013098fbc7b599-s2600-c85-2-1920x644.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Juan Salazar, the lead vocalist for Bomb PE, (left) and Brenton Aragon, a vocalist with Moxiebeat, (right) perform at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022 (\u003cspan class=\"credit\" aria-label=\"Image credit\">Justin Katigbak for NPR)\u003c/span> \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917919\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13917919 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1913\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85-800x589.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85-1020x750.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85-160x118.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85-768x565.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85-1536x1130.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85-2048x1507.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-169-2_custom-2faa6ff56126e0a621be6ba4f84f266182481015-s2600-c85-1920x1413.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">Rupert Estanislao, the lead vocalist for Toxic Culture and Bolo, performs at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the dark setting of Bindlestiff, you find yourself surrounded by straight-edge, immigrant, tatted, vegan, working class, Filipino and Filipino-American hardcore punks as well as fans who range in ages, races and genders, moshing to music in both Tagalog and English. Romeo Reyes-Pagdilao, the lead singer of Silakbo, says, “You got bands like us (Silakbo) or our friends like Material Support and Moxiebeat. They got songs talking about our experiences, being Filipino, working people, and growing up in the bell of the beast, the United States.”\u003c/p>\n\u003cfigure id=\"attachment_13917920\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917920\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85-2048x1363.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-106_custom-f6631cc9dc426c5574e078b34e4f2912f1be11b5-s2600-c85-1920x1278.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">JJ Weber, of Obsolete Sun, performs at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917921\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917921\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85-2048x1363.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-412_custom-7d811384aa00dde53dd40d5da71ec1f31ee31ffc-s2600-c85-1920x1278.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">Jackie Maegan, the lead vocalist for Material Support, performs at the the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Material Support performed “Cost of Living,” written to highlight how difficult it is for working-class people to afford basic housing or food for their families in America. One of the most memorable moments of the festival was when Jackie Mariano, Material Support’s lead singer, gutturally sang out “racialized mass graves” to punctuate the end of the song. “When we wrote it,” Mariano says, “I was thinking of the concept of how we’re forced to navigate the world by class and race. My dad, who died in 2016, is buried in a nice Catholic cemetery in Queens (NY) in a conservative, white, middle-class neighborhood, and with that being our only ‘real estate,’ I still felt like we were out of place, didn’t belong there. What a different juxtaposition for my Filipino immigrant dad to be laid to rest in a nice place, versus many other people who die in war, occupation and are dumped in mass graves. When COVID happened, it’s like the concept of racialized mass graves was made real on Potter’s Field — people constantly forgotten because they were marginalized in life and in death.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Like Material Support, most of the bands featured at the festival highlighted the social and economic issues faced by thousands of Filipinos and Filipino-Americans here in the United States and in the Philippines. About the song “World of Death,” Reyes-Pagdilo tells me: “It’s about the world around me and how it can seem very bleak — from climate change (to) living in San Francisco, (the city) with the highest homeless population (where) drug abuse is really rampant — meanwhile, we don’t make enough to eat and (we) work ourselves to the bone.”\u003c/p>\n\u003cfigure id=\"attachment_13917922\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917922\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85-2048x1363.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-296_custom-5562ddf32c1e72801069217a6a4660d05a1dc4c4-s2600-c85-1920x1278.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">Mango, of Mirrored Fatality, performs at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917923\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13917923 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85-2048x1363.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-313_custom-57d8aa559957a3f5493c3ab66759b95549c8e052-s2600-c85-1920x1278.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">Mango and Samar, of Mirrored Fatality, perform at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Aklasan Fest is like no other, but it’s also become a place of community for many of those who played and attended. AJ Santos, of Material Support and a Filipino immigrant, says the festival is “one of the most important punk fests in the entire world … because it’s one of the festivals that feels like a genuine community — because most of the punk fests that I have been in don’t have the feeling of community.” Aklasan has created a space that centers the voices of Filipinos and Filipino-Americans to agitate, organize and mobilize their community to fight for genuine freedom in the Philippines.\u003c/p>\n\u003cfigure id=\"attachment_13917924\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917924\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1727\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85-800x531.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85-1020x678.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85-768x510.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85-1536x1020.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85-2048x1360.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-319_custom-5d2663f96e09a101f89c01aeedd46d24d3f96677-s2600-c85-1920x1275.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">Frankie Ortanez, the lead vocalist for Kanta Kanta, performs at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917925\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917925\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-scaled.jpg\" alt=\"\" width=\"2560\" height=\"850\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-800x266.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-1020x339.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-160x53.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-768x255.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-1536x510.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-2048x680.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/jk6_custom-25252d8ba7bf3202e28ae297f75ad8ce20c231ee-s2600-c85-1920x637.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Romeo Reyes-Pagdilao, the lead vocalist for Silakbo, performs (left) as attendees headbang and dance to the music (right) at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022.\u003c/figcaption>\u003c/figure>\n\u003cp>As someone new to punk music and who’s only been to a few shows, I felt connected to the people there through their music and how they showed up for each other. As in any gathering of Filipinos, you’re greeted by everyone, taken care of and walk away well fed. At the festival, people in the crowd were handing out water, socializing in between sets and picking up people who’d fallen down during the mosh pit. Bands let other bands borrow their instruments and then stuck around to watch the others play their sets in a show of support. At times, it felt more like I was spending time with family than at a festival.\u003c/p>\n\u003cp>Closing out the night’s lineup, after the last notes from Material Support, Rupert led the crowd in a chant of “Makibaka! Huwag matakot!,” which translates to “Fight! Do not be afraid!”, reminding fans that this festival is bigger than just the beats, screams and guitar riffs: More importantly, it’s about community and our fight for freedom.\u003c/p>\n\u003cfigure id=\"attachment_13917926\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917926\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85-2048x1363.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08062022-aklasan-404_custom-9f61f1ab6d3474c8edcfca6272500b24dbd4fce6-s2600-c85-1920x1278.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">Attendees dance to the music at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917927\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917927\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85-2048x1363.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-100_custom-7a15dc8ce0911500ee6d8fa6d4a4c18d945f89fe-s2600-c85-1920x1278.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">JJ Weber, of Obsolete Sun, performs at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917928\" class=\"wp-caption alignnone\" style=\"max-width: 2600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917928\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85.png\" alt=\"\" width=\"2600\" height=\"1731\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85.png 2600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85-2048x1363.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/08052022-aklasan-279_custom-374f7ae0763cfee4c38aa04ba99845dae569fa09-s2600-c85-1920x1278.png 1920w\" sizes=\"(max-width: 2600px) 100vw, 2600px\">\u003cfigcaption class=\"wp-caption-text\">Mango, of Mirrored Fatality, performs at the seventh annual Aklasan Festival in San Francisco on Aug. 5, 2022. \u003ccite>(Justin Katigbak for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Justin Katigbak is a Filipino-American documentary photographer and videographer. See more of Justin Katigbak’s work on his website, \u003c/em>\u003ca href=\"http://www.justinkatigbak.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>justinkatigbak.com\u003c/em>\u003c/a>\u003cem>, or on Instagram, at \u003c/em>\u003ca href=\"https://www.instagram.com/justin.katigbak/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>@justin.katigbak\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\n\u003cp>\u003cb>\u003ci>Copyright 2022 NPR. To see more, \u003c/i>\u003c/b>\u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cb>\u003ci>visit NPR\u003c/i>\u003c/b>\u003c/a>.\u003c/p>\n\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Now Entering the 143rd Dimension: The Bay Area's Beloved BIPOC Punk Festival Returns",
"headTitle": "Now Entering the 143rd Dimension: The Bay Area’s Beloved BIPOC Punk Festival Returns | KQED",
"content": "\u003cp>From the outside, The Lab doesn’t appear especially vibrant. It’s located within an unassuming brick building in the Mission District. But on Friday evening, the experimental art and performance space will house one of the Bay Area’s most anticipated DIY punk shows of the summer: the 143rd Dimension.\u003c/p>\n\u003cp>The in-person, three-day festival returns Aug. 12–14 following a two-year break—its last iteration was entirely virtual—to center a lineup of queer Black and Brown performers, musicians and DJs. More than two dozen artists are scheduled to screen their films, perform live sets and showcase new work.\u003c/p>\n\u003cp>Previously known as \u003ca href=\"https://www.sfchronicle.com/music/article/The-Universe-Is-Lit-puts-light-on-black-and-brown-11728121.php\" target=\"_blank\" rel=\"noopener noreferrer\">The Universe is Lit\u003c/a>, the festival began in 2017 as a means to provide a safe and affirming environment for Black and Brown DIY artists to commune and celebrate each other’s existence. But Shawna Shawnté, the last remaining organizer from the festival’s original leadership, thinks of the 143rd Dimension as more than a breeding ground for DIY talent. To Shawnté, it’s an evolving entity, moving towards liberation and resisting the flattening of BIPOC identity and artistry.\u003c/p>\n\u003cfigure id=\"attachment_13838586\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2018/08/multivers-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838586\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/08/multivers-1-800x450.jpg\" alt=\"Shawna Shante Scroggins (left) and Jade Ariana Fair envision The Multivers is Illuminated as a way to celebrate black and brown punk and experimental musicians.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/multivers-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/multivers-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/multivers-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/multivers-1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/multivers-1-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/multivers-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/multivers-1-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/multivers-1-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/multivers-1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/multivers-1-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/multivers-1-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Shawna Shawnté (left) and Jade Ariana Fair, two of the festival’s original co-founders, envisioned a multi-day punk festival as a way to celebrate Black and Brown DIY musicians. \u003ccite>(Jeffie Freeman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’re never gonna get liberation by appealing to our oppressors,” says Shawnté. “That seemed like a waste of energy. Like, ‘Let’s feed into each other, let’s build into one another.’”\u003c/p>\n\u003cp>Shawnté says they hope to pass on the feeling of safety and exploration that they were provided when they first moved to the Bay Area in 2005. Through living in queer collective housing, they began exploring their sexual and gender identities. They picked up music from roommates. Years later, after becoming embedded in the DIY punk scene through performing, Shawnté and a group of friends started the Bay Area Booking Collective to organize shows that reflected the diverse communities they were part of.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We started booking shows that were focused on queer bands, Black, Indigenous and people of color across diasporas,” says Shawnté. “And then we thought, how can we make it \u003cem>more\u003c/em> queer and \u003cem>more\u003c/em> Black and Brown?”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=UUrqVXLe2-A\u003c/p>\n\u003cp>Shawnté learned more about organizing events while working at \u003ca href=\"https://www.kqed.org/arts/23032/bay_area_girls_rock_camp_how_to_spend_a_summer_rock_vacation\">Bay Area Girls Rock Camp\u003c/a>, an Oakland nonprofit dedicated to empowering young girls with music. Inspired by other punk festivals but noticing a lack of queer Black and Brown artists on their lineups, Shawnté and three other organizers assembled a free, multi-day experience for local punks to come together, share music, dance, scream and hold one another—literally and metaphorically. In 2018, The Universe is Lit became \u003ca href=\"https://www.kqed.org/arts/13838574/the-multivers-is-illuminated-festival-spotlights-black-and-brown-punks\">The Multivrs is Illuminated\u003c/a>, which organizers say reflected the festival’s shift towards honoring the full lives of each attendant and performer.\u003c/p>\n\u003cp>Many of the festival’s performers say the event has encouraged them to lean into their art. \u003ca href=\"https://www.juiceboxpburton.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Juicebox P. Burton\u003c/a>, a Black trans-fem multidisciplinary artist and the other half of this year’s organizing duo, had just started working with film when they attended The Multivrs is Illuminated in 2018. The piece they decided to screen revolved around sex work, and the reception they received at the festival felt transformative.\u003c/p>\n\u003cp>“That was the first time I had screened my film in front of people of color, Black people. And the way I felt that day, I think, is one of the main reasons why I continue to stay a filmmaker,” says Burton. “I was in tears and people understood it. At that moment, I felt like an artist. I was like, ‘Oh my God, this actually makes sense. I should keep doing this.’”\u003c/p>\n\u003cp>Burton describes herself as a late bloomer to the queer community. In her 30s, she began performing drag before delving into performance art, music and film. Now, working as an organizer, she bubbles with excitement at the prospect of recreating her 2018 experience for this year’s attendees. Recognizing the dearth of punk festivals meant to uplift queer Black and Brown artists, Burton hopes this year’s event will be meaningful for those navigating a world that views unconventionality as disadvantage.\u003c/p>\n\u003cfigure id=\"attachment_13784822\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2017/07/MayaSongbird.JazYossarian.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13784822\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/07/MayaSongbird.JazYossarian-800x587.jpg\" alt=\"a portrait of a black woman with black and blonde braides and blue and red lipstick\" width=\"800\" height=\"587\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MayaSongbird.JazYossarian.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MayaSongbird.JazYossarian-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MayaSongbird.JazYossarian-768x564.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MayaSongbird.JazYossarian-240x176.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MayaSongbird.JazYossarian-375x275.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MayaSongbird.JazYossarian-520x382.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Maya Songbird is among the returning performers at the 143rd Dimension in San Francisco. \u003ccite>(Jaz Yossarian)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://www.mayasongbird.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Maya Songbird\u003c/a>, a returning performer, rebels against the ordinary. A queer Black disco punk singer who grew up in San Francisco’s Castro District, Songbird reflects her persona in her songs: lurid and witchy, haunting and sensual. She begins each of her shows with a magic ritual to set a mood.\u003c/p>\n\u003cp>“We don’t do shyness,” says Songbird. “We’re gonna dance. We’re gonna leave whatever stress, worries we had for the day at the door because we came here to turn up.”\u003c/p>\n\u003cp>The festival has also been a stable source of funding for Songbird. DIY artist spaces in the Bay Area have a long history of being underfunded, an issue that has only been exacerbated by tragedies like the 2016 Ghost Ship fire and the pandemic. So to Songbird, the festival is a necessary fixture of the scene. It provides a chance to be “paid decently” and to connect with fellow artists and new supporters. The 143rd Dimension represents hope and empowerment, says the artist, and is a movement she wants to be part of for a very long time.\u003c/p>\n\u003cp>“I hope I’m like 70 years old, talking about ‘This is my year number 55!’” she says.\u003c/p>\n\u003cp>For newer festival performers, the 143rd Dimension might be a chance to experiment with their most authentic selves. \u003ca href=\"https://lbxx.onuniverse.com/\" target=\"_blank\" rel=\"noopener noreferrer\">LBXX\u003c/a> (pronounced Lunchbox), an emerging queer hip-hop artist, has come a long way since he moved to the Bay in 2018 and began releasing music.\u003c/p>\n\u003cp>His stage name comes from his experience as an educator, a stint where some of his fondest memories were formed when serving food to young students as a “lunch lady.”\u003c/p>\n\u003cp>“That was the only time that every kid in the building was really happy to see you, no matter what,” he says.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BQ0kwrtAEag\u003c/p>\n\u003cp>As he prepares to perform new singles from his sophomore EP \u003ci>Ready to Dine\u003c/i>, LBXX is also looking forward to fostering friendships with fellow queer Black and Brown artists. Most of all, he yearns for the crowds, for the opportunity to command their attention and make sure his name reverberates in their minds long after.\u003c/p>\n\u003cp>“So I hope the girls are ready,” he says. “I’m gonna bring that energy.”\u003c/p>\n\u003cp>\u003ca href=\"https://mirroredfatality.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Mirrored fatality\u003c/a>, an underground Kapampangan and South Asian nonbinary duo, create experimental noise punk music that includes spoken word, film and performance art.\u003c/p>\n\u003cp>Together, Samar and Mango form “cocoon webs,” portals of ambient sound meant to protect and embrace anyone who interacts with them. The duo describe themselves as farmers, educators, musicians and organizers; woven into their music are themes of community, mutual aid, prison abolition and anti-imperialist education. With the 143rd Dimension, they’ve found new ground for planting roots—all part of their mission to create love and security in queer BIPOC communities.\u003c/p>\n\u003cfigure id=\"attachment_13917538\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917538\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Screen-Shot-2022-08-11-at-7.02.19-PM-800x775.png\" alt=\"\" width=\"800\" height=\"775\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-11-at-7.02.19-PM-800x775.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-11-at-7.02.19-PM-1020x988.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-11-at-7.02.19-PM-160x155.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-11-at-7.02.19-PM-768x744.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-11-at-7.02.19-PM-1536x1488.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-11-at-7.02.19-PM.png 1606w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mirrored fatality, an experimental noise punk duo, will perform at the 143rd Dimension festival this weekend. \u003ccite>(Ian Castro )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We live in a world that does not necessarily value our creative labor or our expression or create a space that specifically centers us,” says Samar. So the festival “feels like such a huge gift.”\u003c/p>\n\u003cp>“All of the labor and time that went into bringing all of us together, and being able to bear witness to that, feels really special,” Samar continues.\u003c/p>\n\u003cp>Mirrored fatality says their artistry is defined by the ways they’ve received support from other queer Black and Brown folks, including housing and rehearsal spaces, food and kinship. Describing themselves as mycelium, roots and air—always intertwined and connected—mirrored fatality adapt depending on the needs of their audience: visceral and hardcore in some spaces, tender and intimate in others.\u003c/p>\n\u003cp>“It’s not just about our performance on stage, it’s also about who we’re playing with,” says Mango. “So if we know everyone on the lineup is QTBIPOC, we’re going to come prepared with bottles of water. We’re going to come prepared with three bags of fruit. We’re going to come prepared with snacks and incense and gifts and spoil everyone, because every fucking person on that lineup needs to be spoiled today.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The 143rd Dimension takes place Aug. 12-14, with the first two days being held at \u003ca href=\"https://www.thelab.org/\">The Lab\u003c/a> in San Francisco, and the final day at a secret Oakland location. More information \u003ca href=\"https://www.instagram.com/143rd_dimension/\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"title": "Now Entering the 143rd Dimension: The Bay Area's Beloved BIPOC Punk Festival Returns | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>From the outside, The Lab doesn’t appear especially vibrant. It’s located within an unassuming brick building in the Mission District. But on Friday evening, the experimental art and performance space will house one of the Bay Area’s most anticipated DIY punk shows of the summer: the 143rd Dimension.\u003c/p>\n\u003cp>The in-person, three-day festival returns Aug. 12–14 following a two-year break—its last iteration was entirely virtual—to center a lineup of queer Black and Brown performers, musicians and DJs. More than two dozen artists are scheduled to screen their films, perform live sets and showcase new work.\u003c/p>\n\u003cp>Previously known as \u003ca href=\"https://www.sfchronicle.com/music/article/The-Universe-Is-Lit-puts-light-on-black-and-brown-11728121.php\" target=\"_blank\" rel=\"noopener noreferrer\">The Universe is Lit\u003c/a>, the festival began in 2017 as a means to provide a safe and affirming environment for Black and Brown DIY artists to commune and celebrate each other’s existence. But Shawna Shawnté, the last remaining organizer from the festival’s original leadership, thinks of the 143rd Dimension as more than a breeding ground for DIY talent. To Shawnté, it’s an evolving entity, moving towards liberation and resisting the flattening of BIPOC identity and artistry.\u003c/p>\n\u003cfigure id=\"attachment_13838586\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2018/08/multivers-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838586\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/08/multivers-1-800x450.jpg\" alt=\"Shawna Shante Scroggins (left) and Jade Ariana Fair envision The Multivers is Illuminated as a way to celebrate black and brown punk and experimental musicians.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/multivers-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/multivers-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/multivers-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/multivers-1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/multivers-1-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/multivers-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/multivers-1-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/multivers-1-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/multivers-1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/multivers-1-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/multivers-1-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Shawna Shawnté (left) and Jade Ariana Fair, two of the festival’s original co-founders, envisioned a multi-day punk festival as a way to celebrate Black and Brown DIY musicians. \u003ccite>(Jeffie Freeman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’re never gonna get liberation by appealing to our oppressors,” says Shawnté. “That seemed like a waste of energy. Like, ‘Let’s feed into each other, let’s build into one another.’”\u003c/p>\n\u003cp>Shawnté says they hope to pass on the feeling of safety and exploration that they were provided when they first moved to the Bay Area in 2005. Through living in queer collective housing, they began exploring their sexual and gender identities. They picked up music from roommates. Years later, after becoming embedded in the DIY punk scene through performing, Shawnté and a group of friends started the Bay Area Booking Collective to organize shows that reflected the diverse communities they were part of.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We started booking shows that were focused on queer bands, Black, Indigenous and people of color across diasporas,” says Shawnté. “And then we thought, how can we make it \u003cem>more\u003c/em> queer and \u003cem>more\u003c/em> Black and Brown?”\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/UUrqVXLe2-A'\n title='//www.youtube.com/embed/UUrqVXLe2-A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Shawnté learned more about organizing events while working at \u003ca href=\"https://www.kqed.org/arts/23032/bay_area_girls_rock_camp_how_to_spend_a_summer_rock_vacation\">Bay Area Girls Rock Camp\u003c/a>, an Oakland nonprofit dedicated to empowering young girls with music. Inspired by other punk festivals but noticing a lack of queer Black and Brown artists on their lineups, Shawnté and three other organizers assembled a free, multi-day experience for local punks to come together, share music, dance, scream and hold one another—literally and metaphorically. In 2018, The Universe is Lit became \u003ca href=\"https://www.kqed.org/arts/13838574/the-multivers-is-illuminated-festival-spotlights-black-and-brown-punks\">The Multivrs is Illuminated\u003c/a>, which organizers say reflected the festival’s shift towards honoring the full lives of each attendant and performer.\u003c/p>\n\u003cp>Many of the festival’s performers say the event has encouraged them to lean into their art. \u003ca href=\"https://www.juiceboxpburton.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Juicebox P. Burton\u003c/a>, a Black trans-fem multidisciplinary artist and the other half of this year’s organizing duo, had just started working with film when they attended The Multivrs is Illuminated in 2018. The piece they decided to screen revolved around sex work, and the reception they received at the festival felt transformative.\u003c/p>\n\u003cp>“That was the first time I had screened my film in front of people of color, Black people. And the way I felt that day, I think, is one of the main reasons why I continue to stay a filmmaker,” says Burton. “I was in tears and people understood it. At that moment, I felt like an artist. I was like, ‘Oh my God, this actually makes sense. I should keep doing this.’”\u003c/p>\n\u003cp>Burton describes herself as a late bloomer to the queer community. In her 30s, she began performing drag before delving into performance art, music and film. Now, working as an organizer, she bubbles with excitement at the prospect of recreating her 2018 experience for this year’s attendees. Recognizing the dearth of punk festivals meant to uplift queer Black and Brown artists, Burton hopes this year’s event will be meaningful for those navigating a world that views unconventionality as disadvantage.\u003c/p>\n\u003cfigure id=\"attachment_13784822\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2017/07/MayaSongbird.JazYossarian.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13784822\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/07/MayaSongbird.JazYossarian-800x587.jpg\" alt=\"a portrait of a black woman with black and blonde braides and blue and red lipstick\" width=\"800\" height=\"587\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MayaSongbird.JazYossarian.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MayaSongbird.JazYossarian-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MayaSongbird.JazYossarian-768x564.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MayaSongbird.JazYossarian-240x176.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MayaSongbird.JazYossarian-375x275.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MayaSongbird.JazYossarian-520x382.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Maya Songbird is among the returning performers at the 143rd Dimension in San Francisco. \u003ccite>(Jaz Yossarian)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://www.mayasongbird.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Maya Songbird\u003c/a>, a returning performer, rebels against the ordinary. A queer Black disco punk singer who grew up in San Francisco’s Castro District, Songbird reflects her persona in her songs: lurid and witchy, haunting and sensual. She begins each of her shows with a magic ritual to set a mood.\u003c/p>\n\u003cp>“We don’t do shyness,” says Songbird. “We’re gonna dance. We’re gonna leave whatever stress, worries we had for the day at the door because we came here to turn up.”\u003c/p>\n\u003cp>The festival has also been a stable source of funding for Songbird. DIY artist spaces in the Bay Area have a long history of being underfunded, an issue that has only been exacerbated by tragedies like the 2016 Ghost Ship fire and the pandemic. So to Songbird, the festival is a necessary fixture of the scene. It provides a chance to be “paid decently” and to connect with fellow artists and new supporters. The 143rd Dimension represents hope and empowerment, says the artist, and is a movement she wants to be part of for a very long time.\u003c/p>\n\u003cp>“I hope I’m like 70 years old, talking about ‘This is my year number 55!’” she says.\u003c/p>\n\u003cp>For newer festival performers, the 143rd Dimension might be a chance to experiment with their most authentic selves. \u003ca href=\"https://lbxx.onuniverse.com/\" target=\"_blank\" rel=\"noopener noreferrer\">LBXX\u003c/a> (pronounced Lunchbox), an emerging queer hip-hop artist, has come a long way since he moved to the Bay in 2018 and began releasing music.\u003c/p>\n\u003cp>His stage name comes from his experience as an educator, a stint where some of his fondest memories were formed when serving food to young students as a “lunch lady.”\u003c/p>\n\u003cp>“That was the only time that every kid in the building was really happy to see you, no matter what,” he says.\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/BQ0kwrtAEag'\n title='//www.youtube.com/embed/BQ0kwrtAEag'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As he prepares to perform new singles from his sophomore EP \u003ci>Ready to Dine\u003c/i>, LBXX is also looking forward to fostering friendships with fellow queer Black and Brown artists. Most of all, he yearns for the crowds, for the opportunity to command their attention and make sure his name reverberates in their minds long after.\u003c/p>\n\u003cp>“So I hope the girls are ready,” he says. “I’m gonna bring that energy.”\u003c/p>\n\u003cp>\u003ca href=\"https://mirroredfatality.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Mirrored fatality\u003c/a>, an underground Kapampangan and South Asian nonbinary duo, create experimental noise punk music that includes spoken word, film and performance art.\u003c/p>\n\u003cp>Together, Samar and Mango form “cocoon webs,” portals of ambient sound meant to protect and embrace anyone who interacts with them. The duo describe themselves as farmers, educators, musicians and organizers; woven into their music are themes of community, mutual aid, prison abolition and anti-imperialist education. With the 143rd Dimension, they’ve found new ground for planting roots—all part of their mission to create love and security in queer BIPOC communities.\u003c/p>\n\u003cfigure id=\"attachment_13917538\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917538\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Screen-Shot-2022-08-11-at-7.02.19-PM-800x775.png\" alt=\"\" width=\"800\" height=\"775\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-11-at-7.02.19-PM-800x775.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-11-at-7.02.19-PM-1020x988.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-11-at-7.02.19-PM-160x155.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-11-at-7.02.19-PM-768x744.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-11-at-7.02.19-PM-1536x1488.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Screen-Shot-2022-08-11-at-7.02.19-PM.png 1606w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mirrored fatality, an experimental noise punk duo, will perform at the 143rd Dimension festival this weekend. \u003ccite>(Ian Castro )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We live in a world that does not necessarily value our creative labor or our expression or create a space that specifically centers us,” says Samar. So the festival “feels like such a huge gift.”\u003c/p>\n\u003cp>“All of the labor and time that went into bringing all of us together, and being able to bear witness to that, feels really special,” Samar continues.\u003c/p>\n\u003cp>Mirrored fatality says their artistry is defined by the ways they’ve received support from other queer Black and Brown folks, including housing and rehearsal spaces, food and kinship. Describing themselves as mycelium, roots and air—always intertwined and connected—mirrored fatality adapt depending on the needs of their audience: visceral and hardcore in some spaces, tender and intimate in others.\u003c/p>\n\u003cp>“It’s not just about our performance on stage, it’s also about who we’re playing with,” says Mango. “So if we know everyone on the lineup is QTBIPOC, we’re going to come prepared with bottles of water. We’re going to come prepared with three bags of fruit. We’re going to come prepared with snacks and incense and gifts and spoil everyone, because every fucking person on that lineup needs to be spoiled today.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The 143rd Dimension takes place Aug. 12-14, with the first two days being held at \u003ca href=\"https://www.thelab.org/\">The Lab\u003c/a> in San Francisco, and the final day at a secret Oakland location. More information \u003ca href=\"https://www.instagram.com/143rd_dimension/\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "San Jose’s Star 99 Blossom from Their D.I.Y. Punk Beginnings",
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"content": "\u003cp>\u003cem>Welcome to Pass the Aux, where KQED Arts & Culture brings you our favorite new tracks by Bay Area artists. \u003ca href=\"https://www.kqed.org/arts/tag/pass-the-aux\" target=\"_blank\" rel=\"noopener noreferrer\">Check out past entries and submit a song for future coverage\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>Before performing together in backyards, sheds and basements, the members of San Jose band \u003ca href=\"https://star99.bandcamp.com/album/star-99\" target=\"_blank\" rel=\"noopener noreferrer\">Star 99\u003c/a> spent their younger years exploring the South Bay’s small but sturdy indie punk scene. Saoirse Alesandro, Jeremy Romero, Thomas Romero and Chris Gough attended shows, danced and headbanged together to the loud, energetic songs of their favorite bands Shinobu and Algernon Cadwallader.\u003c/p>\n\u003cp>Now, years later, they make their own music—emerging into the punk archive they grew up admiring. On July 10, they released their latest project \u003cem>STAR 99\u003c/em>, featuring three songs titled “Born to Run,” “Vegas” and “Wyoming.”\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=911153190/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>Upon first listen, Star 99’s songs start and end in a flurry, reading like jumbled diary entries set to blaring instrumentals that swell to satisfying resolutions. “All of the lyrics are from my journal,” Saoirse, the band’s lead vocalist confirms, describing the song making process as an “exorcism.” She pulls from her most personal thoughts and, with her bandmates, tinkers with them to various chord progressions until something clicks.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Like much of the band’s discography, “Vegas” builds on the melodic qualities of ’90s pop punk and indie rock, with fast and hard drums, a deep, hypnotic bassline, cranked-up guitar riffs and angsty lyrics that transport listeners to their teenage years. [aside postid='arts_13916282']\u003c/p>\n\u003cp>“And beautiful as ever, you’re the smell of the air in December / And everything got fucked up but school starts again in September / And no one’s allowed into my room,” Alesandro sings.\u003c/p>\n\u003cp>While this single retains some of the playfulness of Star 99’s 2021 debut EP \u003cem>My Year in Lists\u003c/em>, “Born to Run” experiments with slower melodies that emphasize the wistful tenderness of past relationships: “T-shirts huddled in corners in warehouse rooms / Pick through a pile and find it soon / Reno’s got casinos and I’ve got you / The morning when we’re waking up / The coffee grows cold in the cup.”\u003c/p>\n\u003cp>Alesandro attributes this newfound slowness in their songs to the growing comfort between the bandmates as they learn how to work together musically. While their first EP was about travel, uncertainty and movement, Star 99’s evolving security in playing with each other led to more reflections on stillness and connection.\u003c/p>\n\u003cp>“Now, I feel like we can butt heads and still love each other,” says Saoirse. “And, I think how much we love each other kind of comes through, which is fun.”\u003c/p>\n\u003cp>The band’s love for punk extends to the greater local scene, as they hope to continue playing shows accessible to all ages. Once free-spirited teen punks themselves, they aim to nurture newer generations of people with love for the music that raised them.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.instagram.com/p/CgQhIoDLqoc/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Star 99 begins touring this August\u003c/a>, with shows in Corvallis, Seattle, Portland, Fresno and Los Angeles. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Welcome to Pass the Aux, where KQED Arts & Culture brings you our favorite new tracks by Bay Area artists. \u003ca href=\"https://www.kqed.org/arts/tag/pass-the-aux\" target=\"_blank\" rel=\"noopener noreferrer\">Check out past entries and submit a song for future coverage\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>Before performing together in backyards, sheds and basements, the members of San Jose band \u003ca href=\"https://star99.bandcamp.com/album/star-99\" target=\"_blank\" rel=\"noopener noreferrer\">Star 99\u003c/a> spent their younger years exploring the South Bay’s small but sturdy indie punk scene. Saoirse Alesandro, Jeremy Romero, Thomas Romero and Chris Gough attended shows, danced and headbanged together to the loud, energetic songs of their favorite bands Shinobu and Algernon Cadwallader.\u003c/p>\n\u003cp>Now, years later, they make their own music—emerging into the punk archive they grew up admiring. On July 10, they released their latest project \u003cem>STAR 99\u003c/em>, featuring three songs titled “Born to Run,” “Vegas” and “Wyoming.”\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=911153190/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>Upon first listen, Star 99’s songs start and end in a flurry, reading like jumbled diary entries set to blaring instrumentals that swell to satisfying resolutions. “All of the lyrics are from my journal,” Saoirse, the band’s lead vocalist confirms, describing the song making process as an “exorcism.” She pulls from her most personal thoughts and, with her bandmates, tinkers with them to various chord progressions until something clicks.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“And beautiful as ever, you’re the smell of the air in December / And everything got fucked up but school starts again in September / And no one’s allowed into my room,” Alesandro sings.\u003c/p>\n\u003cp>While this single retains some of the playfulness of Star 99’s 2021 debut EP \u003cem>My Year in Lists\u003c/em>, “Born to Run” experiments with slower melodies that emphasize the wistful tenderness of past relationships: “T-shirts huddled in corners in warehouse rooms / Pick through a pile and find it soon / Reno’s got casinos and I’ve got you / The morning when we’re waking up / The coffee grows cold in the cup.”\u003c/p>\n\u003cp>Alesandro attributes this newfound slowness in their songs to the growing comfort between the bandmates as they learn how to work together musically. While their first EP was about travel, uncertainty and movement, Star 99’s evolving security in playing with each other led to more reflections on stillness and connection.\u003c/p>\n\u003cp>“Now, I feel like we can butt heads and still love each other,” says Saoirse. “And, I think how much we love each other kind of comes through, which is fun.”\u003c/p>\n\u003cp>The band’s love for punk extends to the greater local scene, as they hope to continue playing shows accessible to all ages. Once free-spirited teen punks themselves, they aim to nurture newer generations of people with love for the music that raised them.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.instagram.com/p/CgQhIoDLqoc/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Star 99 begins touring this August\u003c/a>, with shows in Corvallis, Seattle, Portland, Fresno and Los Angeles. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Subhumans Barrel Into San Francisco at Just the Right Time",
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"content": "\u003cp>Punk bands are known for their economy: short songs played fast with a loud impact. So when the British band the Subhumans released their second album and included a 17-minute song called “\u003ca href=\"https://www.youtube.com/watch?v=jy5FMfTqf5k\" target=\"_blank\" rel=\"noopener noreferrer\">From the Cradle to the Grave\u003c/a>,” it shook the punk scene. The year was 1983. Every other punk band was churning out one-minute blasts of noise. What was up with this long, epic song?\u003c/p>\n\u003cp>The Subhumans may not have necessarily fit in with the punk scene of the early 1980s, but when I think now about the younger generation’s a disdain of capitalism and power structures in general, I can’t help but think they were a band ahead of their time. The Subhumans recorded songs about government, police and abuse of power, but also had songs about how to not lose faith, to \u003ca href=\"https://www.youtube.com/watch?v=nMlx3kQFIas\" target=\"_blank\" rel=\"noopener noreferrer\">find your community\u003c/a>, to keep fighting—and ultimately how to get through dark times for the country together. Sound familiar?\u003c/p>\n\u003cp>The Subhumans have reunited a few times over the years, and whenever they come to the Bay Area—a hotbed for political punk—it’s always special. The Subhumans play at the Great American Music Hall in San Francisco on Friday, July 15. \u003ca href=\"https://wl.seetickets.us/event/Subhumans/476283?afflky=GreatAmericanMusicHall\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cp>https://youtu.be/jy5FMfTqf5k\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "The U.K. punk band's social critiques were ahead of their time. They're performing at Great American Music Hall on July 15. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Punk bands are known for their economy: short songs played fast with a loud impact. So when the British band the Subhumans released their second album and included a 17-minute song called “\u003ca href=\"https://www.youtube.com/watch?v=jy5FMfTqf5k\" target=\"_blank\" rel=\"noopener noreferrer\">From the Cradle to the Grave\u003c/a>,” it shook the punk scene. The year was 1983. Every other punk band was churning out one-minute blasts of noise. What was up with this long, epic song?\u003c/p>\n\u003cp>The Subhumans may not have necessarily fit in with the punk scene of the early 1980s, but when I think now about the younger generation’s a disdain of capitalism and power structures in general, I can’t help but think they were a band ahead of their time. The Subhumans recorded songs about government, police and abuse of power, but also had songs about how to not lose faith, to \u003ca href=\"https://www.youtube.com/watch?v=nMlx3kQFIas\" target=\"_blank\" rel=\"noopener noreferrer\">find your community\u003c/a>, to keep fighting—and ultimately how to get through dark times for the country together. Sound familiar?\u003c/p>\n\u003cp>The Subhumans have reunited a few times over the years, and whenever they come to the Bay Area—a hotbed for political punk—it’s always special. The Subhumans play at the Great American Music Hall in San Francisco on Friday, July 15. \u003ca href=\"https://wl.seetickets.us/event/Subhumans/476283?afflky=GreatAmericanMusicHall\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\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/jy5FMfTqf5k'\n title='//www.youtube.com/embed/jy5FMfTqf5k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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