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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Andy Gill, a guitarist renowned for his sharp, inverted approach to the instrument who founded the post-punk group Gang Of Four and later became a respected producer, died in a London hospital Feb. 1 from a respiratory illness, the group announced \u003ca href=\"https://gangoffour.uk/post/190589274003/andy-gill\" target=\"_blank\" rel=\"noopener noreferrer\">in a statement\u003c/a>. He was 64.\u003c/p>\n\u003cp>As a co-founder of the implacably political Gang Of Four, which formed in Leeds in the late 1970s, Gill’s influence on the silhouette of rock and roll was deep and transformative; if the prevailing winds of style zigged, Gill and his co-founding bandmates—bassist Dave Allen, drummer Hugo Burnham and singer Jon King—could already be found zagging. “Instead of guitar solos, we had anti-solos, where you just stopped playing, left a hole,” Gill says in \u003cem>Rip It Up and Start Again\u003c/em>, a history of post-punk by Simon Reynolds.\u003c/p>\n\u003cp>On its canonical 1979 debut, \u003cem>Entertainment!\u003c/em>, Gang Of Four gave the frenzied sound of punk some breathing room; as Burnham and Allen provided the music’s danceable muscles, Gill’s staticky, stabbing lines—partially inspired by pub-rock group Dr. Feelgood and its guitarist, Wilko Johnson—were the tendons, anchoring and enabling. (Something was in the water in the north of England in 1979—just south of Gang Of Four’s birthplace, Joy Division was releasing its own, drastically different, expansion of punk’s signature squall.)\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/I_QJwR6D9d4'\n title='//www.youtube.com/embed/I_QJwR6D9d4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>On the single “To Hell With Poverty!” released in 1981, a long, punitive screech from Gill becomes a slap-punch of a passage, before Allen and Burnham jump in at an oblique angle, shaping Gill’s tinny tizzy into a stomping boogie. The lyrics’ central couplet, “To hell with poverty / We’ll get drunk on cheap wine,” encapsulates the grain-of-salt political satire that animated and grounded the band.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Gang Of Four would release three more lauded albums—\u003cem>Solid Gold\u003c/em>, \u003cem>Songs of the Free\u003c/em> and \u003cem>Hard—\u003c/em>through the early ’80s. The quartet slowly shed its original lineup, with other musicians joining the core of Gill and King; following the ’83 release of \u003cem>Hard, \u003c/em>the group took an extended hiatus.\u003c/p>\n\u003cp>In 1984, Gill produced the self-titled debut album of the Red Hot Chili Peppers. Other notable production credits include the monumental self-titled return of Killing Joke in 2004, two recordings from another legendary post-punk group, The Jesus Lizard, and the posthumous solo album of INXS singer Michael Hutchence in 1999. Around that same time, groups like The Rapture began to emerge, faithfully reproducing and building on the tone and serration of the Gang’s early work.\u003c/p>\n\u003cp>As its influence persisted through the end of the 20th century and the start of the 21st, Gang of Four reunited intermittently, beginning in 1991 with the release of \u003cem>Mall\u003c/em> (featuring Gill and King). In 2004 the group’s original lineup came together to re-record earlier material and tour. Afterwards, Gill and singer Jon King released the album \u003cem>Content\u003c/em> in 2011. After King finally left the group , Gill—the only original member—continued to record and tour as Gang Of Four with new bandmates. In 2019, the group released a new album, \u003cem>Happy Now\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We’ll remember him for his kindness and generosity, his fearsome intelligence, bad jokes, mad stories and endless cups of Darjeeling tea,” the band wrote in its statement. “He just so happened to be a bit of a genius too.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Andy+Gill%2C+Gang+of+Four+Guitarist+Who+Gave+Punk+Space+And+Groove%2C+Dead+At+64&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Awkwafina to Star in Film Exploring California Punk and Asian Restaurants",
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"content": "\u003cp>\u003cem>Crazy Rich Asians\u003c/em> star Awkwafina has signed on to an as-yet-untitled Topic Studios film exploring the role of Asian restaurants in the California punk scenes of the 1970s and 1980s, \u003ca href=\"https://deadline.com/2019/12/awkwafina-topic-studios-feature-chinatown-restaurants-punk-music-1202811249/\">Deadline\u003c/a> reports.\u003c/p>\n\u003cp>The film is inspired by a Topic.com piece by Madeline Leung Coleman, “How Chinese Food Fueled the Rise of California Punk.” The \u003ca href=\"https://www.topic.com/how-chinese-food-fueled-the-rise-of-california-punk\">article\u003c/a> examines how Asian restaurateurs in Los Angeles, San Francisco and Sacramento in the late 1970s opened their doors to first-wave punk bands during the country’s recession.\u003c/p>\n\u003cp>Featured in the piece is the Mabuhay Gardens, a Filipino supper club in North Beach known as the first and most important venue for San Francisco punk, thanks to the support of proprietor Ness Aquino.\u003c/p>\n\u003cp>The Broadway venue, which began hosting shows in 1976, featured groups such as Crime, the Dead Kennedys and the Avengers, and was booked by storied promoter Dirk Dirksen. The “Fab Mab,” as it was known to punk patrons, is the setting of many live photographs by Ruby Ray and Bruce Conner, while its red alleyway (now \u003ca href=\"https://chucksperry.net/dirk-dirksen-pope-of-punk-gets-street-named-after-him/\" rel=\"noopener noreferrer\" target=\"_blank\">officially renamed\u003c/a> for Dirksen) served as a sort of portrait studio for the artist Jim Jocoy.\u003c/p>\n\u003cp>\u003cem>Louder, Faster, Shorter,\u003c/em> a 1978 film by Mindaugis Bagdon, documents performances at a benefit concert that year at the Mabuhay for striking coal miners in Kentucky, and provides a striking snapshot of the early San Francisco punk scene’s undisputed epicenter. \u003c/p>\n\u003cp>Few details are available about the Topic Studios film featuring Awkwafina, and it’s unclear whether it will be set in San Francisco.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Crazy Rich Asians\u003c/em> star Awkwafina has signed on to an as-yet-untitled Topic Studios film exploring the role of Asian restaurants in the California punk scenes of the 1970s and 1980s, \u003ca href=\"https://deadline.com/2019/12/awkwafina-topic-studios-feature-chinatown-restaurants-punk-music-1202811249/\">Deadline\u003c/a> reports.\u003c/p>\n\u003cp>The film is inspired by a Topic.com piece by Madeline Leung Coleman, “How Chinese Food Fueled the Rise of California Punk.” The \u003ca href=\"https://www.topic.com/how-chinese-food-fueled-the-rise-of-california-punk\">article\u003c/a> examines how Asian restaurateurs in Los Angeles, San Francisco and Sacramento in the late 1970s opened their doors to first-wave punk bands during the country’s recession.\u003c/p>\n\u003cp>Featured in the piece is the Mabuhay Gardens, a Filipino supper club in North Beach known as the first and most important venue for San Francisco punk, thanks to the support of proprietor Ness Aquino.\u003c/p>\n\u003cp>The Broadway venue, which began hosting shows in 1976, featured groups such as Crime, the Dead Kennedys and the Avengers, and was booked by storied promoter Dirk Dirksen. The “Fab Mab,” as it was known to punk patrons, is the setting of many live photographs by Ruby Ray and Bruce Conner, while its red alleyway (now \u003ca href=\"https://chucksperry.net/dirk-dirksen-pope-of-punk-gets-street-named-after-him/\" rel=\"noopener noreferrer\" target=\"_blank\">officially renamed\u003c/a> for Dirksen) served as a sort of portrait studio for the artist Jim Jocoy.\u003c/p>\n\u003cp>\u003cem>Louder, Faster, Shorter,\u003c/em> a 1978 film by Mindaugis Bagdon, documents performances at a benefit concert that year at the Mabuhay for striking coal miners in Kentucky, and provides a striking snapshot of the early San Francisco punk scene’s undisputed epicenter. \u003c/p>\n\u003cp>Few details are available about the Topic Studios film featuring Awkwafina, and it’s unclear whether it will be set in San Francisco.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Murray Bowles, Legendary Bay Area Punk Photographer, Dies at 68",
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"content": "\u003cp>Murray Bowles, the photographer who chronicled the characters, chaos and energy of the Bay Area’s punk scene for over three decades, died at his home in Sacramento on Sunday. He was 68.\u003c/p>\n\u003cp>Often seen in the middle of swirling crowds, one arm lifting his camera into the air, Bowles created tens of thousands of images that captured the close-up intensity of a punk show. Many of his photos became defining images, particularly in the East Bay punk scene, and his photos graced magazines, record artwork and film documentaries.\u003c/p>\n\u003cp>“One of the great rites of passage of being a teenage Berkeley punk rocker was finally getting into one of Murray’s pictures,” said close friend Anna Brown. “It meant that you were \u003cem>in\u003c/em>.”\u003c/p>\n\u003cfigure id=\"attachment_13232566\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-800x533.jpg\" alt=\"Billie Joe Armstrong (third from right) sings with Operation Ivy onstage at 924 Gilman, circa 1988.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13232566\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-520x347.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Billie Joe Armstrong (third from right) sings with Operation Ivy onstage at 924 Gilman, circa 1988. \u003ccite>(Photo: Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bowles photographed thousands of bands, including many at Berkeley punk club 924 Gilman during the 1980s and 1990s. Along with bands like Crucifix, Filth, Crimpshrine and Fang, some of Bowles’ most iconic early photos capture young bands that went on to become globally known, like Operation Ivy, Neurosis, and Green Day.\u003c/p>\n\u003cp>But Bowles preferred the warehouses and basements.\u003c/p>\n\u003cfigure id=\"attachment_13871168\" class=\"wp-caption alignright\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Richie.Murray.jpg\" alt=\"Murray Bowles depicted on the cover of Green Day's album 'Dookie.'\" width=\"1080\" height=\"1080\" class=\"size-full wp-image-13871168\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray-1020x1020.jpg 1020w\" sizes=\"auto, (max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">Murray Bowles depicted on the cover of Green Day’s album ‘Dookie.’ \u003ccite>(Richie Bucher)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He was right in there with the gritty basement shows, with kids, just sweaty, wild and free,” Brown said. “And I think that one of the things that’s so great about Murrays’ pictures is that sort of joyfulness. Even if was the most violent, negative band, the pictures came across as really sweet.”\u003c/p>\n\u003cp>Bowles was such a ubiquitous presence at Bay Area punk shows that he was included by artist Richie Bucher \u003ca href=\"https://www.instagram.com/p/B51xw5phoJrsez1PWqTuOOzRAFGOnbtN0ESHKc0/\" rel=\"noopener noreferrer\" target=\"_blank\">on the cover\u003c/a> of Green Day’s 1994 breakthrough album \u003cem>Dookie\u003c/em>, in his signature point-and-shoot pose. \u003c/p>\n\u003cp>“For me, he’s the most important part of that drawing,” said Bucher, who initially wanted to include everyone in the Berkeley punk scene in the tableau, an impossible task. “I don’t know if I thought about it at the time, but I realize now that by putting him in there, I wasn’t leaving anybody out. Because everybody from our scene could connect to him.”\u003c/p>\n\u003cp>“Murray, you are a legend,” wrote Green Day’s Billie Joe Armstrong \u003ca href=\"https://www.instagram.com/p/B51rOYnHlA4/\" rel=\"noopener noreferrer\" target=\"_blank\">on Instagram\u003c/a> on Monday. “I remember seeing your photos up on the walls at Gilman the first time I ever went there. Amazing photographer, musician. The nicest man and a great friend to the punks. East Bay punk has a heavy heart today.”\u003c/p>\n\u003cp>\u003cstrong>\u003cem>[See a giant collection of Murray Bowles’ photos \u003ca href=\"https://www.facebook.com/profile.php?id=100005407748464&sk=media_set&set=a.211229612400629&type=3\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>.]\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Questions about the future of Bowles’ archive have already been addressed. Brown said that, with Bowles, she’s planned for decades to publish a book of his photographs, a project she still hopes to see to fruition. Bowles selected all the images before he died, and helped with an outline for the book. \u003c/p>\n\u003cp>Corbett Redford, director of the documentary \u003cem>\u003ca href=\"https://www.kqed.org/arts/13239750/the-definitive-documentary-on-east-bay-punk-is-coming-pit-warning\" rel=\"noopener noreferrer\" target=\"_blank\">Turn It Around: The Story of East Bay Punk\u003c/a>\u003c/em>, said that having access to Bowles’ archive was a crucial component to the film. “He was so generous to give [his archive] to us. We would not have a documentary if it was not for him.”\u003c/p>\n\u003cfigure id=\"attachment_13871189\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/DavidHayes.Murray-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13871189\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Murray Bowles (R) with Very Small Records founder David Hayes. \u003ccite>(Courtesy Corbett Redford)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was through the making of \u003cem>Turn It Around\u003c/em> that 25 years of Bowles’ photos were finally preserved. Redford tells the story of driving to Bowles’ San Jose home with fanzine editor Robert Eggplant and Tim Armstrong from the band Rancid. There, the three went through decades of old photos and negatives.\u003c/p>\n\u003cp>“It was all gathering dust in his closet—30,000 negatives that were pretty disorganized,” Redford said. The three loaded all of Bowles’ negatives into the trunk, and drove back to Oakland to be cleaned and digitized over time by Caoimhe Carty, the film’s online editor. \u003c/p>\n\u003cp>“When I was driving back, I had what I felt was the Tiffany Diamond in the trunk,” Redford said. “I kept thinking, ‘Please don’t get in an accident. If I do, the entire history is gone.’”\u003c/p>\n\u003cfigure id=\"attachment_13243294\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-800x533.jpg\" alt=\"Green Day with first drummer John Kiffmeyer at Gilman, circa 1990.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13243294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-520x347.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Green Day with first drummer John Kiffmeyer at Gilman, circa 1990. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bowles was raised in San Gabriel, California, and learned photography from his grandfather. Upon graduating from UC Berkeley in 1976, he found work as a computer programmer in San Jose, but an assignment to photograph a show for the fanzine \u003cem>Ripper\u003c/em> got him hooked on the action of punk. “I started bringing my camera to every show I went to,” he told \u003cem>Maximum RocknRoll\u003c/em> in \u003ca href=\"http://maximumrocknroll.com/murray-bowles/\" rel=\"noopener noreferrer\" target=\"_blank\">a 2009 interview\u003c/a>. “It was addictive.”\u003c/p>\n\u003cp>Bowles initially distributed his photos by bringing a box of them to shows and selling them for 15 cents each to cover development costs, eventually raising the price to a quarter. It became a tradition among punks to scrape together change and buy pictures of themselves at shows from the week prior. In 1987, \u003cem>Maximum RockNRoll\u003c/em> published a special issue dedicated to Bowles’ photography, titled \u003cem>If Life is a Bowl of Cherries, Why am I in the Pit?\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13871178\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/GBH.Bowles-800x596.jpg\" alt=\"A stagediver at a GBH show in the early 1980s. \" width=\"800\" height=\"596\" class=\"size-medium wp-image-13871178\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/GBH.Bowles.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/GBH.Bowles-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/GBH.Bowles-768x572.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A stagediver at a GBH show in the early 1980s, from ‘If Life is a Bowl of Cherries, Why am I in the Pit?’. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Later, Bowles maintained an \u003ca href=\"https://www.instagram.com/murraybowles/?hl=en\" rel=\"noopener noreferrer\" target=\"_blank\">active Instagram account\u003c/a>, posting pictures from shows along with his other hobbies: food, beer, bicycling, nature. He also played the viola for several bands, as well as the Peninsula Symphony and the occasional theatre pit orchestra. He worked for Dell Computers until his retirement, when he moved to Sacramento.\u003c/p>\n\u003cp>There, Brown said, he continued to go to underground shows up until the end, always taking photos. “He really captured this side of punk that was not cliché,” Brown said. “He really got it.”\u003c/p>\n\u003cfigure id=\"attachment_13871203\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/MurrayViola-2.jpg\" alt=\"Murray Bowles, playing his viola.\" width=\"600\" height=\"400\" class=\"size-full wp-image-13871203\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayViola-2.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayViola-2-160x107.jpg 160w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Murray Bowles, playing his viola. \u003ccite>(Courtesy Corbett Redford)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Matt Saincome, founder of the punk satire site The Hard Times, remembered Bowles for his commitment and tenacity.\u003c/p>\n\u003cp>“My friends and I, we threw a show at a barn in Clayton when I was 16,” Saincome said. “There were 12 people there, out in the middle of nowhere, up this mountain, it didn’t even have an address. Absolutely no one came. No popular bands. And all of a sudden, Murray popped up. It’s me and 12 of my friends, and then him… His dedication to punk went so far that he wasn’t just going to a couple venues here and there. He said, ‘I’m gonna drive up this mountain in Clayton, to a barn with cows and chickens.’”\u003c/p>\n\u003cfigure id=\"attachment_13871194\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-800x530.jpg\" alt=\"Murray Bowles at Sibley Park, in the East Bay hills.\" width=\"800\" height=\"530\" class=\"size-medium wp-image-13871194\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-1200x796.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Murray Bowles at Sibley Park, in the East Bay hills. \u003ccite>(Anna Brown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Saincome echoed the sentiment that Bowles chronicled people, music and moments that would otherwise be forgotten, with an eye for people’s humanity. “If you’re a Bay Area punk kid, you can go to \u003ca href=\"https://pbase.com/murraybowles/\" rel=\"noopener noreferrer\" target=\"_blank\">his website\u003c/a> and watch yourself grow up in real time through his photos,” Saincome said.\u003c/p>\n\u003cp>“Just the fact that it was him taking your picture—it made you feel legitimate, and valuable, and part of something,” said Bucher. “I had trouble feeling part of anything. But if Murray’s there, then it’s hard not to feel included.”\u003c/p>\n\u003cp>As Becca Bolo, a Gilman regular in the 1990s, put it, “Murray was an incredibly talented person who gave us the gift of seeing ourselves as the beautiful humans that we are.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"title": "Murray Bowles, Legendary Bay Area Punk Photographer, Dies at 68 | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Murray Bowles, the photographer who chronicled the characters, chaos and energy of the Bay Area’s punk scene for over three decades, died at his home in Sacramento on Sunday. He was 68.\u003c/p>\n\u003cp>Often seen in the middle of swirling crowds, one arm lifting his camera into the air, Bowles created tens of thousands of images that captured the close-up intensity of a punk show. Many of his photos became defining images, particularly in the East Bay punk scene, and his photos graced magazines, record artwork and film documentaries.\u003c/p>\n\u003cp>“One of the great rites of passage of being a teenage Berkeley punk rocker was finally getting into one of Murray’s pictures,” said close friend Anna Brown. “It meant that you were \u003cem>in\u003c/em>.”\u003c/p>\n\u003cfigure id=\"attachment_13232566\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-800x533.jpg\" alt=\"Billie Joe Armstrong (third from right) sings with Operation Ivy onstage at 924 Gilman, circa 1988.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13232566\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-520x347.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Billie Joe Armstrong (third from right) sings with Operation Ivy onstage at 924 Gilman, circa 1988. \u003ccite>(Photo: Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bowles photographed thousands of bands, including many at Berkeley punk club 924 Gilman during the 1980s and 1990s. Along with bands like Crucifix, Filth, Crimpshrine and Fang, some of Bowles’ most iconic early photos capture young bands that went on to become globally known, like Operation Ivy, Neurosis, and Green Day.\u003c/p>\n\u003cp>But Bowles preferred the warehouses and basements.\u003c/p>\n\u003cfigure id=\"attachment_13871168\" class=\"wp-caption alignright\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Richie.Murray.jpg\" alt=\"Murray Bowles depicted on the cover of Green Day's album 'Dookie.'\" width=\"1080\" height=\"1080\" class=\"size-full wp-image-13871168\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray-1020x1020.jpg 1020w\" sizes=\"auto, (max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">Murray Bowles depicted on the cover of Green Day’s album ‘Dookie.’ \u003ccite>(Richie Bucher)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He was right in there with the gritty basement shows, with kids, just sweaty, wild and free,” Brown said. “And I think that one of the things that’s so great about Murrays’ pictures is that sort of joyfulness. Even if was the most violent, negative band, the pictures came across as really sweet.”\u003c/p>\n\u003cp>Bowles was such a ubiquitous presence at Bay Area punk shows that he was included by artist Richie Bucher \u003ca href=\"https://www.instagram.com/p/B51xw5phoJrsez1PWqTuOOzRAFGOnbtN0ESHKc0/\" rel=\"noopener noreferrer\" target=\"_blank\">on the cover\u003c/a> of Green Day’s 1994 breakthrough album \u003cem>Dookie\u003c/em>, in his signature point-and-shoot pose. \u003c/p>\n\u003cp>“For me, he’s the most important part of that drawing,” said Bucher, who initially wanted to include everyone in the Berkeley punk scene in the tableau, an impossible task. “I don’t know if I thought about it at the time, but I realize now that by putting him in there, I wasn’t leaving anybody out. Because everybody from our scene could connect to him.”\u003c/p>\n\u003cp>“Murray, you are a legend,” wrote Green Day’s Billie Joe Armstrong \u003ca href=\"https://www.instagram.com/p/B51rOYnHlA4/\" rel=\"noopener noreferrer\" target=\"_blank\">on Instagram\u003c/a> on Monday. “I remember seeing your photos up on the walls at Gilman the first time I ever went there. Amazing photographer, musician. The nicest man and a great friend to the punks. East Bay punk has a heavy heart today.”\u003c/p>\n\u003cp>\u003cstrong>\u003cem>[See a giant collection of Murray Bowles’ photos \u003ca href=\"https://www.facebook.com/profile.php?id=100005407748464&sk=media_set&set=a.211229612400629&type=3\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>.]\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Questions about the future of Bowles’ archive have already been addressed. Brown said that, with Bowles, she’s planned for decades to publish a book of his photographs, a project she still hopes to see to fruition. Bowles selected all the images before he died, and helped with an outline for the book. \u003c/p>\n\u003cp>Corbett Redford, director of the documentary \u003cem>\u003ca href=\"https://www.kqed.org/arts/13239750/the-definitive-documentary-on-east-bay-punk-is-coming-pit-warning\" rel=\"noopener noreferrer\" target=\"_blank\">Turn It Around: The Story of East Bay Punk\u003c/a>\u003c/em>, said that having access to Bowles’ archive was a crucial component to the film. “He was so generous to give [his archive] to us. We would not have a documentary if it was not for him.”\u003c/p>\n\u003cfigure id=\"attachment_13871189\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/DavidHayes.Murray-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13871189\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Murray Bowles (R) with Very Small Records founder David Hayes. \u003ccite>(Courtesy Corbett Redford)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was through the making of \u003cem>Turn It Around\u003c/em> that 25 years of Bowles’ photos were finally preserved. Redford tells the story of driving to Bowles’ San Jose home with fanzine editor Robert Eggplant and Tim Armstrong from the band Rancid. There, the three went through decades of old photos and negatives.\u003c/p>\n\u003cp>“It was all gathering dust in his closet—30,000 negatives that were pretty disorganized,” Redford said. The three loaded all of Bowles’ negatives into the trunk, and drove back to Oakland to be cleaned and digitized over time by Caoimhe Carty, the film’s online editor. \u003c/p>\n\u003cp>“When I was driving back, I had what I felt was the Tiffany Diamond in the trunk,” Redford said. “I kept thinking, ‘Please don’t get in an accident. If I do, the entire history is gone.’”\u003c/p>\n\u003cfigure id=\"attachment_13243294\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-800x533.jpg\" alt=\"Green Day with first drummer John Kiffmeyer at Gilman, circa 1990.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13243294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-520x347.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Green Day with first drummer John Kiffmeyer at Gilman, circa 1990. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bowles was raised in San Gabriel, California, and learned photography from his grandfather. Upon graduating from UC Berkeley in 1976, he found work as a computer programmer in San Jose, but an assignment to photograph a show for the fanzine \u003cem>Ripper\u003c/em> got him hooked on the action of punk. “I started bringing my camera to every show I went to,” he told \u003cem>Maximum RocknRoll\u003c/em> in \u003ca href=\"http://maximumrocknroll.com/murray-bowles/\" rel=\"noopener noreferrer\" target=\"_blank\">a 2009 interview\u003c/a>. “It was addictive.”\u003c/p>\n\u003cp>Bowles initially distributed his photos by bringing a box of them to shows and selling them for 15 cents each to cover development costs, eventually raising the price to a quarter. It became a tradition among punks to scrape together change and buy pictures of themselves at shows from the week prior. In 1987, \u003cem>Maximum RockNRoll\u003c/em> published a special issue dedicated to Bowles’ photography, titled \u003cem>If Life is a Bowl of Cherries, Why am I in the Pit?\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13871178\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/GBH.Bowles-800x596.jpg\" alt=\"A stagediver at a GBH show in the early 1980s. \" width=\"800\" height=\"596\" class=\"size-medium wp-image-13871178\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/GBH.Bowles.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/GBH.Bowles-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/GBH.Bowles-768x572.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A stagediver at a GBH show in the early 1980s, from ‘If Life is a Bowl of Cherries, Why am I in the Pit?’. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Later, Bowles maintained an \u003ca href=\"https://www.instagram.com/murraybowles/?hl=en\" rel=\"noopener noreferrer\" target=\"_blank\">active Instagram account\u003c/a>, posting pictures from shows along with his other hobbies: food, beer, bicycling, nature. He also played the viola for several bands, as well as the Peninsula Symphony and the occasional theatre pit orchestra. He worked for Dell Computers until his retirement, when he moved to Sacramento.\u003c/p>\n\u003cp>There, Brown said, he continued to go to underground shows up until the end, always taking photos. “He really captured this side of punk that was not cliché,” Brown said. “He really got it.”\u003c/p>\n\u003cfigure id=\"attachment_13871203\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/MurrayViola-2.jpg\" alt=\"Murray Bowles, playing his viola.\" width=\"600\" height=\"400\" class=\"size-full wp-image-13871203\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayViola-2.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayViola-2-160x107.jpg 160w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Murray Bowles, playing his viola. \u003ccite>(Courtesy Corbett Redford)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Matt Saincome, founder of the punk satire site The Hard Times, remembered Bowles for his commitment and tenacity.\u003c/p>\n\u003cp>“My friends and I, we threw a show at a barn in Clayton when I was 16,” Saincome said. “There were 12 people there, out in the middle of nowhere, up this mountain, it didn’t even have an address. Absolutely no one came. No popular bands. And all of a sudden, Murray popped up. It’s me and 12 of my friends, and then him… His dedication to punk went so far that he wasn’t just going to a couple venues here and there. He said, ‘I’m gonna drive up this mountain in Clayton, to a barn with cows and chickens.’”\u003c/p>\n\u003cfigure id=\"attachment_13871194\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-800x530.jpg\" alt=\"Murray Bowles at Sibley Park, in the East Bay hills.\" width=\"800\" height=\"530\" class=\"size-medium wp-image-13871194\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-1200x796.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Murray Bowles at Sibley Park, in the East Bay hills. \u003ccite>(Anna Brown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Saincome echoed the sentiment that Bowles chronicled people, music and moments that would otherwise be forgotten, with an eye for people’s humanity. “If you’re a Bay Area punk kid, you can go to \u003ca href=\"https://pbase.com/murraybowles/\" rel=\"noopener noreferrer\" target=\"_blank\">his website\u003c/a> and watch yourself grow up in real time through his photos,” Saincome said.\u003c/p>\n\u003cp>“Just the fact that it was him taking your picture—it made you feel legitimate, and valuable, and part of something,” said Bucher. “I had trouble feeling part of anything. But if Murray’s there, then it’s hard not to feel included.”\u003c/p>\n\u003cp>As Becca Bolo, a Gilman regular in the 1990s, put it, “Murray was an incredibly talented person who gave us the gift of seeing ourselves as the beautiful humans that we are.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "With New Book, 'The Hard Times' Expands Its Punk Satire Empire",
"headTitle": "With New Book, ‘The Hard Times’ Expands Its Punk Satire Empire | KQED",
"content": "\u003cp>In 2016, Matt Saincome left a reputable job as \u003cem>SF Weekly\u003c/em>‘s music editor to launch a website rooted in a decidedly niche concept: what would happen if punk rock had its own version of \u003cem>The Onion\u003c/em>? At first, \u003ca href=\"https://thehardtimes.net/\" target=\"_blank\" rel=\"noopener\">\u003cem>The Hard Times\u003c/em>\u003c/a> seemed like an obscure endeavor. But over the past three years, the satire site has gone on to garner a global audience, expand into \u003ca href=\"https://thehardtimes.net/live-events/\" target=\"_blank\" rel=\"noopener\">live events\u003c/a> and \u003ca href=\"https://thehardtimes.net/podcasts/\" target=\"_blank\" rel=\"noopener\">a podcast\u003c/a> and earn praise from \u003cem>The Onion \u003c/em>itself.\u003c/p>\n\u003cp>What makes \u003cem>The Hard Times\u003c/em> so successful is its combination of satirical stories that get into the nitty-gritty of punk politics, and spoofs of news stories with wide appeal. The website’s most popular article of all time, for example, is titled: “\u003ca href=\"https://thehardtimes.net/blog/didnt-vaccinate-kids-one-lived-turned-fine/\" target=\"_blank\" rel=\"noopener\">I Didn’t Vaccinate My Kids and the One Who Lived Turned Out Fine\u003c/a>.”\u003c/p>\n\u003cp>In the midst of a tour in support of hilarious new book \u003ca href=\"https://thehardtimes.net/book/\" target=\"_blank\" rel=\"noopener\">\u003cem>The Hard Times: The First 40 Years\u003c/em>\u003c/a>, KQED Arts caught up with Matt Saincome—who was born and raised in the East Bay town of Danville—to talk Bay Area punk, creating a business out of thin air and the sheer volume of people who still think \u003cem>Hard Times\u003c/em> stories are real.\u003c/p>\n\u003cp>\u003cstrong>What inspired you to start \u003cem>The Hard Times\u003c/em> in the first place? \u003c/strong>\u003c/p>\n\u003cp>I already had a punk comedy zine called \u003cem>Punks! Punks! Punks!\u003c/em> and I went to journalism school and learned some news writing skills. My friends told me to look up \u003cem>The Onion \u003c/em>and I fell in love with it, but \u003cem>The Onion\u003c/em>‘s everyman had a wife, a couple kids and a job. I wanted to create a satire magazine for people who had a band, shitty roommates and depression. That was the life my friends and I were living, and there was no satire outlet representing that culture.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>How did growing up in the Bay influence all this?\u003c/strong>\u003c/p>\n\u003cp>I grew up on [bands like] Rancid, Operation Ivy and Monster Squad and spent a lot of my formative years going to—and being banned from—\u003ca href=\"http://www.924gilman.org/\" target=\"_blank\" rel=\"noopener\">924 Gilman\u003c/a>. The Bay Area has a rich history of punks who take themselves far too seriously, so that was just too tempting to start poking fun at. Anyone who has been an active member of the DIY punk scene for over five years, but still can’t spot the toxic ideologies and hypocritical scene leaders, shouldn’t be allowed to operate a motor vehicle.\u003c/p>\n\u003cfigure id=\"attachment_13868734\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13868734\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/Screen-Shot-2019-10-23-at-2.07.42-PM-800x546.png\" alt=\"https://thehardtimes.net/\" width=\"800\" height=\"546\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Screen-Shot-2019-10-23-at-2.07.42-PM-800x546.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Screen-Shot-2019-10-23-at-2.07.42-PM-160x109.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Screen-Shot-2019-10-23-at-2.07.42-PM-768x524.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Screen-Shot-2019-10-23-at-2.07.42-PM.png 973w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">https://thehardtimes.net/\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Ever since “\u003ca href=\"https://thehardtimes.net/blog/fun-date-night-ideas-youll-never-experience-date-musicians/\" target=\"_blank\" rel=\"noopener\">Fun Date Night Ideas You’ll Never Experience Because You Date Band Dudes\u003c/a>” came out, it’s been a staple on my social media feed. It resonates with so many people I know. \u003c/strong>\u003c/p>\n\u003cp>Oh, dude. One time we booked a band and they were rude to our booker all night. Eventually, they even started flipping him off. He walked up to them and said, “Guys, is something wrong? We did our best to promote the show.” And they explained that before they left for tour, all of their girlfriends saw that article, shared it in a group chat, and now they were all in unison upset with the band. It was causing a bunch of fights, so they were pissed at us.\u003c/p>\n\u003cp>\u003cstrong>Is that the funniest response you’ve ever had to a \u003cem>Hard Times\u003c/em> piece?\u003c/strong>\u003c/p>\n\u003cp>The funniest was probably \u003ca href=\"https://twitter.com/MattSaincome/status/1175972367903805440/photo/1\" target=\"_blank\" rel=\"noopener\">this letter\u003c/a> I received from [residential and commercial flooring publication] \u003cem>Floor Trends\u003c/em> magazine threatening legal action if I didn’t take \u003ca href=\"https://thehardtimes.net/music/nofxs-linoleum-wins-25th-consecutive-song-of-the-year-award-from-floor-trends-magazine/\" target=\"_blank\" rel=\"noopener\">this\u003c/a> down:\u003c/p>\n\u003cfigure id=\"attachment_13868735\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13868735\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/Screen-Shot-2019-10-23-at-2.12.33-PM-800x536.png\" alt=\"https://thehardtimes.net/\" width=\"800\" height=\"536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Screen-Shot-2019-10-23-at-2.12.33-PM-800x536.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Screen-Shot-2019-10-23-at-2.12.33-PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Screen-Shot-2019-10-23-at-2.12.33-PM-768x515.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Screen-Shot-2019-10-23-at-2.12.33-PM.png 980w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">https://thehardtimes.net/\u003c/figcaption>\u003c/figure>\n\u003cp>[The letter reads in part: “This is a serious matter and we trust we will have your immediate attention. Please contact me no later than Monday to confirm the article, any related images and all references to \u003cem>Floor Trends\u003c/em> on your website, social media accounts or any other media you have control over, have been removed.” Saincome replied succinctly with a: “Go f–k yourself.”]\u003c/p>\n\u003cp>\u003cstrong>Do bands ever get that annoyed with you? \u003c/strong>\u003c/p>\n\u003cp>A few, but 99% are positive. People are thrilled to be on \u003cem>Hard Times\u003c/em>. I’ve seen huge musicians tweet excitedly that they’ve “made it” when they finally get a \u003cem>Hard Times\u003c/em> article. Even when it’s negative, they celebrate. It’s great to see. Alien Ant Farm was pissed though!\u003c/p>\n\u003cfigure id=\"attachment_13868736\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13868736\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/Screen-Shot-2019-10-23-at-2.26.15-PM-800x537.png\" alt=\"The offending Alien Ant Farm story.\" width=\"800\" height=\"537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Screen-Shot-2019-10-23-at-2.26.15-PM-800x537.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Screen-Shot-2019-10-23-at-2.26.15-PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Screen-Shot-2019-10-23-at-2.26.15-PM-768x515.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Screen-Shot-2019-10-23-at-2.26.15-PM.png 976w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The offending Alien Ant Farm story. \u003ccite>(https://thehardtimes.net/)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How often do people think \u003cem>Hard Times\u003c/em> articles are real?\u003c/strong>\u003c/p>\n\u003cp>Every. Single. Day.\u003c/p>\n\u003cp>\u003cstrong>If you had any advice to people wanting to create a brand from scratch, what would it be?\u003c/strong>\u003c/p>\n\u003cp>Every founder story is bullshit. It’s probably 45% timing and luck, 45% environmental class privilege stuff that makes you less risk averse, and only 10% all that visionary hustle porn stuff you see in TV and movies. Sometimes that 10% can win out, but I had the 90% advantage. I think sometimes people see founders and assume that the thing they saw on Instagram about waking up at 4am and reading 10 books a day must be real. It’s not.\u003c/p>\n\u003cp>\u003cstrong>You’re \u003ca href=\"https://en.wikipedia.org/wiki/Straight_edge\" target=\"_blank\" rel=\"noopener\">straight edge\u003c/a>. There’s an old stereotype that says straight edgers don’t have a sense of humor. Is all of this an elaborate ploy to prove the world wrong?\u003c/strong>\u003c/p>\n\u003cp>It’s actually a long con for me to collect the IP addresses of suspected future edge breakers so I can get my straight edge revenge.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>New book,\u003c/em> The Hard Times: The First 40 Years \u003cem>is out now.\u003c/em>\u003cem> Matt Saincome and website co-founder Bill Conway will be appearing at \u003ca href=\"https://www.facebook.com/events/542681669820794/\" target=\"_blank\" rel=\"noopener\">Green Apple Books on the Park\u003c/a>, San Francisco, on Wednesday, Nov. 13.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2016, Matt Saincome left a reputable job as \u003cem>SF Weekly\u003c/em>‘s music editor to launch a website rooted in a decidedly niche concept: what would happen if punk rock had its own version of \u003cem>The Onion\u003c/em>? At first, \u003ca href=\"https://thehardtimes.net/\" target=\"_blank\" rel=\"noopener\">\u003cem>The Hard Times\u003c/em>\u003c/a> seemed like an obscure endeavor. But over the past three years, the satire site has gone on to garner a global audience, expand into \u003ca href=\"https://thehardtimes.net/live-events/\" target=\"_blank\" rel=\"noopener\">live events\u003c/a> and \u003ca href=\"https://thehardtimes.net/podcasts/\" target=\"_blank\" rel=\"noopener\">a podcast\u003c/a> and earn praise from \u003cem>The Onion \u003c/em>itself.\u003c/p>\n\u003cp>What makes \u003cem>The Hard Times\u003c/em> so successful is its combination of satirical stories that get into the nitty-gritty of punk politics, and spoofs of news stories with wide appeal. The website’s most popular article of all time, for example, is titled: “\u003ca href=\"https://thehardtimes.net/blog/didnt-vaccinate-kids-one-lived-turned-fine/\" target=\"_blank\" rel=\"noopener\">I Didn’t Vaccinate My Kids and the One Who Lived Turned Out Fine\u003c/a>.”\u003c/p>\n\u003cp>In the midst of a tour in support of hilarious new book \u003ca href=\"https://thehardtimes.net/book/\" target=\"_blank\" rel=\"noopener\">\u003cem>The Hard Times: The First 40 Years\u003c/em>\u003c/a>, KQED Arts caught up with Matt Saincome—who was born and raised in the East Bay town of Danville—to talk Bay Area punk, creating a business out of thin air and the sheer volume of people who still think \u003cem>Hard Times\u003c/em> stories are real.\u003c/p>\n\u003cp>\u003cstrong>What inspired you to start \u003cem>The Hard Times\u003c/em> in the first place? \u003c/strong>\u003c/p>\n\u003cp>I already had a punk comedy zine called \u003cem>Punks! Punks! Punks!\u003c/em> and I went to journalism school and learned some news writing skills. My friends told me to look up \u003cem>The Onion \u003c/em>and I fell in love with it, but \u003cem>The Onion\u003c/em>‘s everyman had a wife, a couple kids and a job. I wanted to create a satire magazine for people who had a band, shitty roommates and depression. That was the life my friends and I were living, and there was no satire outlet representing that culture.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>How did growing up in the Bay influence all this?\u003c/strong>\u003c/p>\n\u003cp>I grew up on [bands like] Rancid, Operation Ivy and Monster Squad and spent a lot of my formative years going to—and being banned from—\u003ca href=\"http://www.924gilman.org/\" target=\"_blank\" rel=\"noopener\">924 Gilman\u003c/a>. The Bay Area has a rich history of punks who take themselves far too seriously, so that was just too tempting to start poking fun at. Anyone who has been an active member of the DIY punk scene for over five years, but still can’t spot the toxic ideologies and hypocritical scene leaders, shouldn’t be allowed to operate a motor vehicle.\u003c/p>\n\u003cfigure id=\"attachment_13868734\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13868734\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/Screen-Shot-2019-10-23-at-2.07.42-PM-800x546.png\" alt=\"https://thehardtimes.net/\" width=\"800\" height=\"546\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Screen-Shot-2019-10-23-at-2.07.42-PM-800x546.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Screen-Shot-2019-10-23-at-2.07.42-PM-160x109.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Screen-Shot-2019-10-23-at-2.07.42-PM-768x524.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Screen-Shot-2019-10-23-at-2.07.42-PM.png 973w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">https://thehardtimes.net/\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Ever since “\u003ca href=\"https://thehardtimes.net/blog/fun-date-night-ideas-youll-never-experience-date-musicians/\" target=\"_blank\" rel=\"noopener\">Fun Date Night Ideas You’ll Never Experience Because You Date Band Dudes\u003c/a>” came out, it’s been a staple on my social media feed. It resonates with so many people I know. \u003c/strong>\u003c/p>\n\u003cp>Oh, dude. One time we booked a band and they were rude to our booker all night. Eventually, they even started flipping him off. He walked up to them and said, “Guys, is something wrong? We did our best to promote the show.” And they explained that before they left for tour, all of their girlfriends saw that article, shared it in a group chat, and now they were all in unison upset with the band. It was causing a bunch of fights, so they were pissed at us.\u003c/p>\n\u003cp>\u003cstrong>Is that the funniest response you’ve ever had to a \u003cem>Hard Times\u003c/em> piece?\u003c/strong>\u003c/p>\n\u003cp>The funniest was probably \u003ca href=\"https://twitter.com/MattSaincome/status/1175972367903805440/photo/1\" target=\"_blank\" rel=\"noopener\">this letter\u003c/a> I received from [residential and commercial flooring publication] \u003cem>Floor Trends\u003c/em> magazine threatening legal action if I didn’t take \u003ca href=\"https://thehardtimes.net/music/nofxs-linoleum-wins-25th-consecutive-song-of-the-year-award-from-floor-trends-magazine/\" target=\"_blank\" rel=\"noopener\">this\u003c/a> down:\u003c/p>\n\u003cfigure id=\"attachment_13868735\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13868735\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/Screen-Shot-2019-10-23-at-2.12.33-PM-800x536.png\" alt=\"https://thehardtimes.net/\" width=\"800\" height=\"536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Screen-Shot-2019-10-23-at-2.12.33-PM-800x536.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Screen-Shot-2019-10-23-at-2.12.33-PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Screen-Shot-2019-10-23-at-2.12.33-PM-768x515.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Screen-Shot-2019-10-23-at-2.12.33-PM.png 980w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">https://thehardtimes.net/\u003c/figcaption>\u003c/figure>\n\u003cp>[The letter reads in part: “This is a serious matter and we trust we will have your immediate attention. Please contact me no later than Monday to confirm the article, any related images and all references to \u003cem>Floor Trends\u003c/em> on your website, social media accounts or any other media you have control over, have been removed.” Saincome replied succinctly with a: “Go f–k yourself.”]\u003c/p>\n\u003cp>\u003cstrong>Do bands ever get that annoyed with you? \u003c/strong>\u003c/p>\n\u003cp>A few, but 99% are positive. People are thrilled to be on \u003cem>Hard Times\u003c/em>. I’ve seen huge musicians tweet excitedly that they’ve “made it” when they finally get a \u003cem>Hard Times\u003c/em> article. Even when it’s negative, they celebrate. It’s great to see. Alien Ant Farm was pissed though!\u003c/p>\n\u003cfigure id=\"attachment_13868736\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13868736\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/Screen-Shot-2019-10-23-at-2.26.15-PM-800x537.png\" alt=\"The offending Alien Ant Farm story.\" width=\"800\" height=\"537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Screen-Shot-2019-10-23-at-2.26.15-PM-800x537.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Screen-Shot-2019-10-23-at-2.26.15-PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Screen-Shot-2019-10-23-at-2.26.15-PM-768x515.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Screen-Shot-2019-10-23-at-2.26.15-PM.png 976w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The offending Alien Ant Farm story. \u003ccite>(https://thehardtimes.net/)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How often do people think \u003cem>Hard Times\u003c/em> articles are real?\u003c/strong>\u003c/p>\n\u003cp>Every. Single. Day.\u003c/p>\n\u003cp>\u003cstrong>If you had any advice to people wanting to create a brand from scratch, what would it be?\u003c/strong>\u003c/p>\n\u003cp>Every founder story is bullshit. It’s probably 45% timing and luck, 45% environmental class privilege stuff that makes you less risk averse, and only 10% all that visionary hustle porn stuff you see in TV and movies. Sometimes that 10% can win out, but I had the 90% advantage. I think sometimes people see founders and assume that the thing they saw on Instagram about waking up at 4am and reading 10 books a day must be real. It’s not.\u003c/p>\n\u003cp>\u003cstrong>You’re \u003ca href=\"https://en.wikipedia.org/wiki/Straight_edge\" target=\"_blank\" rel=\"noopener\">straight edge\u003c/a>. There’s an old stereotype that says straight edgers don’t have a sense of humor. Is all of this an elaborate ploy to prove the world wrong?\u003c/strong>\u003c/p>\n\u003cp>It’s actually a long con for me to collect the IP addresses of suspected future edge breakers so I can get my straight edge revenge.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>New book,\u003c/em> The Hard Times: The First 40 Years \u003cem>is out now.\u003c/em>\u003cem> Matt Saincome and website co-founder Bill Conway will be appearing at \u003ca href=\"https://www.facebook.com/events/542681669820794/\" target=\"_blank\" rel=\"noopener\">Green Apple Books on the Park\u003c/a>, San Francisco, on Wednesday, Nov. 13.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Now Playing! San Francisco ‘Crime’ at the Victoria and French Crime at the Roxie",
"headTitle": "Now Playing! San Francisco ‘Crime’ at the Victoria and French Crime at the Roxie | KQED",
"content": "\u003cp>We’re taking a ride in the wayback machine this week, starting with a blast from the Mabuhay Gardens’ past. Dozens of local punk and rock bands played the North Beach club in the ’70s and ’80s, but only Crime had a member (drummer Henry Rosenthal a.k.a. Hank Rank) with the foresight to painstakingly preserve performance footage—shot on 16mm in 1978 for Larry Larson’s cable access show \u003ci>In Review\u003c/i>—of his band.\u003c/p>\n\u003cp>Rosenthal went on to become the Bay Area’s preeminent independent film producer, so he knows something about years-in-gestation movie projects. At long last, he and director-editor Jon Bastian have turned that raw vintage celluloid into \u003cem>Crime 1978\u003c/em>, a document of the times that packs 11 Crime songs and Dirk Dirksen, the late Mabuhay booker and caustic emcee, into 35 minutes.\u003c/p>\n\u003cp>To tout the DVD and vinyl soundtrack releases, \u003cem>Crime 1978\u003c/em> screens Nov. 14 at the Victoria Theatre. The movie is the centerpiece of a rock variety show, with Rosenthal and Bastian regaling the crowd with anecdotes and original Crime bassist Ron “The Ripper” Greco playing a couple numbers. Oh yeah, the bill also includes another ’70s concert film, \u003cem>Ziggy Stardust and the Spiders from Mars\u003c/em>. \u003ca href=\"https://www.eventbrite.com/e/cops-vs-aliens-an-evening-of-rocknroll-film-wcrime-1978-ziggy-stardust-tickets-73310233883\" rel=\"noopener\" target=\"_blank\">Cops Vs. Aliens: An Evening of Rock ’n’ Roll Film\u003c/a> kicks out the jams at 7pm.\u003c/p>\n\u003cfigure id=\"attachment_13869736\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/11/Crime-movie-Ginger-Coyote-and-fan_1200.jpg\" alt=\"Still from 'Crime 1978,' Ginger Coyote and a fan. \" width=\"1200\" height=\"847\" class=\"size-full wp-image-13869736\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Crime-movie-Ginger-Coyote-and-fan_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Crime-movie-Ginger-Coyote-and-fan_1200-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Crime-movie-Ginger-Coyote-and-fan_1200-800x565.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Crime-movie-Ginger-Coyote-and-fan_1200-768x542.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Crime-movie-Ginger-Coyote-and-fan_1200-1020x720.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Crime 1978,’ Ginger Coyote and a fan. \u003ccite>(Courtesy of the filmmakers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Going even further back, Don Malcolm’s vast, multi-part excavation of postwar French noir, neo-noir and second-cousin-by-marriage noir has finally run out of Renault-wrecked road. \u003ca href=\"https://www.roxie.com/ai1ec_event/the-french-had-a-name-for-it-6/?instance_id=37821\" rel=\"noopener\" target=\"_blank\">The French had a Name for It 6: The Sixties and the End of the Line\u003c/a> packs five days with 15 flicks filled with Gitanes and slick suits, and more than a little sunbathing.\u003c/p>\n\u003cp>Malcolm’s selections remind us, more than anything, that the French film industry wasn’t totally transformed overnight by the Nouvelle Vague successes of Claude Chabrol, François Truffaut and Jean-Luc Godard (who is represented here with 1963’s \u003cem>Le Petit Soldat\u003c/em>). The retrospective includes several mainstream films that are traditional in form and structure, even if they adopted New Wave markers like location shooting and young stars with devil-may-care attitudes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The series opener, \u003cem>La Corde Raide\u003c/em> (\u003cem>Lovers on a Tightrope\u003c/em>, 1960) toplines Annie Girardot just a few months before her international breakthrough in Luchino Visconti’s \u003cem>Rocco and His Brothers\u003c/em>. She’s married to an affluent businessman but in love with a hunky mechanic who, wouldn’t you know it, has an ulterior motive. Incidentally, what was the last movie you saw in which the female lead broke a heel running on the sidewalk?\u003c/p>\n\u003cfigure id=\"attachment_13869737\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/11/objectif-500-million_bruno-cremer_marisa-mell_1200.jpg\" alt=\"Still from 'Objectif: 500 Millions,' 1966, with Bruno Cremer and Marisa Mell, directed by Pierre Schoendoerffer.\" width=\"1200\" height=\"879\" class=\"size-full wp-image-13869737\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/objectif-500-million_bruno-cremer_marisa-mell_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/objectif-500-million_bruno-cremer_marisa-mell_1200-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/objectif-500-million_bruno-cremer_marisa-mell_1200-800x586.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/objectif-500-million_bruno-cremer_marisa-mell_1200-768x563.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/objectif-500-million_bruno-cremer_marisa-mell_1200-1020x747.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Objectif: 500 Millions,’ 1966, with Bruno Cremer and Marisa Mell, directed by Pierre Schoendoerffer.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Melodie en Sous-Sol\u003c/em> (\u003cem>Any Number Can Win\u003c/em>, 1963) casts another next-generation star, Alain Delon, opposite French monument Jean Gabin to enjoyable though curious effect. The stars only have a couple scenes together through the film’s first hour; it’s almost like they’re in different movies for different audiences. Yet the pairing of the calm, cool icon with the jittery rebel without a cause fits the movie’s underlying theme, namely the inevitably of change that accompanies the passage of time.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A fresh-out-the-slammer thief (Gabin) needing one last big score to retire to Canberra (!) enlists a former cellmate (Delon) in a plan to rip off a Cannes casino. Savor the rear-screen projection of Delon driving a sports car along the Riviera with his sunglasses on, smiling at everyone, and every other delicious moment in this stylish soufflé. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We’re taking a ride in the wayback machine this week, starting with a blast from the Mabuhay Gardens’ past. Dozens of local punk and rock bands played the North Beach club in the ’70s and ’80s, but only Crime had a member (drummer Henry Rosenthal a.k.a. Hank Rank) with the foresight to painstakingly preserve performance footage—shot on 16mm in 1978 for Larry Larson’s cable access show \u003ci>In Review\u003c/i>—of his band.\u003c/p>\n\u003cp>Rosenthal went on to become the Bay Area’s preeminent independent film producer, so he knows something about years-in-gestation movie projects. At long last, he and director-editor Jon Bastian have turned that raw vintage celluloid into \u003cem>Crime 1978\u003c/em>, a document of the times that packs 11 Crime songs and Dirk Dirksen, the late Mabuhay booker and caustic emcee, into 35 minutes.\u003c/p>\n\u003cp>To tout the DVD and vinyl soundtrack releases, \u003cem>Crime 1978\u003c/em> screens Nov. 14 at the Victoria Theatre. The movie is the centerpiece of a rock variety show, with Rosenthal and Bastian regaling the crowd with anecdotes and original Crime bassist Ron “The Ripper” Greco playing a couple numbers. Oh yeah, the bill also includes another ’70s concert film, \u003cem>Ziggy Stardust and the Spiders from Mars\u003c/em>. \u003ca href=\"https://www.eventbrite.com/e/cops-vs-aliens-an-evening-of-rocknroll-film-wcrime-1978-ziggy-stardust-tickets-73310233883\" rel=\"noopener\" target=\"_blank\">Cops Vs. Aliens: An Evening of Rock ’n’ Roll Film\u003c/a> kicks out the jams at 7pm.\u003c/p>\n\u003cfigure id=\"attachment_13869736\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/11/Crime-movie-Ginger-Coyote-and-fan_1200.jpg\" alt=\"Still from 'Crime 1978,' Ginger Coyote and a fan. \" width=\"1200\" height=\"847\" class=\"size-full wp-image-13869736\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Crime-movie-Ginger-Coyote-and-fan_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Crime-movie-Ginger-Coyote-and-fan_1200-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Crime-movie-Ginger-Coyote-and-fan_1200-800x565.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Crime-movie-Ginger-Coyote-and-fan_1200-768x542.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Crime-movie-Ginger-Coyote-and-fan_1200-1020x720.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Crime 1978,’ Ginger Coyote and a fan. \u003ccite>(Courtesy of the filmmakers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Going even further back, Don Malcolm’s vast, multi-part excavation of postwar French noir, neo-noir and second-cousin-by-marriage noir has finally run out of Renault-wrecked road. \u003ca href=\"https://www.roxie.com/ai1ec_event/the-french-had-a-name-for-it-6/?instance_id=37821\" rel=\"noopener\" target=\"_blank\">The French had a Name for It 6: The Sixties and the End of the Line\u003c/a> packs five days with 15 flicks filled with Gitanes and slick suits, and more than a little sunbathing.\u003c/p>\n\u003cp>Malcolm’s selections remind us, more than anything, that the French film industry wasn’t totally transformed overnight by the Nouvelle Vague successes of Claude Chabrol, François Truffaut and Jean-Luc Godard (who is represented here with 1963’s \u003cem>Le Petit Soldat\u003c/em>). The retrospective includes several mainstream films that are traditional in form and structure, even if they adopted New Wave markers like location shooting and young stars with devil-may-care attitudes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The series opener, \u003cem>La Corde Raide\u003c/em> (\u003cem>Lovers on a Tightrope\u003c/em>, 1960) toplines Annie Girardot just a few months before her international breakthrough in Luchino Visconti’s \u003cem>Rocco and His Brothers\u003c/em>. She’s married to an affluent businessman but in love with a hunky mechanic who, wouldn’t you know it, has an ulterior motive. Incidentally, what was the last movie you saw in which the female lead broke a heel running on the sidewalk?\u003c/p>\n\u003cfigure id=\"attachment_13869737\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/11/objectif-500-million_bruno-cremer_marisa-mell_1200.jpg\" alt=\"Still from 'Objectif: 500 Millions,' 1966, with Bruno Cremer and Marisa Mell, directed by Pierre Schoendoerffer.\" width=\"1200\" height=\"879\" class=\"size-full wp-image-13869737\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/objectif-500-million_bruno-cremer_marisa-mell_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/objectif-500-million_bruno-cremer_marisa-mell_1200-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/objectif-500-million_bruno-cremer_marisa-mell_1200-800x586.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/objectif-500-million_bruno-cremer_marisa-mell_1200-768x563.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/objectif-500-million_bruno-cremer_marisa-mell_1200-1020x747.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Objectif: 500 Millions,’ 1966, with Bruno Cremer and Marisa Mell, directed by Pierre Schoendoerffer.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Melodie en Sous-Sol\u003c/em> (\u003cem>Any Number Can Win\u003c/em>, 1963) casts another next-generation star, Alain Delon, opposite French monument Jean Gabin to enjoyable though curious effect. The stars only have a couple scenes together through the film’s first hour; it’s almost like they’re in different movies for different audiences. Yet the pairing of the calm, cool icon with the jittery rebel without a cause fits the movie’s underlying theme, namely the inevitably of change that accompanies the passage of time.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A fresh-out-the-slammer thief (Gabin) needing one last big score to retire to Canberra (!) enlists a former cellmate (Delon) in a plan to rip off a Cannes casino. Savor the rear-screen projection of Delon driving a sports car along the Riviera with his sunglasses on, smiling at everyone, and every other delicious moment in this stylish soufflé. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Tom DeLonge is UFO-Hunting With the Army Now Because This Timeline is Nuts",
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"content": "\u003cp>This month, in news confirming that we live on the most surreal timeline, Tom DeLonge (“the nasal one”) from Blink-182 joined forces with the U.S. Army to hunt for extraterrestrials.\u003c/p>\n\u003cp>It’s 2019, everyone!\u003c/p>\n\u003cp>The bizarro development came after DeLonge’s \u003ca href=\"https://dpo.tothestarsacademy.com/\" target=\"_blank\" rel=\"noopener noreferrer\">UFO research organization\u003c/a> (why \u003cem>wouldn’t\u003c/em> he have one of those?) published footage which the Navy later confirmed contained at least one unidentified flying object. DeLonge also says that his research team is currently running tests on an “\u003ca href=\"https://www.vice.com/en_us/article/xwnezk/tom-delonges-ufo-organization-says-its-obtained-exotic-metals-unknown-to-science\" target=\"_blank\" rel=\"noopener noreferrer\">exotic material\u003c/a>” he believes came from a spacecraft.\u003c/p>\n\u003cp>That last part apparently proved too tempting for the Army. Now, their Combat Capabilities Development Command wants to spend the next five years helping DeLonge’s team of 12 researchers (including ex-government employees) to develop E.T.-hunting equipment, with the goal of using it to enhance Army “ground vehicles.” If you need proof, you can see the\u003ca href=\"https://docs.google.com/viewerng/viewer?url=https://documents2.theblackvault.com/documents/army/TTSA-ARMY-CRADA.pdf&hl=en\" target=\"_blank\" rel=\"noopener noreferrer\"> contract\u003c/a> in full (signed by DeLonge’s sister, Kari) online.\u003c/p>\n\u003cp>When it comes to ideas about outer space, Tom DeLonge has lived on his own planet for many years now. His obsession with aliens, in particular, has been present for his entire career. In 1999, Blink’s breakthrough album \u003cem>Enema of the State\u003c/em> featured the track “\u003ca href=\"https://www.youtube.com/watch?v=Yda38oRlEfM\" target=\"_blank\" rel=\"noopener noreferrer\">Aliens Exist\u003c/a>,” on which DeLonge described being abducted. “What if people knew that these were real?” he sang, in no way indicating that he would one day set out to prove that himself.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Things ramped up further in 2005, when DeLonge put together the band Angels and Airwaves. In their very first video, for “The Adventure,” the quartet hurtled through the cosmos in a spaceship. The following year, he named his firstborn Jonas Rocket.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=JMl8cQjBfqk\u003c/p>\n\u003cp>Since then, DeLonge has released a children’s book called \u003cem>\u003ca href=\"https://www.goodreads.com/book/show/18877915-the-lonely-astronaut-on-christmas-eve\" target=\"_blank\" rel=\"noopener noreferrer\">The Lonely Astronaut on Christmas Eve\u003c/a>, \u003c/em>a paranormal graphic novel for teens called \u003ca href=\"https://www.google.com/books/edition/Strange_Times/pWCsDQAAQBAJ?hl=en&gbpv=1&printsec=frontcover\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Strange Times \u003c/em>\u003c/a>(that’s apparently being turned into a \u003ca href=\"https://www.rollingstone.com/music/music-news/tom-delonge-strange-times-tv-series-766982/\" target=\"_blank\" rel=\"noopener noreferrer\">series for TBS\u003c/a>) and \u003ca href=\"https://www.usmagazine.com/celebrity-news/news/tom-delonge-may-have-had-an-alien-encounter-at-area-51-2015192/\" target=\"_blank\" rel=\"noopener noreferrer\">camped out\u003c/a> at Area 51.\u003c/p>\n\u003cp>In 2015, DeLonge told \u003ca href=\"https://www.papermag.com/tom-delonge-ufos-interview-1427513207.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Paper\u003c/em> \u003c/a>that he was in touch with “sources from the government,” adding that his phone had been tapped and that he was aware of mind-control experiments being used against members of the public. “The same technology that we use to find oil underground,” he said, “can zap somebody at the same frequency that the brain operates on, and it can cause some really horrific things to happen.”\u003c/p>\n\u003cp>By 2016, DeLonge was fully immersed in the life of a UFOlogist, telling \u003ca href=\"https://www.mic.com/articles/140196/why-tom-de-longe-took-a-break-from-blink-182-to-expose-the-truth-about-aliens\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Mic\u003c/em>\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>When you’re an individual like me, dealing with something that’s a national security issue, and you’re being gifted with the opportunity to communicate something you’ve been passionate about your whole life—something that has the opportunity to change the world over time—being a small part of that is enormously important for my life path. But I can’t do everything. I can’t tour nine months out of the year with enough time to do the enormity of what I’m setting out to do.\u003c/p>\u003c/blockquote>\n\u003cp>Before the Army got involved, DeLonge received a major endorsement for his UFOlogy work earlier this year, when the History Channel paired with his organization for a series titled \u003ca href=\"https://www.history.com/shows/unidentified-inside-americas-ufo-investigation\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Unidentified: Inside America’s UFO Investigation\u003c/em>\u003c/a>. The series shone a spotlight on experts and witnesses, one of whom noted, “If these things are hostile, we’re screwed.”\u003c/p>\n\u003cp>Truth be told, DeLonge and the Army getting together to try and save the planet is definitely not the worst thing that’s happened. If there’s even the vaguest of chances they’ll introduce us to extraterrestrial lifeforms in the next few years, let’s just roll with it and see what they come up with. Nothing to lose at this point, right?\u003c/p>\n\u003cp>We’ll leave you with words from DeLonge himself as he explains his mission. Buckle up, because apparently nothing less than “chang[ing] the path humanity is on” and “the world for my kids, and everyone else’s” will do:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=er1jVsxg3sc\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This month, in news confirming that we live on the most surreal timeline, Tom DeLonge (“the nasal one”) from Blink-182 joined forces with the U.S. Army to hunt for extraterrestrials.\u003c/p>\n\u003cp>It’s 2019, everyone!\u003c/p>\n\u003cp>The bizarro development came after DeLonge’s \u003ca href=\"https://dpo.tothestarsacademy.com/\" target=\"_blank\" rel=\"noopener noreferrer\">UFO research organization\u003c/a> (why \u003cem>wouldn’t\u003c/em> he have one of those?) published footage which the Navy later confirmed contained at least one unidentified flying object. DeLonge also says that his research team is currently running tests on an “\u003ca href=\"https://www.vice.com/en_us/article/xwnezk/tom-delonges-ufo-organization-says-its-obtained-exotic-metals-unknown-to-science\" target=\"_blank\" rel=\"noopener noreferrer\">exotic material\u003c/a>” he believes came from a spacecraft.\u003c/p>\n\u003cp>That last part apparently proved too tempting for the Army. Now, their Combat Capabilities Development Command wants to spend the next five years helping DeLonge’s team of 12 researchers (including ex-government employees) to develop E.T.-hunting equipment, with the goal of using it to enhance Army “ground vehicles.” If you need proof, you can see the\u003ca href=\"https://docs.google.com/viewerng/viewer?url=https://documents2.theblackvault.com/documents/army/TTSA-ARMY-CRADA.pdf&hl=en\" target=\"_blank\" rel=\"noopener noreferrer\"> contract\u003c/a> in full (signed by DeLonge’s sister, Kari) online.\u003c/p>\n\u003cp>When it comes to ideas about outer space, Tom DeLonge has lived on his own planet for many years now. His obsession with aliens, in particular, has been present for his entire career. In 1999, Blink’s breakthrough album \u003cem>Enema of the State\u003c/em> featured the track “\u003ca href=\"https://www.youtube.com/watch?v=Yda38oRlEfM\" target=\"_blank\" rel=\"noopener noreferrer\">Aliens Exist\u003c/a>,” on which DeLonge described being abducted. “What if people knew that these were real?” he sang, in no way indicating that he would one day set out to prove that himself.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Things ramped up further in 2005, when DeLonge put together the band Angels and Airwaves. In their very first video, for “The Adventure,” the quartet hurtled through the cosmos in a spaceship. The following year, he named his firstborn Jonas Rocket.\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/JMl8cQjBfqk'\n title='//www.youtube.com/embed/JMl8cQjBfqk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Since then, DeLonge has released a children’s book called \u003cem>\u003ca href=\"https://www.goodreads.com/book/show/18877915-the-lonely-astronaut-on-christmas-eve\" target=\"_blank\" rel=\"noopener noreferrer\">The Lonely Astronaut on Christmas Eve\u003c/a>, \u003c/em>a paranormal graphic novel for teens called \u003ca href=\"https://www.google.com/books/edition/Strange_Times/pWCsDQAAQBAJ?hl=en&gbpv=1&printsec=frontcover\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Strange Times \u003c/em>\u003c/a>(that’s apparently being turned into a \u003ca href=\"https://www.rollingstone.com/music/music-news/tom-delonge-strange-times-tv-series-766982/\" target=\"_blank\" rel=\"noopener noreferrer\">series for TBS\u003c/a>) and \u003ca href=\"https://www.usmagazine.com/celebrity-news/news/tom-delonge-may-have-had-an-alien-encounter-at-area-51-2015192/\" target=\"_blank\" rel=\"noopener noreferrer\">camped out\u003c/a> at Area 51.\u003c/p>\n\u003cp>In 2015, DeLonge told \u003ca href=\"https://www.papermag.com/tom-delonge-ufos-interview-1427513207.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Paper\u003c/em> \u003c/a>that he was in touch with “sources from the government,” adding that his phone had been tapped and that he was aware of mind-control experiments being used against members of the public. “The same technology that we use to find oil underground,” he said, “can zap somebody at the same frequency that the brain operates on, and it can cause some really horrific things to happen.”\u003c/p>\n\u003cp>By 2016, DeLonge was fully immersed in the life of a UFOlogist, telling \u003ca href=\"https://www.mic.com/articles/140196/why-tom-de-longe-took-a-break-from-blink-182-to-expose-the-truth-about-aliens\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Mic\u003c/em>\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>When you’re an individual like me, dealing with something that’s a national security issue, and you’re being gifted with the opportunity to communicate something you’ve been passionate about your whole life—something that has the opportunity to change the world over time—being a small part of that is enormously important for my life path. But I can’t do everything. I can’t tour nine months out of the year with enough time to do the enormity of what I’m setting out to do.\u003c/p>\u003c/blockquote>\n\u003cp>Before the Army got involved, DeLonge received a major endorsement for his UFOlogy work earlier this year, when the History Channel paired with his organization for a series titled \u003ca href=\"https://www.history.com/shows/unidentified-inside-americas-ufo-investigation\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Unidentified: Inside America’s UFO Investigation\u003c/em>\u003c/a>. The series shone a spotlight on experts and witnesses, one of whom noted, “If these things are hostile, we’re screwed.”\u003c/p>\n\u003cp>Truth be told, DeLonge and the Army getting together to try and save the planet is definitely not the worst thing that’s happened. If there’s even the vaguest of chances they’ll introduce us to extraterrestrial lifeforms in the next few years, let’s just roll with it and see what they come up with. Nothing to lose at this point, right?\u003c/p>\n\u003cp>We’ll leave you with words from DeLonge himself as he explains his mission. Buckle up, because apparently nothing less than “chang[ing] the path humanity is on” and “the world for my kids, and everyone else’s” will do:\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/er1jVsxg3sc'\n title='//www.youtube.com/embed/er1jVsxg3sc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>“Music!” yelled Lil Wayne on Friday night, ordering his band to play with the tone of a cartoon villain demanding the hounds be released. After pausing for a moment to humbly bask in applause, his face flashed a mischievous, Joker-like grin of diamond grills as the DJ dropped the instantly recognizable drum roll of “A Milli,” one of the many hits that defined his reign over the 2000s rap charts.\u003c/p>\n\u003cp>Humor and theatrics came naturally to Wayne on the opening day of Outside Lands on Aug. 9, where his early-evening performance was indisputably one of the day’s strongest. Like a big little kid in his oversized, multicolored Gucci sweatsuit, he gleefully frolicked on stage while delivering dynamic, arena-scale renditions of sex songs like “Bed Rock” and “Lollipop,” rap braggadocio like “6 Foot 7 Foot,” and testaments to resilience and survival like “Can’t Be Broken.”\u003c/p>\n\u003cfigure id=\"attachment_13863565\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6328-800x533.jpg\" alt=\"Lil Wayne performs at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863565\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6328.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6328-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6328-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lil Wayne performs at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At 36 years old, Lil Wayne is still young for a rap veteran, though influential and successful enough to have a decade-defining resume of hits, and to have spawned a legion of successors (Nicki Minaj, Drake, Young Thug) who’ve carried his zany, raunchy style into the present. While some of his peers barely rap along to their backing vocal tracks, at Outside Lands, Wayne went full rockstar in his live show, flexing his vocal abilities with a DJ, a mighty drummer and a solo-happy guitarist with a top hat like Slash from Guns N’ Roses. It was a dynamic format for his hit parade, and Lil Wayne joyfully presided over the party.\u003c/p>\n\u003cp>All in all, Wayne exuded an uplifting, centered energy. He implored the audience to love and celebrate themselves, to applaud (and to tip) the festival staff. Throughout the show, he reminded us of his gratitude with his self-effacing refrain: “We all ain’t shit without the love, and I ain’t shit without you.”\u003c/p>\n\u003ch2>Other Highlights\u003c/h2>\n\u003cfigure id=\"attachment_13863567\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6366-800x533.jpg\" alt=\"Yaeji performs at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863567\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6366.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6366-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6366-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yaeji performs at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Yaeji\u003c/strong>\u003cbr>\nThere are fewer indie rock bands at Outside Lands than usual this year, and the festival lineup includes a noticeable increase in dance music acts. One of the standouts of that genre is Yaeji, whose hard-to-classify style encompasses club bangers like “Raingurl”—which sparked an unselfconscious dance party—and slower, more contemplative songs like “One More,” which had the English-speaking Outside Lands audience singing along in Korean. A one-woman band, she switched between singing on the mic, dancing at the front of the stage like a pop star, and working her magic behind the decks. Her minimal cover of Drake’s “Passionfruit” inspired dreamy sways and sentimental embraces among lovers and friends.\u003c/p>\n\u003cfigure id=\"attachment_13863576\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6460-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6460.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6460-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6460-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Still Woozy\u003c/strong>\u003cbr>\nOakland’s Still Woozy proved himself a promising up-and-coming performer, commanding a surprisingly full and enthusiastic early crowd with his charming, awkward exuberance. His lo-fi R&B and indie pop tracks gained new dimensions with the accompaniment of live drums, bass, guitar and keys as Still Woozy wiggled around the stage like an inflatable tube man, bending his knees and shaking his hips with unbridled enthusiasm.\u003c/p>\n\u003cfigure id=\"attachment_13863571\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6423-800x533.jpg\" alt=\"Blink 182 perform at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6423.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6423-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6423-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Blink 182 perform at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Blink-182\u003c/strong>\u003cbr>\nPop-punk idols Blink-182 took the Outside Lands audience back to 1999 with “Adam’s Song” and “All the Small Things,” peppering their angsty anthems with sarcastic asides that kept the mood light—essential for a bunch of adults (both on stage and in the audience) channeling their whiniest middle school selves.\u003c/p>\n\u003cfigure id=\"attachment_13863577\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6464-800x533.jpg\" alt=\"Luttrell performs at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863577\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6464.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6464-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6464-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Luttrell performs at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Luttrell\u003c/strong>\u003cbr>\nSan Francisco techno producer Luttrell is better known in the Burning Man circuit than the festival scene. At Outside Lands, he sparked a small yet enthusiastic dance party with his euphoric grooves during the lull before headliners Twenty One Pilots. Grandiose, soaring synths carried listeners away like the wings of a pegasus, while pounding bass grounded them back down to earth.\u003c/p>\n\u003cfigure id=\"attachment_13863594\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6613-1-800x533.jpg\" alt=\"Flying Lotus performs at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863594\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6613-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6613-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6613-1-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Flying Lotus performs at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Flying Lotus\u003c/strong>\u003cbr>\nFlying Lotus’ sculptural DJ booth looked like an outer-space submarine as he spun his golden threads of jazz, hip-hop and experimental beats. Transfixed festival-goers in 3D glasses bobbed along, vapes in hand, to his heady music and biomorphic, neon visuals.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch2>More Photos from Outside Lands 2019 Day One\u003c/h2>\n\u003cfigure id=\"attachment_13863592\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6524-Edit-1-800x533.jpg\" alt=\"Twenty One Pilots perform at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863592\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6524-Edit-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6524-Edit-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6524-Edit-1-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Twenty One Pilots perform at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863556\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6267-800x533.jpg\" alt=\"Miya Folick performs at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863556\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6267.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6267-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6267-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Miya Folick performs at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863555\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6224-800x533.jpg\" alt=\"K. Flay at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863555\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6224.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6224-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6224-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">K. Flay at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863589\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6499-1-800x533.jpg\" alt=\"Twenty One Pilots perform at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6499-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6499-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6499-1-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Twenty One Pilots perform at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863575\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6452-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863575\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6452-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6452-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863568\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6370-800x533.jpg\" alt=\"Yaeji performs at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863568\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6370.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6370-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6370-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yaeji performs at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863593\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6590-1-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863593\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6590-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6590-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6590-1-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863570\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6406-800x533.jpg\" alt=\"Blink 182 perform at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863570\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6406.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6406-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6406-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Blink 182 perform at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863559\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6288-800x533.jpg\" alt=\"P-Lo at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863559\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6288.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6288-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6288-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">P-Lo at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863569\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6376-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863569\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6376.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6376-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6376-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863595\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6619-1-800x533.jpg\" alt=\"Flying Lotus performs at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863595\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6619-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6619-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6619-1-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Flying Lotus performs at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863573\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6440-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863573\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6440.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6440-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6440-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"excerpt": "At Outside Lands on Friday, electronic musicians, such as Yaeji, Flying Lotus and Luttrell, also shined in Golden Gate Park. ",
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"title": "Lil Wayne Bodied Outside Lands Day One—And Other Highlights | KQED",
"description": "At Outside Lands on Friday, electronic musicians, such as Yaeji, Flying Lotus and Luttrell, also shined in Golden Gate Park. ",
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"headline": "Lil Wayne Bodied Outside Lands Day One—And Other Highlights",
"datePublished": "2019-08-10T09:14:46-07:00",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Music!” yelled Lil Wayne on Friday night, ordering his band to play with the tone of a cartoon villain demanding the hounds be released. After pausing for a moment to humbly bask in applause, his face flashed a mischievous, Joker-like grin of diamond grills as the DJ dropped the instantly recognizable drum roll of “A Milli,” one of the many hits that defined his reign over the 2000s rap charts.\u003c/p>\n\u003cp>Humor and theatrics came naturally to Wayne on the opening day of Outside Lands on Aug. 9, where his early-evening performance was indisputably one of the day’s strongest. Like a big little kid in his oversized, multicolored Gucci sweatsuit, he gleefully frolicked on stage while delivering dynamic, arena-scale renditions of sex songs like “Bed Rock” and “Lollipop,” rap braggadocio like “6 Foot 7 Foot,” and testaments to resilience and survival like “Can’t Be Broken.”\u003c/p>\n\u003cfigure id=\"attachment_13863565\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6328-800x533.jpg\" alt=\"Lil Wayne performs at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863565\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6328.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6328-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6328-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lil Wayne performs at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At 36 years old, Lil Wayne is still young for a rap veteran, though influential and successful enough to have a decade-defining resume of hits, and to have spawned a legion of successors (Nicki Minaj, Drake, Young Thug) who’ve carried his zany, raunchy style into the present. While some of his peers barely rap along to their backing vocal tracks, at Outside Lands, Wayne went full rockstar in his live show, flexing his vocal abilities with a DJ, a mighty drummer and a solo-happy guitarist with a top hat like Slash from Guns N’ Roses. It was a dynamic format for his hit parade, and Lil Wayne joyfully presided over the party.\u003c/p>\n\u003cp>All in all, Wayne exuded an uplifting, centered energy. He implored the audience to love and celebrate themselves, to applaud (and to tip) the festival staff. Throughout the show, he reminded us of his gratitude with his self-effacing refrain: “We all ain’t shit without the love, and I ain’t shit without you.”\u003c/p>\n\u003ch2>Other Highlights\u003c/h2>\n\u003cfigure id=\"attachment_13863567\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6366-800x533.jpg\" alt=\"Yaeji performs at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863567\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6366.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6366-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6366-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yaeji performs at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Yaeji\u003c/strong>\u003cbr>\nThere are fewer indie rock bands at Outside Lands than usual this year, and the festival lineup includes a noticeable increase in dance music acts. One of the standouts of that genre is Yaeji, whose hard-to-classify style encompasses club bangers like “Raingurl”—which sparked an unselfconscious dance party—and slower, more contemplative songs like “One More,” which had the English-speaking Outside Lands audience singing along in Korean. A one-woman band, she switched between singing on the mic, dancing at the front of the stage like a pop star, and working her magic behind the decks. Her minimal cover of Drake’s “Passionfruit” inspired dreamy sways and sentimental embraces among lovers and friends.\u003c/p>\n\u003cfigure id=\"attachment_13863576\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6460-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6460.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6460-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6460-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Still Woozy\u003c/strong>\u003cbr>\nOakland’s Still Woozy proved himself a promising up-and-coming performer, commanding a surprisingly full and enthusiastic early crowd with his charming, awkward exuberance. His lo-fi R&B and indie pop tracks gained new dimensions with the accompaniment of live drums, bass, guitar and keys as Still Woozy wiggled around the stage like an inflatable tube man, bending his knees and shaking his hips with unbridled enthusiasm.\u003c/p>\n\u003cfigure id=\"attachment_13863571\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6423-800x533.jpg\" alt=\"Blink 182 perform at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6423.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6423-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6423-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Blink 182 perform at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Blink-182\u003c/strong>\u003cbr>\nPop-punk idols Blink-182 took the Outside Lands audience back to 1999 with “Adam’s Song” and “All the Small Things,” peppering their angsty anthems with sarcastic asides that kept the mood light—essential for a bunch of adults (both on stage and in the audience) channeling their whiniest middle school selves.\u003c/p>\n\u003cfigure id=\"attachment_13863577\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6464-800x533.jpg\" alt=\"Luttrell performs at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863577\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6464.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6464-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6464-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Luttrell performs at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Luttrell\u003c/strong>\u003cbr>\nSan Francisco techno producer Luttrell is better known in the Burning Man circuit than the festival scene. At Outside Lands, he sparked a small yet enthusiastic dance party with his euphoric grooves during the lull before headliners Twenty One Pilots. Grandiose, soaring synths carried listeners away like the wings of a pegasus, while pounding bass grounded them back down to earth.\u003c/p>\n\u003cfigure id=\"attachment_13863594\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6613-1-800x533.jpg\" alt=\"Flying Lotus performs at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863594\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6613-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6613-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6613-1-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Flying Lotus performs at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Flying Lotus\u003c/strong>\u003cbr>\nFlying Lotus’ sculptural DJ booth looked like an outer-space submarine as he spun his golden threads of jazz, hip-hop and experimental beats. Transfixed festival-goers in 3D glasses bobbed along, vapes in hand, to his heady music and biomorphic, neon visuals.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch2>More Photos from Outside Lands 2019 Day One\u003c/h2>\n\u003cfigure id=\"attachment_13863592\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6524-Edit-1-800x533.jpg\" alt=\"Twenty One Pilots perform at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863592\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6524-Edit-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6524-Edit-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6524-Edit-1-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Twenty One Pilots perform at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863556\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6267-800x533.jpg\" alt=\"Miya Folick performs at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863556\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6267.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6267-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6267-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Miya Folick performs at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863555\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6224-800x533.jpg\" alt=\"K. Flay at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863555\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6224.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6224-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6224-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">K. Flay at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863589\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6499-1-800x533.jpg\" alt=\"Twenty One Pilots perform at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6499-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6499-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6499-1-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Twenty One Pilots perform at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863575\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6452-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863575\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6452-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6452-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863568\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6370-800x533.jpg\" alt=\"Yaeji performs at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863568\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6370.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6370-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6370-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yaeji performs at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863593\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6590-1-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863593\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6590-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6590-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6590-1-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863570\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6406-800x533.jpg\" alt=\"Blink 182 perform at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863570\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6406.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6406-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6406-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Blink 182 perform at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863559\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6288-800x533.jpg\" alt=\"P-Lo at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863559\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6288.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6288-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6288-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">P-Lo at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863569\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6376-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863569\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6376.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6376-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6376-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863595\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6619-1-800x533.jpg\" alt=\"Flying Lotus performs at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863595\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6619-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6619-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6619-1-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Flying Lotus performs at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13863573\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MG_6440-800x533.jpg\" alt=\"The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13863573\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6440.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6440-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_6440-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands music festival in San Francisco, Aug. 9, 2019. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"title": "6 Rising Comedians Not to Miss at Comedy Central's Clusterfest in San Francisco",
"headTitle": "6 Rising Comedians Not to Miss at Comedy Central’s Clusterfest in San Francisco | KQED",
"content": "\u003cp>You probably clicked this link because you like comedy. Or maybe, like me, you \u003ci>love\u003c/i> comedy—so much that you’ve actually dated comedians. Perhaps one of the comedians you dated could have moonlighted as a Chaz Bono impersonator; another you broke up with because you were terrified you’d have to meet Carrot Top one day. Wait, or was that just me?\u003c/p>\n\u003cp>Or maybe you clicked this link looking to expand your cultural horizons since Comedy Central’s \u003ca href=\"https://www.clusterfest.com/\" target=\"_blank\" rel=\"noopener\">Clusterfest\u003c/a> is upon us, bringing three days of stand-up, storytelling, music and food to San Francisco’s Civic Center and Bill Graham Civic Auditorium June 21–23. Along with Issa Rae, Patton Oswalt, Amy Poehler, \u003cem>SNL\u003c/em>’s Leslie Jones and \u003cem>Broad City\u003c/em>’s Ilana Glazer (plus a recreation of Jerry Seinfeld’s apartment), headliners include John Mulaney (who stole my allegiance with his “\u003ca href=\"https://www.youtube.com/watch?v=QnkrL42R7gk\" target=\"_blank\" rel=\"noopener\">What’s New PussyCat\u003c/a>” bit long ago) and Chelsea Peretti (the Bay Area’s “Pippa Middleton” of comedy—kinda royalty, but not). \u003cem>2 Broke Girls\u003c/em> creator Whitney Cummings will also be in attendance, as well as Cummings’ old roast master, Jeff Ross, who is set to host a roast battle where two up-and-coming comedians spar for affirmation.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">If you’re one of the diehard comedy fans who sold their souls, cars or kidneys for a three-day pass, you’re going to want to see more than the big stars. Here are our six rising comedians not to miss at Clusterfest (warning: some of the embedded clips contain mature language):\u003c/span>\u003c/p>\n\u003cp>https://youtu.be/op2pK_w8_oY\u003c/p>\n\u003cp>\u003cstrong>Quinta Brunson\u003c/strong>\u003cbr>\n\u003cem>June 21 and 22\u003c/em>\u003c/p>\n\u003cp>If you haven’t heard of Quinta Brunson yet, chances are you will soon. Listed in \u003ci>Forbes\u003c/i>’ “30 under 30,” Brunson plays herself against the world in her BuzzFeed video series, \u003ci>Quinta Vs. Everything\u003c/i>. She got her start on Instagram playing the easily impressed “Girl Who’s Never Been on a Nice Date.” (Fire tagline: “He got money!”) Brunson’s stand-up routines cover it all: her beef with little kids who mistake her as one of their own, as well as hot takes on Harriet Tubman’s personal life. Brunson mixes intelligence with hilarity better than your most engaging philosophical bar debate.\u003c/p>\n\u003cp>https://youtu.be/yzEhqaCldDM\u003c/p>\n\u003cp>\u003cb>Catherine Cohen\u003c/b>\u003cbr>\n\u003cem>June 22 and 23\u003c/em>\u003c/p>\n\u003cp>This self proclaimed “alt-comedian with a perfect body and gorgeous face” has social numbers climbing faster than the mileage on the car I park in San Francisco. Cohen’s style of comedy mixes cabaret vocals, open letters to celebrities she’s never met (hello, Owen Wilson and Avril Lavigne) and parodies of pseudo-feminist yogurt commercials. In her videos, she tests the limits of her characters. \u003ca href=\"https://youtu.be/XtwL-3y7kcI\" target=\"_blank\" rel=\"noopener\">In one\u003c/a>, for example, she suggests, in a 1940s fancy woman accent, that everyone lay down the law and quit performing acts of fellatio for husbands, garbage men and even bosses. Cohen’s humor is absurd, and displays comedic traits similar to Amy Sedaris and Martin Short.\u003c/p>\n\u003cp>https://youtu.be/v0rz2Mas0AA\u003c/p>\n\u003cp>\u003cb>Punkie Johnson\u003c/b>\u003cbr>\n\u003cem>June 21 and 22\u003c/em>\u003c/p>\n\u003cp>Punkie Johnson exudes confidence with a blunt and brash comedic style. Riffing on her own masculinity, monogamy or that one time she tried heterosexual sex, Johnson is anything but demure. She’s also a regular at the legendary Comedy Store in West Hollywood. If you’re not familiar, here she is hitting it out of the park as the gestating partner of a dysfunctional straight couple in her episode of executive producer Sarah Silverman’s Facebook Watch show \u003ca href=\"https://www.facebook.com/watch/?v=1719514054793890\" target=\"_blank\" rel=\"noopener\">\u003ci>Please Understand Me\u003c/i>\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=T0P4pDa5kOQ\u003c/p>\n\u003cp>\u003cb>Rosebud Baker\u003c/b>\u003cbr>\n\u003cem>June 21 and 22\u003c/em>\u003c/p>\n\u003cp>Rosebud Baker airs out the dumpster fires of her personal disasters in her stand-up. If it’s too dark to talk about in good taste, Baker takes it to the stage—even her experience with an abusive relationship. Her humor may well be an acquired taste, a balm for those of us also warming ourselves with our own dumpster fires. Undeniably, her gravitas and well-delivered timing make her stand out.\u003c/p>\n\u003cp>https://youtu.be/5GfKI1c4gOc\u003c/p>\n\u003cp>\u003cb>Alyssa Westerlund\u003c/b>\u003cbr>\n\u003cem>June 23 \u003c/em>\u003c/p>\n\u003cp>A San Francisco resident, former cult member and self-proclaimed nymphomaniac, Alyssa Westerlund claims that her “number” is well over 200. Whether that is accurate or an all-too-excellent ploy to catch more partners is up for debate. But what’s not is that Westerlund doesn’t shy away from her exhibitionism. If you’ve had the chance to catch her around town, you know her energy is magnetic and her transparency is repeatedly shocking.\u003c/p>\n\u003cp>https://youtu.be/Yuhdee5VlyE\u003c/p>\n\u003cp>\u003cb>Live Read of \u003cem>Romy and Michele’s High School Reunion\u003c/em> with Trixie Mattel, Katya and Peaches Christ\u003c/b>\u003cbr>\n\u003cem>June 23\u003c/em>\u003c/p>\n\u003cp>This event is sure to be raunchy, hysterical and unfortunately void of Allan Cummings and his impressive helicopter parking lot landing. Co-curated by SF Sketchfest, this read-through features drag stars Trixie Mattel and Katya, as well as San Francisco’s own Peaches Christ, who will be playing the part of Janeane Garofalo’s character, Heather Mooney, to which I say:\u003c/p>\n\u003cp style=\"text-align: center\">\n\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://giphy.com/embed/xUA7bifq2GeRPpLRSw\" width=\"480\" height=\"257\" frameborder=\"0\" class=\"giphy-embed\" scrolling=\"yes\">\u003c/iframe>\n\u003c/p>\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\u003cp>\u003cem>Comedy Central’s Clusterfest takes place June 21–23 at San Francisco’s Civic Center and Bill Graham Civic Auditorium. Details \u003ca href=\"https://www.clusterfest.com\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003cbr>\n[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You probably clicked this link because you like comedy. Or maybe, like me, you \u003ci>love\u003c/i> comedy—so much that you’ve actually dated comedians. Perhaps one of the comedians you dated could have moonlighted as a Chaz Bono impersonator; another you broke up with because you were terrified you’d have to meet Carrot Top one day. Wait, or was that just me?\u003c/p>\n\u003cp>Or maybe you clicked this link looking to expand your cultural horizons since Comedy Central’s \u003ca href=\"https://www.clusterfest.com/\" target=\"_blank\" rel=\"noopener\">Clusterfest\u003c/a> is upon us, bringing three days of stand-up, storytelling, music and food to San Francisco’s Civic Center and Bill Graham Civic Auditorium June 21–23. Along with Issa Rae, Patton Oswalt, Amy Poehler, \u003cem>SNL\u003c/em>’s Leslie Jones and \u003cem>Broad City\u003c/em>’s Ilana Glazer (plus a recreation of Jerry Seinfeld’s apartment), headliners include John Mulaney (who stole my allegiance with his “\u003ca href=\"https://www.youtube.com/watch?v=QnkrL42R7gk\" target=\"_blank\" rel=\"noopener\">What’s New PussyCat\u003c/a>” bit long ago) and Chelsea Peretti (the Bay Area’s “Pippa Middleton” of comedy—kinda royalty, but not). \u003cem>2 Broke Girls\u003c/em> creator Whitney Cummings will also be in attendance, as well as Cummings’ old roast master, Jeff Ross, who is set to host a roast battle where two up-and-coming comedians spar for affirmation.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">If you’re one of the diehard comedy fans who sold their souls, cars or kidneys for a three-day pass, you’re going to want to see more than the big stars. Here are our six rising comedians not to miss at Clusterfest (warning: some of the embedded clips contain mature language):\u003c/span>\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/op2pK_w8_oY'\n title='//www.youtube.com/embed/op2pK_w8_oY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Quinta Brunson\u003c/strong>\u003cbr>\n\u003cem>June 21 and 22\u003c/em>\u003c/p>\n\u003cp>If you haven’t heard of Quinta Brunson yet, chances are you will soon. Listed in \u003ci>Forbes\u003c/i>’ “30 under 30,” Brunson plays herself against the world in her BuzzFeed video series, \u003ci>Quinta Vs. Everything\u003c/i>. She got her start on Instagram playing the easily impressed “Girl Who’s Never Been on a Nice Date.” (Fire tagline: “He got money!”) Brunson’s stand-up routines cover it all: her beef with little kids who mistake her as one of their own, as well as hot takes on Harriet Tubman’s personal life. Brunson mixes intelligence with hilarity better than your most engaging philosophical bar debate.\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/yzEhqaCldDM'\n title='//www.youtube.com/embed/yzEhqaCldDM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>Catherine Cohen\u003c/b>\u003cbr>\n\u003cem>June 22 and 23\u003c/em>\u003c/p>\n\u003cp>This self proclaimed “alt-comedian with a perfect body and gorgeous face” has social numbers climbing faster than the mileage on the car I park in San Francisco. Cohen’s style of comedy mixes cabaret vocals, open letters to celebrities she’s never met (hello, Owen Wilson and Avril Lavigne) and parodies of pseudo-feminist yogurt commercials. In her videos, she tests the limits of her characters. \u003ca href=\"https://youtu.be/XtwL-3y7kcI\" target=\"_blank\" rel=\"noopener\">In one\u003c/a>, for example, she suggests, in a 1940s fancy woman accent, that everyone lay down the law and quit performing acts of fellatio for husbands, garbage men and even bosses. Cohen’s humor is absurd, and displays comedic traits similar to Amy Sedaris and Martin Short.\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/v0rz2Mas0AA'\n title='//www.youtube.com/embed/v0rz2Mas0AA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>Punkie Johnson\u003c/b>\u003cbr>\n\u003cem>June 21 and 22\u003c/em>\u003c/p>\n\u003cp>Punkie Johnson exudes confidence with a blunt and brash comedic style. Riffing on her own masculinity, monogamy or that one time she tried heterosexual sex, Johnson is anything but demure. She’s also a regular at the legendary Comedy Store in West Hollywood. If you’re not familiar, here she is hitting it out of the park as the gestating partner of a dysfunctional straight couple in her episode of executive producer Sarah Silverman’s Facebook Watch show \u003ca href=\"https://www.facebook.com/watch/?v=1719514054793890\" target=\"_blank\" rel=\"noopener\">\u003ci>Please Understand Me\u003c/i>\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/T0P4pDa5kOQ'\n title='//www.youtube.com/embed/T0P4pDa5kOQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>Rosebud Baker\u003c/b>\u003cbr>\n\u003cem>June 21 and 22\u003c/em>\u003c/p>\n\u003cp>Rosebud Baker airs out the dumpster fires of her personal disasters in her stand-up. If it’s too dark to talk about in good taste, Baker takes it to the stage—even her experience with an abusive relationship. Her humor may well be an acquired taste, a balm for those of us also warming ourselves with our own dumpster fires. Undeniably, her gravitas and well-delivered timing make her stand out.\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/5GfKI1c4gOc'\n title='//www.youtube.com/embed/5GfKI1c4gOc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>Alyssa Westerlund\u003c/b>\u003cbr>\n\u003cem>June 23 \u003c/em>\u003c/p>\n\u003cp>A San Francisco resident, former cult member and self-proclaimed nymphomaniac, Alyssa Westerlund claims that her “number” is well over 200. Whether that is accurate or an all-too-excellent ploy to catch more partners is up for debate. But what’s not is that Westerlund doesn’t shy away from her exhibitionism. If you’ve had the chance to catch her around town, you know her energy is magnetic and her transparency is repeatedly shocking.\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/Yuhdee5VlyE'\n title='//www.youtube.com/embed/Yuhdee5VlyE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>Live Read of \u003cem>Romy and Michele’s High School Reunion\u003c/em> with Trixie Mattel, Katya and Peaches Christ\u003c/b>\u003cbr>\n\u003cem>June 23\u003c/em>\u003c/p>\n\u003cp>This event is sure to be raunchy, hysterical and unfortunately void of Allan Cummings and his impressive helicopter parking lot landing. Co-curated by SF Sketchfest, this read-through features drag stars Trixie Mattel and Katya, as well as San Francisco’s own Peaches Christ, who will be playing the part of Janeane Garofalo’s character, Heather Mooney, to which I say:\u003c/p>\n\u003cp style=\"text-align: center\">\n\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://giphy.com/embed/xUA7bifq2GeRPpLRSw\" width=\"480\" height=\"257\" frameborder=\"0\" class=\"giphy-embed\" scrolling=\"yes\">\u003c/iframe>\n\u003c/p>\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\u003cp>\u003cem>Comedy Central’s Clusterfest takes place June 21–23 at San Francisco’s Civic Center and Bill Graham Civic Auditorium. Details \u003ca href=\"https://www.clusterfest.com\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003cbr>\n\u003c/p>\u003c/div>",
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"content": "\u003cp>The San Francisco punk scene of the late 1970s is perhaps remembered almost as well by its imagery and as by its recordings: Crime frontman \u003ca href=\"https://www.kqed.org/arts/13840626/johnny-strike-frontman-of-sf-punk-pioneers-crime-dead-at-70\" rel=\"noopener\" target=\"_blank\">Johnny Strike’s gaunt mug\u003c/a> against the wall at Powell Street BART station, or Sex Pistols bassist Sid Vicious splayed backstage at the Mabuhay Gardens on the cusp of his group’s dissolution. The latter photograph is by Ruby Ray, who chronicled the scene as a staffer at the groundbreaking fanzine \u003cem>Search & Destroy\u003c/em>.\u003c/p>\n\u003cp>Ray is among the first-wave San Francisco punk photographers to attract renewed interest and publication in recent years. In 2009, she showed prints at the San Francisco Public Library, gaining the attention of archival record label Super Viaduct, which published her first book, \u003cem>From the Edge of the World\u003c/em>, in 2013. In the book’s introduction, English rock critic Jon Savage called Ray’s photos “a record of a lost moment that is finally receiving the attention it was always due.” [contextly_sidebar id=”nla06NdxEuBNisCcTkWLuNK1ie1pqYdq”]\u003c/p>\n\u003cp>\u003cem>Kalifornia Kool: Photographs 1976-1982\u003c/em>, recently published by Swedish writer Carl Abrahamsson via Trapart, collects many of the same photographs as Ray’s earlier, out-of-print volume, but this hardbound, 200-page book also features unseen material. Abrahamsson and V. Vale, the \u003cem>Search & Destroy\u003c/em> publisher who gave Ray her first photo assignment (The Dils, who she photographed on a pile of rubble), wrote introductions.\u003c/p>\n\u003cp>Ray launches the book Thursday, March 28, at 7pm at \u003ca href=\"http://www.citylights.com/bookstore/?fa=event&event_id=3395\">City Lights Bookstore\u003c/a> in North Beach. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The San Francisco punk scene of the late 1970s is perhaps remembered almost as well by its imagery and as by its recordings: Crime frontman \u003ca href=\"https://www.kqed.org/arts/13840626/johnny-strike-frontman-of-sf-punk-pioneers-crime-dead-at-70\" rel=\"noopener\" target=\"_blank\">Johnny Strike’s gaunt mug\u003c/a> against the wall at Powell Street BART station, or Sex Pistols bassist Sid Vicious splayed backstage at the Mabuhay Gardens on the cusp of his group’s dissolution. The latter photograph is by Ruby Ray, who chronicled the scene as a staffer at the groundbreaking fanzine \u003cem>Search & Destroy\u003c/em>.\u003c/p>\n\u003cp>Ray is among the first-wave San Francisco punk photographers to attract renewed interest and publication in recent years. In 2009, she showed prints at the San Francisco Public Library, gaining the attention of archival record label Super Viaduct, which published her first book, \u003cem>From the Edge of the World\u003c/em>, in 2013. In the book’s introduction, English rock critic Jon Savage called Ray’s photos “a record of a lost moment that is finally receiving the attention it was always due.” \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cem>Kalifornia Kool: Photographs 1976-1982\u003c/em>, recently published by Swedish writer Carl Abrahamsson via Trapart, collects many of the same photographs as Ray’s earlier, out-of-print volume, but this hardbound, 200-page book also features unseen material. Abrahamsson and V. Vale, the \u003cem>Search & Destroy\u003c/em> publisher who gave Ray her first photo assignment (The Dils, who she photographed on a pile of rubble), wrote introductions.\u003c/p>\n\u003cp>Ray launches the book Thursday, March 28, at 7pm at \u003ca href=\"http://www.citylights.com/bookstore/?fa=event&event_id=3395\">City Lights Bookstore\u003c/a> in North Beach. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/news/series/baycurious",
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"source": "kqed",
"order": 3
},
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}
},
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"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
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"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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}
},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"source": "kqed",
"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
"site": "radio",
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},
"link": "/radio/program/code-switch-life-kit",
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},
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
"link": "/forum",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
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