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"content": "\u003cp>Whether one calls it goth, dark punk, darkwave or deathrock, there’s no denying the enduring appeal of music from the bleaker end of the spectrum. It’s a scene that continues to attract plenty of new fans and bands, even four decades after its emergence.\u003c/p>\n\u003cp>Oakland’s darkwave scene is much more than a niche pocket of fandom. The upcoming \u003ca href=\"http://www.neardarkmusic.com/\" target=\"_blank\" rel=\"noopener\">Near Dark Festival\u003c/a> connects local bands like \u003ca href=\"https://adrenochromeoakland.bandcamp.com/releases\" target=\"_blank\" rel=\"noopener\">Adrenochrome\u003c/a> and \u003ca href=\"https://mysticpriestess.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Mystic Priestess\u003c/a> to an international tribe stretching from the U.K. to Chile. 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The website and show flyers include clear statements against racist, sexist and transphobic behavior; all three show venues are wheelchair accessible; and band members reflect a plurality of identities and musical genres.\u003c/p>\n\u003cp>“It’s important to make sure there’s a place for marginalized people in any scene: queer people, women, people of color,” she says. “Considering the whole big picture when you put a show together is really important.” Scardino’s main regret? That she couldn’t find an all-ages venue for this year’s festival.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A touring musician herself, Scardino has played in dark music festivals elsewhere, including \u003ca href=\"http://www.sanlamuertefest.com/\" target=\"_blank\" rel=\"noopener\">San La Muerte Festival\u003c/a> in San Antonio, Texas. She figured the tight-knit community of darkwave and post-punk fans in Oakland would support a similar fest. Named after the nascent music label she founded in 2017, each evening of Near Dark is a miniature experiment in genre-blending, with several long-established headliners—including Los Angeles’ Kommunity FK celebrating their 40-year anniversary—supported by a constellation of more recent formations.\u003c/p>\n\u003cp>“Every lineup from start to finish is going to be mind-blowing,” promises Scardino. She admits to personal excitement over Friday’s headliner, Rubella Ballet, an anarcho-punk band from the U.K.\u003c/p>\n\u003cfigure id=\"attachment_13840574\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840574\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Twisted-Nerve_credit_Sarah-E-Wilson-800x1006.jpg\" alt=\"\" width=\"800\" height=\"1006\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Twisted-Nerve_credit_Sarah-E-Wilson.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Twisted-Nerve_credit_Sarah-E-Wilson-160x201.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Twisted-Nerve_credit_Sarah-E-Wilson-768x966.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Twisted-Nerve_credit_Sarah-E-Wilson-240x302.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Twisted-Nerve_credit_Sarah-E-Wilson-375x472.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Twisted-Nerve_credit_Sarah-E-Wilson-520x654.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Scotland’s Twisted Nerve make their first U.S. appearance at Oakland’s Near Dark festival on Sept. 15 at Eli’s Mile High Club. \u003ccite>(Sarah E. Wilson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Eschewing the drearier, gothic garb of their contemporaries, Rubella Ballet (currently anchored by Zillah Minx and Sid Truelove) have dressed up in shocking, Day-Glo colors since their inception in 1979, combining playful, tongue-in-cheek lyrics with relentless hooks, layered vocals and moshable energy. Near Dark Records’ co-release (with Portland label Last Hour) of their hard-to-find singles, \u003cem>Day Glo Daze\u003c/em>, will be available at the fest.\u003c/p>\n\u003cp>“They’ve been an inspiration to a lot of bands, but haven’t been here since the ’80s, so it’s really exciting that they’re coming,” says Scardino. “I can’t wait to meet them in person.”\u003c/p>\n\u003cp>Another legendary band slated to headline is equally old-school Twisted Nerve, a goth-punk quartet from Edinburgh formed in 1978. Involved in the original Batcave scene in 1980s London, they play their first and only U.S. show—ever—on the final night of the fest at Eli’s.\u003c/p>\n\u003cp>Another old-school band on the bill, the U.K.’s 13\u003csup>th\u003c/sup> Chime, will also play on Sept. 15. Their early-’80s, Joy Division-esque sound faded into a music-history footnote until recent reissues of their early recordings from the label Sacred Bones gave them new life.\u003c/p>\n\u003cp>Other notable international acts on the bill include queer female darkwave duo Diavol Strain from Chile and Fatamorgana from Barcelona, whose lead singer, Patrycja Aleksandra, met Scardino at San La Muerte festival in 2016.\u003c/p>\n\u003cfigure id=\"attachment_13840576\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840576\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/DiavolStrain_credit_Mati%CC%81Solemnis-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/DiavolStrain_credit_MatíSolemnis-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/DiavolStrain_credit_MatíSolemnis-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/DiavolStrain_credit_MatíSolemnis-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/DiavolStrain_credit_MatíSolemnis-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/DiavolStrain_credit_MatíSolemnis-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/DiavolStrain_credit_MatíSolemnis-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/DiavolStrain_credit_MatíSolemnis-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/DiavolStrain_credit_MatíSolemnis.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lau M and Ginger Blue of Chilean darkwave band, Diavol Strain, playing the Near Dark festival, Saturday, Sept 15, at Eli’s Mile High Club. \u003ccite>(Matí Solemnis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I hope that people will give them a chance, even if they’ve never heard them before,” Scardino enthuses. ‘They’re all so freaking good.”\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>\u003c/p>\n\u003cp>\u003cem>Near Dark Festival takes place Sept. 13–15 in Oakland. Details \u003ca href=\"http://www.neardarkmusic.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Near Dark, Oakland’s goth, darkwave and post-punk festival, features cult veterans alongside emerging acts.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Whether one calls it goth, dark punk, darkwave or deathrock, there’s no denying the enduring appeal of music from the bleaker end of the spectrum. It’s a scene that continues to attract plenty of new fans and bands, even four decades after its emergence.\u003c/p>\n\u003cp>Oakland’s darkwave scene is much more than a niche pocket of fandom. The upcoming \u003ca href=\"http://www.neardarkmusic.com/\" target=\"_blank\" rel=\"noopener\">Near Dark Festival\u003c/a> connects local bands like \u003ca href=\"https://adrenochromeoakland.bandcamp.com/releases\" target=\"_blank\" rel=\"noopener\">Adrenochrome\u003c/a> and \u003ca href=\"https://mysticpriestess.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Mystic Priestess\u003c/a> to an international tribe stretching from the U.K. to Chile. Co-organizers Gina Marie Scardino and Brianne Hanshaw (both of Adrenochrome) booked a diverse array of darkwave veterans and emerging bands for three nights of shows taking place Sept. 13–15 at The Golden Bull, The Uptown and Eli’s Mile High Club.\u003c/p>\n\u003cp>“Our main goal is bringing bands and people to Oakland who have never played or been here,” says Scardino, who also plays in post-punk trio Ötzi and owns Near Dark Records and King Kog bike shop. Last year, she helped book the West Coast Women’s Darkwave Festival as well as the first edition of Near Dark. She says she’s proud to provide this rare opportunity to see international legends in Oakland’s own backyard.\u003c/p>\n\u003cfigure id=\"attachment_13840575\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840575\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Adrenochrome-Near-Dark-curators-Gina-Marie-Brianne-Hanshaw-plus-Andres-Ruiz-and-Alex-Rivas_credit_-MatthewKadi-800x533.jpeg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Adrenochrome-Near-Dark-curators-Gina-Marie-Brianne-Hanshaw-plus-Andres-Ruiz-and-Alex-Rivas_credit_-MatthewKadi-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Adrenochrome-Near-Dark-curators-Gina-Marie-Brianne-Hanshaw-plus-Andres-Ruiz-and-Alex-Rivas_credit_-MatthewKadi-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Adrenochrome-Near-Dark-curators-Gina-Marie-Brianne-Hanshaw-plus-Andres-Ruiz-and-Alex-Rivas_credit_-MatthewKadi-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Adrenochrome-Near-Dark-curators-Gina-Marie-Brianne-Hanshaw-plus-Andres-Ruiz-and-Alex-Rivas_credit_-MatthewKadi.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Adrenochrome-Near-Dark-curators-Gina-Marie-Brianne-Hanshaw-plus-Andres-Ruiz-and-Alex-Rivas_credit_-MatthewKadi-240x160.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Adrenochrome-Near-Dark-curators-Gina-Marie-Brianne-Hanshaw-plus-Andres-Ruiz-and-Alex-Rivas_credit_-MatthewKadi-375x250.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Adrenochrome-Near-Dark-curators-Gina-Marie-Brianne-Hanshaw-plus-Andres-Ruiz-and-Alex-Rivas_credit_-MatthewKadi-520x347.jpeg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Adrenochrome, including Near Dark fest curators Gina Marie Scardino (on vocals) and Brianne Hanshaw (on drums) open the Near Dark festival on Sept. 13 at The Golden Bull. \u003ccite>(Matthe Kadi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s a conscious effort on Scardino and Hanshaw’s part to ensure that their festival is as inclusive as possible. The website and show flyers include clear statements against racist, sexist and transphobic behavior; all three show venues are wheelchair accessible; and band members reflect a plurality of identities and musical genres.\u003c/p>\n\u003cp>“It’s important to make sure there’s a place for marginalized people in any scene: queer people, women, people of color,” she says. “Considering the whole big picture when you put a show together is really important.” Scardino’s main regret? That she couldn’t find an all-ages venue for this year’s festival.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A touring musician herself, Scardino has played in dark music festivals elsewhere, including \u003ca href=\"http://www.sanlamuertefest.com/\" target=\"_blank\" rel=\"noopener\">San La Muerte Festival\u003c/a> in San Antonio, Texas. She figured the tight-knit community of darkwave and post-punk fans in Oakland would support a similar fest. Named after the nascent music label she founded in 2017, each evening of Near Dark is a miniature experiment in genre-blending, with several long-established headliners—including Los Angeles’ Kommunity FK celebrating their 40-year anniversary—supported by a constellation of more recent formations.\u003c/p>\n\u003cp>“Every lineup from start to finish is going to be mind-blowing,” promises Scardino. She admits to personal excitement over Friday’s headliner, Rubella Ballet, an anarcho-punk band from the U.K.\u003c/p>\n\u003cfigure id=\"attachment_13840574\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840574\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Twisted-Nerve_credit_Sarah-E-Wilson-800x1006.jpg\" alt=\"\" width=\"800\" height=\"1006\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Twisted-Nerve_credit_Sarah-E-Wilson.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Twisted-Nerve_credit_Sarah-E-Wilson-160x201.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Twisted-Nerve_credit_Sarah-E-Wilson-768x966.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Twisted-Nerve_credit_Sarah-E-Wilson-240x302.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Twisted-Nerve_credit_Sarah-E-Wilson-375x472.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Twisted-Nerve_credit_Sarah-E-Wilson-520x654.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Scotland’s Twisted Nerve make their first U.S. appearance at Oakland’s Near Dark festival on Sept. 15 at Eli’s Mile High Club. \u003ccite>(Sarah E. Wilson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Eschewing the drearier, gothic garb of their contemporaries, Rubella Ballet (currently anchored by Zillah Minx and Sid Truelove) have dressed up in shocking, Day-Glo colors since their inception in 1979, combining playful, tongue-in-cheek lyrics with relentless hooks, layered vocals and moshable energy. Near Dark Records’ co-release (with Portland label Last Hour) of their hard-to-find singles, \u003cem>Day Glo Daze\u003c/em>, will be available at the fest.\u003c/p>\n\u003cp>“They’ve been an inspiration to a lot of bands, but haven’t been here since the ’80s, so it’s really exciting that they’re coming,” says Scardino. “I can’t wait to meet them in person.”\u003c/p>\n\u003cp>Another legendary band slated to headline is equally old-school Twisted Nerve, a goth-punk quartet from Edinburgh formed in 1978. Involved in the original Batcave scene in 1980s London, they play their first and only U.S. show—ever—on the final night of the fest at Eli’s.\u003c/p>\n\u003cp>Another old-school band on the bill, the U.K.’s 13\u003csup>th\u003c/sup> Chime, will also play on Sept. 15. Their early-’80s, Joy Division-esque sound faded into a music-history footnote until recent reissues of their early recordings from the label Sacred Bones gave them new life.\u003c/p>\n\u003cp>Other notable international acts on the bill include queer female darkwave duo Diavol Strain from Chile and Fatamorgana from Barcelona, whose lead singer, Patrycja Aleksandra, met Scardino at San La Muerte festival in 2016.\u003c/p>\n\u003cfigure id=\"attachment_13840576\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840576\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/DiavolStrain_credit_Mati%CC%81Solemnis-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/DiavolStrain_credit_MatíSolemnis-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/DiavolStrain_credit_MatíSolemnis-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/DiavolStrain_credit_MatíSolemnis-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/DiavolStrain_credit_MatíSolemnis-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/DiavolStrain_credit_MatíSolemnis-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/DiavolStrain_credit_MatíSolemnis-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/DiavolStrain_credit_MatíSolemnis-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/DiavolStrain_credit_MatíSolemnis.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lau M and Ginger Blue of Chilean darkwave band, Diavol Strain, playing the Near Dark festival, Saturday, Sept 15, at Eli’s Mile High Club. \u003ccite>(Matí Solemnis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I hope that people will give them a chance, even if they’ve never heard them before,” Scardino enthuses. ‘They’re all so freaking good.”\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>\u003c/p>\n\u003cp>\u003cem>Near Dark Festival takes place Sept. 13–15 in Oakland. Details \u003ca href=\"http://www.neardarkmusic.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "brunch-with-isabel-allende-and-other-book-events-to-look-forward-to-this-fall",
"title": "Brunch with Isabel Allende and Other Book Events to Look Forward to This Fall",
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"headTitle": "Brunch with Isabel Allende and Other Book Events to Look Forward to This Fall | KQED",
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"content": "\u003cp>Fall is the best season for reading—there are no oily thumbprints to stain your pages, no sand getting stuck in the crevice of your book spine and no squinting at a glaringly sunlit page. Instead, time is spent indoors, fireside, donning comfortable sweaters, sipping tea. If squinting happens, it is only in accompaniment to the silent judgment of an author’s unfortunate word choice.\u003c/p>\n\u003cp>This fall, the Bay Area is exceptionally wealthy in books and literary events. With new releases by Eileen Myles and Juan Gabriel Vásquez and exciting engagements—including a brunch with Chilean author Isabel Allende—this fall’s literary season is not one to miss. Here are some of the highlights from the coming months.\u003c/p>\n\u003ch2>September\u003c/h2>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.zspace.org/aboutwordforword/\" target=\"_blank\" rel=\"noopener\">Word for Word\u003c/a>\u003c/strong>\u003cbr>\n\u003cstrong>Z Space. Sept. 1–2, 8pm. \u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839469 aligncenter\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/AnniversayBanner25yearsfinal-800x333.png\" alt=\"\" width=\"800\" height=\"333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/AnniversayBanner25yearsfinal.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/AnniversayBanner25yearsfinal-160x67.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/AnniversayBanner25yearsfinal-768x320.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/AnniversayBanner25yearsfinal-240x100.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/AnniversayBanner25yearsfinal-375x156.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/AnniversayBanner25yearsfinal-520x216.png 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>I read a lot this summer and am looking forward to taking a break with Z Space’s \u003cem>Word for Word—\u003c/em>a series where a short story is turned into a play and performed in full (in whatever way possible). \u003cem>Word for Word \u003c/em>celebrates its 25th anniversary with performances of Tobias Wolff’s \u003cem>Deep Kiss \u003c/em>and George Saunders’ \u003cem>Victory Lap\u003c/em>. Both are stories about teenage lives and that incandescent moment when everything changes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Gabriela Alemán reads from \u003cem>Poso Wells\u003c/em>\u003c/strong>\u003cstrong>.\u003cbr>\nSept. 4, 7pm. \u003ca href=\"http://www.citylights.com/book/?GCOI=87286100812940\" target=\"_blank\" rel=\"noopener\">City Lights Booksellers\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>Ecuadorian author Gabriela Alemán’s celebrates her first work in English at City Lights. \u003cem>Poso Wells\u003c/em> is a noir, feminist and absurdist eco-thriller about corruption, exploitation and a woman on the run.\u003c/p>\n\u003cp>\u003cstrong>Vanessa Hua in conversation with Lydia Kiesling. \u003c/strong>\u003cbr>\n\u003cstrong>Sept. 6, 7pm. \u003ca href=\"http://www.citylights.com/bookstore/?fa=event&event_id=3253\" target=\"_blank\" rel=\"noopener\">City Lights Booksellers\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-13839479 size-thumbnail\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/river-160x243.jpg\" alt=\"\" width=\"160\" height=\"243\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/river-160x243.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/river-240x364.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/river.jpg 313w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>In one of my favorite pairings of the season, Vanessa Hua and Lydia Kiesling will read from their debuts, both of which touch on different aspects of motherhood. \u003cem>A River of Stars\u003c/em> tells the story of a Chinese woman who comes to the U.S. to a secret maternity center seeking citizenship for her unborn baby; in \u003cem>The Golden State, \u003c/em>a young mother careens on the verge of a breakdown.\u003c/p>\n\u003cp>\u003cstrong>Brunch with Isabel Allende.\u003c/strong>\u003cbr>\n\u003cstrong>Sept. 15, 10:30am. \u003ca href=\"https://www.bookpassage.com/event/literary-brunch-isabel-allende-midst-winter-corte-madera-store\" target=\"_blank\" rel=\"noopener\">Book Passage\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-13839485 size-thumbnail\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/isabel-e1534882835145-160x209.jpg\" alt=\"\" width=\"160\" height=\"209\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/isabel-e1534882835145-160x209.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/isabel-e1534882835145-800x1046.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/isabel-e1534882835145-768x1004.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/isabel-e1534882835145-918x1200.jpg 918w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/isabel-e1534882835145-960x1255.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/isabel-e1534882835145-240x314.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/isabel-e1534882835145-375x490.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/isabel-e1534882835145-520x680.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/isabel-e1534882835145.jpg 962w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>This is not a drill: you can get brunch with Isabel Allende. Allende is celebrating the paperback release of \u003cem>In the Midst of Winter\u003c/em>. If this event sells out before you can snag a ticket, Allende will be in conversation with Khaled Hosseini on Friday, Sept. 28 at 7pm, also at \u003ca href=\"https://www.bookpassage.com/event/khaled-hosseini-isabel-allende-sea-prayer-corte-madera-store\" target=\"_blank\" rel=\"noopener\">Book Passage\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nomadic Press chapbook release party.\u003c/strong>\u003cbr>\n\u003cstrong>Sept. 22, 7pm. \u003ca href=\"https://www.facebook.com/events/191304171447195\" target=\"_blank\" rel=\"noopener\">Nomadic Press\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13839480\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/nomadic-press-800x287.jpg\" alt=\"\" width=\"800\" height=\"287\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/nomadic-press-800x287.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/nomadic-press-160x57.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/nomadic-press-768x276.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/nomadic-press-1020x366.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/nomadic-press-1200x431.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/nomadic-press-1920x690.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/nomadic-press-1180x424.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/nomadic-press-960x345.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/nomadic-press-240x86.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/nomadic-press-375x135.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/nomadic-press-520x187.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/nomadic-press.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>The chapbooks Nomadic Press puts out are a joy to read. So save all your money so you can have your pick at Nomadic Press’ fall release party for their chapbook collection: it includes \u003cem>Ordinary Villains\u003c/em> by EK Keith, \u003cem>Adaptations\u003c/em> by Emily Pinkerton,\u003cem> By the Lemon Tree\u003c/em> by Keenan Norris,\u003cem> How it Happens\u003c/em> by Joyce E. Young,\u003cem> If the Color is Fugitive\u003c/em> by Sara Mithra, \u003cem>When a Purple Rose Blooms\u003c/em> by Jenee Darden and\u003cem> An Object in Motion\u003c/em> by Patrick Newson.\u003c/p>\n\u003ch2>October\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13839483 size-thumbnail alignright\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/shapeofruins-160x243.jpg\" alt=\"\" width=\"160\" height=\"243\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/shapeofruins-160x243.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/shapeofruins-240x365.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/shapeofruins.jpg 263w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cstrong>Juan Gabriel presents \u003cem>The Shape of Ruins\u003c/em>. \u003c/strong>\u003cbr>\n\u003cstrong>Oct. 1, 7pm. \u003ca href=\"https://www.greenapplebooks.com/event/9th-ave-juan-gabriel-vasquez-0\" target=\"_blank\" rel=\"noopener\">Green Apple Books\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>Start your October right by securing your copy of \u003cem>The Shape of the Ruins\u003c/em>, the latest by Juan Gabriel Vásquez. This novel distills and expands on the questions and myths surrounding two different assassinations of important Colombian leaders in the ’80s. In \u003cem>The Shape of the Ruins, \u003c/em>Vásquez seems to be asking how life relates to history and facts and conspiracy, where none are obviously demarcated.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-13839484 size-thumbnail\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/a-dream-called-home-160x241.jpg\" alt=\"\" width=\"160\" height=\"241\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/a-dream-called-home-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/a-dream-called-home-800x1207.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/a-dream-called-home-768x1159.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/a-dream-called-home-1020x1539.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/a-dream-called-home-795x1200.jpg 795w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/a-dream-called-home-1180x1781.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/a-dream-called-home-960x1449.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/a-dream-called-home-240x362.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/a-dream-called-home-375x566.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/a-dream-called-home-520x785.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/a-dream-called-home.jpg 1400w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>\u003cstrong>Reyna Grande in conversation with Carolina De Robertis.\u003c/strong>\u003cbr>\n\u003cstrong>Oct. 3 at 7:30pm. \u003ca href=\"https://www.facebook.com/events/1848137401947135/\" target=\"_blank\" rel=\"noopener\">The Bindery\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>Reyna Grande is the acclaimed author of \u003cem>The Distance Between Us\u003c/em>, a heartfelt and dazzling memoir about crossing the border when she was nine years old. In her latest memoir, \u003cem>A Dream Called Home\u003c/em>, Grande writes with searing wit and candor about pursuing her dreams, finding a home in words and the quest to build a home that will endure.\u003c/p>\n\u003cp>\u003cstrong>Nadya Tolokonnikova of Pussy Riot.\u003c/strong>\u003cbr>\n\u003cstrong>Oct 10. 7pm. \u003ca href=\"https://www.jccsf.org/arts-ideas/nadya-tolokonnikova/\" target=\"_blank\" rel=\"noopener\">Jewish Community Center of San Francisco\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>Here’s a chance to hear Nadya Tolokonnikova of Pussy Riot speak about her 10 rules of revolution. Tolokonnikova was imprisoned for 18 months by the Russian government when she and other Pussy Riot members performed an anti-Putin protest song in a Moscow church. Her new book, \u003cem>Read & Riot\u003c/em>, is a Pussy Riot guide to activism.\u003c/p>\n\u003cp>\u003cstrong>Kiese Laymon in conversation with Tongo Eisen Martin.\u003c/strong>\u003cbr>\n\u003cstrong>Oct. 25, \u003cspan class=\"date-display-range\">\u003cspan class=\"date-display-start\">6:30pm.\u003c/span>\u003c/span>\u003c/strong>\u003cstrong>\u003cspan class=\"date-display-range\">\u003cspan class=\"date-display-start\"> \u003ca href=\"http://poetry.sfsu.edu/events/29098-common-writers-series-kiese-laymon-and-tongo-eisen-martin-reading-their-work\">Marcus Books\u003c/a>.\u003c/span>\u003c/span>\u003c/strong>\u003c/p>\n\u003cp>Beloved writer Kiese Laymon will be reading with Tongo Eisen Martin for this evening curated by San Francisco State University’s In Common writer series. In \u003cem>Heavy: An American Memoir, \u003c/em>Laymon turns his attention to his coming of age in Mississippi, a lifetime of secrets and what his and his family’s failed attempts to attain freedom and love mean to the nation.\u003c/p>\n\u003ch2>November\u003cstrong>\u003cem>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-13839499 size-thumbnail\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/evolution-160x240.jpg\" alt=\"\" width=\"160\" height=\"240\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/evolution-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/evolution-240x359.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/evolution.jpg 334w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/em>\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>Eileen Myles reads new poetry. \u003c/strong>\u003cbr>\n\u003cstrong>Nov. 7, 7pm. \u003ca href=\"https://www.ptreyesbooks.com/event/eileen-myles\" target=\"_blank\" rel=\"noopener\">Point Reyes Bookstore\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>I’ve waited eleven years for a new poetry collection by Eileen Myles, and I couldn’t be more excited. In \u003cem>Evolution,\u003c/em> Myles writes with trademark wit and candor about travel, the aisles of Target and an utopian future where Myles is elected president.\u003c/p>\n\u003cp>\u003cstrong>Micah Perks in conversation with Kate Schatz and Lucy Jane Bledsoe.\u003c/strong>\u003cbr>\n\u003cstrong>Nov. 7, 7pm. \u003ca href=\"https://www.facebook.com/events/426512097848699/\">The Bindery\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>True Love and Other Dreams of Miraculous Escape \u003c/em>is a strange and hilarious wonder. These interlinked stories explore the eventualities of escape, of running from and toward love. Micah Perks is the author of the novels \u003cem>What Becomes Us, We Are Gathered Here \u003c/em>and the memoir \u003cem>Pagan Time\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>Nicole Chung in conversation with Daniel Mallory Ortberg. \u003c/strong>\u003cbr>\n\u003cstrong>Nov. 12, 7pm. \u003c/strong>\u003cstrong>\u003ca href=\"https://www.greenapplebooks.com/event/9th-ave-nicole-chung-and-daniel-mallory-ortberg\" target=\"_blank\" rel=\"noopener\">Green Apple Books\u003c/a>.\u003c/strong>\u003cem>\u003cstrong>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-13839503 size-thumbnail\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/allyoucaneverknow-160x242.jpg\" alt=\"\" width=\"160\" height=\"242\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/allyoucaneverknow-160x242.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/allyoucaneverknow-240x362.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/allyoucaneverknow.jpg 265w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>There’s been considerable excitement over Nicole Chung’s debut memoir, \u003cem>All You Can Ever Know, \u003c/em>and with good reason. In this stunning memoir, Chung questions her origin story and searches for the people who gave her up for adoption. It is a book full of flights of insight, beauty and so much heart. At Green Apple Books, Daniel Mallory Ortberg, the author of Slate’s \u003ca href=\"http://www.slate.com/articles/life/dear_prudence.html\" target=\"_blank\" rel=\"noopener\">Dear Prudence\u003c/a> advice column, will join her in conversation.\u003c/p>\n\u003ch2>December\u003c/h2>\n\u003cp>\u003cstrong>Chaya Bhuvaneswar reads from \u003cem>White Dancing Elephants\u003c/em>. Dec, 6, 7pm. \u003ca href=\"http://www.citylights.com/bookstore/?fa=event&event_id=3292\" target=\"_blank\" rel=\"noopener\">City Lights Booksellers\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>Winner of the Dzanc Books Short Story Collection Prize, \u003cem>White Dancing Elephants \u003c/em>is urgent, captivating and deeply evocative. In seventeen stories, Chaya Bhuvaneswar explores experiences of harassment and violence from the points of view of women of color.\u003c/p>\n\u003cfigure id=\"attachment_11092805\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11092805\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Ta-Nehisi-Coatescrop-800x450.jpg\" alt=\"Writer Ta-Nehisi Coates speaks onstage at the New Yorker Festival 2015\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Ta-Nehisi-Coatescrop.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Ta-Nehisi-Coatescrop-400x225.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Writer Ta-Nehisi Coates speaks onstage at the New Yorker Festival 2015 \u003ccite>(Photo: Anna Webber/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>A conversation with Ta-Nehisi Coates. \u003c/strong>\u003cbr>\n\u003cstrong>Dec. 17 at 7pm. \u003c/strong>\u003cstrong>\u003ca href=\"https://www.jccsf.org/arts-ideas/ta-nehisi-coates/\" target=\"_blank\" rel=\"noopener\">Jewish Community Center of San Francisco\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>I can’t think of a better way to finish your literary year than by going to see Ta-Nehisi Coates. With his incisive journalism and best-selling books (\u003cem>Between the World and Me \u003c/em>and \u003cem>We Were Eight Years in Power\u003c/em>), Coates has shifted national debate over and over again.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12935470\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Spine-1-800x42.jpg\" alt=\"\" width=\"800\" height=\"42\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-160x8.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-768x40.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-240x13.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-375x20.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-520x27.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The Spine is a biweekly column. Catch us back here in two weeks.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fall is the best season for reading—there are no oily thumbprints to stain your pages, no sand getting stuck in the crevice of your book spine and no squinting at a glaringly sunlit page. Instead, time is spent indoors, fireside, donning comfortable sweaters, sipping tea. If squinting happens, it is only in accompaniment to the silent judgment of an author’s unfortunate word choice.\u003c/p>\n\u003cp>This fall, the Bay Area is exceptionally wealthy in books and literary events. With new releases by Eileen Myles and Juan Gabriel Vásquez and exciting engagements—including a brunch with Chilean author Isabel Allende—this fall’s literary season is not one to miss. Here are some of the highlights from the coming months.\u003c/p>\n\u003ch2>September\u003c/h2>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.zspace.org/aboutwordforword/\" target=\"_blank\" rel=\"noopener\">Word for Word\u003c/a>\u003c/strong>\u003cbr>\n\u003cstrong>Z Space. Sept. 1–2, 8pm. \u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839469 aligncenter\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/AnniversayBanner25yearsfinal-800x333.png\" alt=\"\" width=\"800\" height=\"333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/AnniversayBanner25yearsfinal.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/AnniversayBanner25yearsfinal-160x67.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/AnniversayBanner25yearsfinal-768x320.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/AnniversayBanner25yearsfinal-240x100.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/AnniversayBanner25yearsfinal-375x156.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/AnniversayBanner25yearsfinal-520x216.png 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>I read a lot this summer and am looking forward to taking a break with Z Space’s \u003cem>Word for Word—\u003c/em>a series where a short story is turned into a play and performed in full (in whatever way possible). \u003cem>Word for Word \u003c/em>celebrates its 25th anniversary with performances of Tobias Wolff’s \u003cem>Deep Kiss \u003c/em>and George Saunders’ \u003cem>Victory Lap\u003c/em>. Both are stories about teenage lives and that incandescent moment when everything changes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Gabriela Alemán reads from \u003cem>Poso Wells\u003c/em>\u003c/strong>\u003cstrong>.\u003cbr>\nSept. 4, 7pm. \u003ca href=\"http://www.citylights.com/book/?GCOI=87286100812940\" target=\"_blank\" rel=\"noopener\">City Lights Booksellers\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>Ecuadorian author Gabriela Alemán’s celebrates her first work in English at City Lights. \u003cem>Poso Wells\u003c/em> is a noir, feminist and absurdist eco-thriller about corruption, exploitation and a woman on the run.\u003c/p>\n\u003cp>\u003cstrong>Vanessa Hua in conversation with Lydia Kiesling. \u003c/strong>\u003cbr>\n\u003cstrong>Sept. 6, 7pm. \u003ca href=\"http://www.citylights.com/bookstore/?fa=event&event_id=3253\" target=\"_blank\" rel=\"noopener\">City Lights Booksellers\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-13839479 size-thumbnail\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/river-160x243.jpg\" alt=\"\" width=\"160\" height=\"243\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/river-160x243.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/river-240x364.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/river.jpg 313w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>In one of my favorite pairings of the season, Vanessa Hua and Lydia Kiesling will read from their debuts, both of which touch on different aspects of motherhood. \u003cem>A River of Stars\u003c/em> tells the story of a Chinese woman who comes to the U.S. to a secret maternity center seeking citizenship for her unborn baby; in \u003cem>The Golden State, \u003c/em>a young mother careens on the verge of a breakdown.\u003c/p>\n\u003cp>\u003cstrong>Brunch with Isabel Allende.\u003c/strong>\u003cbr>\n\u003cstrong>Sept. 15, 10:30am. \u003ca href=\"https://www.bookpassage.com/event/literary-brunch-isabel-allende-midst-winter-corte-madera-store\" target=\"_blank\" rel=\"noopener\">Book Passage\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-13839485 size-thumbnail\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/isabel-e1534882835145-160x209.jpg\" alt=\"\" width=\"160\" height=\"209\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/isabel-e1534882835145-160x209.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/isabel-e1534882835145-800x1046.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/isabel-e1534882835145-768x1004.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/isabel-e1534882835145-918x1200.jpg 918w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/isabel-e1534882835145-960x1255.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/isabel-e1534882835145-240x314.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/isabel-e1534882835145-375x490.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/isabel-e1534882835145-520x680.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/isabel-e1534882835145.jpg 962w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>This is not a drill: you can get brunch with Isabel Allende. Allende is celebrating the paperback release of \u003cem>In the Midst of Winter\u003c/em>. If this event sells out before you can snag a ticket, Allende will be in conversation with Khaled Hosseini on Friday, Sept. 28 at 7pm, also at \u003ca href=\"https://www.bookpassage.com/event/khaled-hosseini-isabel-allende-sea-prayer-corte-madera-store\" target=\"_blank\" rel=\"noopener\">Book Passage\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nomadic Press chapbook release party.\u003c/strong>\u003cbr>\n\u003cstrong>Sept. 22, 7pm. \u003ca href=\"https://www.facebook.com/events/191304171447195\" target=\"_blank\" rel=\"noopener\">Nomadic Press\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13839480\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/nomadic-press-800x287.jpg\" alt=\"\" width=\"800\" height=\"287\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/nomadic-press-800x287.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/nomadic-press-160x57.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/nomadic-press-768x276.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/nomadic-press-1020x366.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/nomadic-press-1200x431.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/nomadic-press-1920x690.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/nomadic-press-1180x424.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/nomadic-press-960x345.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/nomadic-press-240x86.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/nomadic-press-375x135.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/nomadic-press-520x187.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/nomadic-press.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>The chapbooks Nomadic Press puts out are a joy to read. So save all your money so you can have your pick at Nomadic Press’ fall release party for their chapbook collection: it includes \u003cem>Ordinary Villains\u003c/em> by EK Keith, \u003cem>Adaptations\u003c/em> by Emily Pinkerton,\u003cem> By the Lemon Tree\u003c/em> by Keenan Norris,\u003cem> How it Happens\u003c/em> by Joyce E. Young,\u003cem> If the Color is Fugitive\u003c/em> by Sara Mithra, \u003cem>When a Purple Rose Blooms\u003c/em> by Jenee Darden and\u003cem> An Object in Motion\u003c/em> by Patrick Newson.\u003c/p>\n\u003ch2>October\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13839483 size-thumbnail alignright\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/shapeofruins-160x243.jpg\" alt=\"\" width=\"160\" height=\"243\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/shapeofruins-160x243.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/shapeofruins-240x365.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/shapeofruins.jpg 263w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cstrong>Juan Gabriel presents \u003cem>The Shape of Ruins\u003c/em>. \u003c/strong>\u003cbr>\n\u003cstrong>Oct. 1, 7pm. \u003ca href=\"https://www.greenapplebooks.com/event/9th-ave-juan-gabriel-vasquez-0\" target=\"_blank\" rel=\"noopener\">Green Apple Books\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>Start your October right by securing your copy of \u003cem>The Shape of the Ruins\u003c/em>, the latest by Juan Gabriel Vásquez. This novel distills and expands on the questions and myths surrounding two different assassinations of important Colombian leaders in the ’80s. In \u003cem>The Shape of the Ruins, \u003c/em>Vásquez seems to be asking how life relates to history and facts and conspiracy, where none are obviously demarcated.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-13839484 size-thumbnail\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/a-dream-called-home-160x241.jpg\" alt=\"\" width=\"160\" height=\"241\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/a-dream-called-home-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/a-dream-called-home-800x1207.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/a-dream-called-home-768x1159.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/a-dream-called-home-1020x1539.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/a-dream-called-home-795x1200.jpg 795w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/a-dream-called-home-1180x1781.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/a-dream-called-home-960x1449.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/a-dream-called-home-240x362.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/a-dream-called-home-375x566.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/a-dream-called-home-520x785.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/a-dream-called-home.jpg 1400w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>\u003cstrong>Reyna Grande in conversation with Carolina De Robertis.\u003c/strong>\u003cbr>\n\u003cstrong>Oct. 3 at 7:30pm. \u003ca href=\"https://www.facebook.com/events/1848137401947135/\" target=\"_blank\" rel=\"noopener\">The Bindery\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>Reyna Grande is the acclaimed author of \u003cem>The Distance Between Us\u003c/em>, a heartfelt and dazzling memoir about crossing the border when she was nine years old. In her latest memoir, \u003cem>A Dream Called Home\u003c/em>, Grande writes with searing wit and candor about pursuing her dreams, finding a home in words and the quest to build a home that will endure.\u003c/p>\n\u003cp>\u003cstrong>Nadya Tolokonnikova of Pussy Riot.\u003c/strong>\u003cbr>\n\u003cstrong>Oct 10. 7pm. \u003ca href=\"https://www.jccsf.org/arts-ideas/nadya-tolokonnikova/\" target=\"_blank\" rel=\"noopener\">Jewish Community Center of San Francisco\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>Here’s a chance to hear Nadya Tolokonnikova of Pussy Riot speak about her 10 rules of revolution. Tolokonnikova was imprisoned for 18 months by the Russian government when she and other Pussy Riot members performed an anti-Putin protest song in a Moscow church. Her new book, \u003cem>Read & Riot\u003c/em>, is a Pussy Riot guide to activism.\u003c/p>\n\u003cp>\u003cstrong>Kiese Laymon in conversation with Tongo Eisen Martin.\u003c/strong>\u003cbr>\n\u003cstrong>Oct. 25, \u003cspan class=\"date-display-range\">\u003cspan class=\"date-display-start\">6:30pm.\u003c/span>\u003c/span>\u003c/strong>\u003cstrong>\u003cspan class=\"date-display-range\">\u003cspan class=\"date-display-start\"> \u003ca href=\"http://poetry.sfsu.edu/events/29098-common-writers-series-kiese-laymon-and-tongo-eisen-martin-reading-their-work\">Marcus Books\u003c/a>.\u003c/span>\u003c/span>\u003c/strong>\u003c/p>\n\u003cp>Beloved writer Kiese Laymon will be reading with Tongo Eisen Martin for this evening curated by San Francisco State University’s In Common writer series. In \u003cem>Heavy: An American Memoir, \u003c/em>Laymon turns his attention to his coming of age in Mississippi, a lifetime of secrets and what his and his family’s failed attempts to attain freedom and love mean to the nation.\u003c/p>\n\u003ch2>November\u003cstrong>\u003cem>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-13839499 size-thumbnail\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/evolution-160x240.jpg\" alt=\"\" width=\"160\" height=\"240\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/evolution-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/evolution-240x359.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/evolution.jpg 334w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/em>\u003c/strong>\u003c/h2>\n\u003cp>\u003cstrong>Eileen Myles reads new poetry. \u003c/strong>\u003cbr>\n\u003cstrong>Nov. 7, 7pm. \u003ca href=\"https://www.ptreyesbooks.com/event/eileen-myles\" target=\"_blank\" rel=\"noopener\">Point Reyes Bookstore\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>I’ve waited eleven years for a new poetry collection by Eileen Myles, and I couldn’t be more excited. In \u003cem>Evolution,\u003c/em> Myles writes with trademark wit and candor about travel, the aisles of Target and an utopian future where Myles is elected president.\u003c/p>\n\u003cp>\u003cstrong>Micah Perks in conversation with Kate Schatz and Lucy Jane Bledsoe.\u003c/strong>\u003cbr>\n\u003cstrong>Nov. 7, 7pm. \u003ca href=\"https://www.facebook.com/events/426512097848699/\">The Bindery\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>True Love and Other Dreams of Miraculous Escape \u003c/em>is a strange and hilarious wonder. These interlinked stories explore the eventualities of escape, of running from and toward love. Micah Perks is the author of the novels \u003cem>What Becomes Us, We Are Gathered Here \u003c/em>and the memoir \u003cem>Pagan Time\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>Nicole Chung in conversation with Daniel Mallory Ortberg. \u003c/strong>\u003cbr>\n\u003cstrong>Nov. 12, 7pm. \u003c/strong>\u003cstrong>\u003ca href=\"https://www.greenapplebooks.com/event/9th-ave-nicole-chung-and-daniel-mallory-ortberg\" target=\"_blank\" rel=\"noopener\">Green Apple Books\u003c/a>.\u003c/strong>\u003cem>\u003cstrong>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-13839503 size-thumbnail\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/allyoucaneverknow-160x242.jpg\" alt=\"\" width=\"160\" height=\"242\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/allyoucaneverknow-160x242.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/allyoucaneverknow-240x362.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/allyoucaneverknow.jpg 265w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>There’s been considerable excitement over Nicole Chung’s debut memoir, \u003cem>All You Can Ever Know, \u003c/em>and with good reason. In this stunning memoir, Chung questions her origin story and searches for the people who gave her up for adoption. It is a book full of flights of insight, beauty and so much heart. At Green Apple Books, Daniel Mallory Ortberg, the author of Slate’s \u003ca href=\"http://www.slate.com/articles/life/dear_prudence.html\" target=\"_blank\" rel=\"noopener\">Dear Prudence\u003c/a> advice column, will join her in conversation.\u003c/p>\n\u003ch2>December\u003c/h2>\n\u003cp>\u003cstrong>Chaya Bhuvaneswar reads from \u003cem>White Dancing Elephants\u003c/em>. Dec, 6, 7pm. \u003ca href=\"http://www.citylights.com/bookstore/?fa=event&event_id=3292\" target=\"_blank\" rel=\"noopener\">City Lights Booksellers\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>Winner of the Dzanc Books Short Story Collection Prize, \u003cem>White Dancing Elephants \u003c/em>is urgent, captivating and deeply evocative. In seventeen stories, Chaya Bhuvaneswar explores experiences of harassment and violence from the points of view of women of color.\u003c/p>\n\u003cfigure id=\"attachment_11092805\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11092805\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Ta-Nehisi-Coatescrop-800x450.jpg\" alt=\"Writer Ta-Nehisi Coates speaks onstage at the New Yorker Festival 2015\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Ta-Nehisi-Coatescrop.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Ta-Nehisi-Coatescrop-400x225.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Writer Ta-Nehisi Coates speaks onstage at the New Yorker Festival 2015 \u003ccite>(Photo: Anna Webber/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>A conversation with Ta-Nehisi Coates. \u003c/strong>\u003cbr>\n\u003cstrong>Dec. 17 at 7pm. \u003c/strong>\u003cstrong>\u003ca href=\"https://www.jccsf.org/arts-ideas/ta-nehisi-coates/\" target=\"_blank\" rel=\"noopener\">Jewish Community Center of San Francisco\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>I can’t think of a better way to finish your literary year than by going to see Ta-Nehisi Coates. With his incisive journalism and best-selling books (\u003cem>Between the World and Me \u003c/em>and \u003cem>We Were Eight Years in Power\u003c/em>), Coates has shifted national debate over and over again.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12935470\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Spine-1-800x42.jpg\" alt=\"\" width=\"800\" height=\"42\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-160x8.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-768x40.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-240x13.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-375x20.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-520x27.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The Spine is a biweekly column. Catch us back here in two weeks.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "If the Hemlock's Walls Could Talk: Looking Back at 17 Years of Shows",
"headTitle": "If the Hemlock’s Walls Could Talk: Looking Back at 17 Years of Shows | KQED",
"content": "\u003cp>On Oct. 6, the Hemlock Tavern, the longtime Tenderloin rock bar, will celebrate its 17th anniversary. But the occasion is bittersweet: the celebration is also a goodbye party, as the venue is slated for demolition and will close its doors—at least in this iteration—after its last show.\u003c/p>\n\u003cp>[contextly_sidebar id=”ruGaPjSyklxBU3WXMFCwlcKate0cwAs2″]\u003c/p>\n\u003cp>The Hemlock has, per the estimate of its longtime booker, Tony Bedard, hosted around 15,000 bands since opening in 2001. Animal Collective, Joanna Newsom, Beach House, Reggie Watts, Ty Segall and Parquet Courts are just a few of the high-caliber indie rock and pop acts that cut their teeth on the Hemlock’s intimate stage.\u003c/p>\n\u003cp>The Hemlock staff has always had an ear for the weird and obscure. Other memorable performances included the exploratory acoustic guitar work of the late Jack Rose; the heavy and beautiful droning feedback of Liz Harris’s Grouper; and, in an especially memorable combination, Captain Beefheart sideman Moris Teper alongside U.K. alternative icon PJ Harvey.\u003c/p>\n\u003cp>Dolmen Property Group purchased the Hemlock in 2015. Last week, it was announced that managing partner Don Alan has \u003ca href=\"https://www.kqed.org/arts/13839003/hemlock-tavern-to-close-in-early-october\" rel=\"noopener\" target=\"_blank\">sold the business\u003c/a> after the building’s other tenants accepted buyouts. A 54-unit commercial-residential development is slated for the Polk Street property. Dolmen currently plans to open a new Hemlock Tavern in the building, but this version won’t be affiliated with its current management.\u003c/p>\n\u003cfigure id=\"attachment_13816998\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816998\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926-800x450.jpg\" alt=\"The longtime bar and live rock venue is being sold to a developer with plans to reopen a new, unrelated 'Hemlock Tavern.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The longtime bar and live rock venue is being sold to a developer with plans to reopen a new, unrelated ‘Hemlock Tavern.’ \u003ccite>(Courtesy Hemlock Tavern)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For a generation of musicians and fans that came to appreciate the current Hemlock’s adventurousness—its willingness to book small acts rather than aiming for big stars—the news stings.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We gave shows to bands that we liked that were underappreciated,” Bedard says. “Almost all the local bands for the last 17 years at one point or another have played [here]. Some we ended up giving a lot of shows to, and some play a couple of shows and boom, they blow up and they’re on to bigger and better things.”\u003c/p>\n\u003cp>“It was to help these bands out because I felt like they needed to be heard,” says Debra Zeller, a longtime show photographer who also books bands at the Hemlock.\u003c/p>\n\u003ch2>An underground mainstay\u003c/h2>\n\u003cp>The Hemlock’s opening followed the closing of another longtime Tenderloin rock club, Kimo’s, and quickly attracted a loyal following of underground and alternative music fans. A key figure who helped get the Hemlock off the ground was musician and engineer Kyle Statham. Now living in Memphis, Statham previously owned and operated Blind Pig Studios in the Tenderloin when he learned about Alan’s plans to open a new bar and joined him as co-owner.\u003c/p>\n\u003cp>“Don was looking at these different places in the Mission,” says Statham. “I say, ‘No, no, no, no, there’s enough bars in the Mission! The Tenderloin’s a little dicey, but, man, there’s a ton of people.’”\u003c/p>\n\u003cp>Statham and Alan settled on the former location of a famed Tenderloin gay bar, The Giraffe, which had existed in one form or another since the 1950s. Stories circulate about how Statham was still coating the Hemlock’s bar with shellac just hours before the tavern formally opened. Statham’s audio engineering expertise also helped the noisy bar avoid complaints—something Kimo’s had struggled with for years.\u003c/p>\n\u003cp>“Don and Kyle and those guys sunk a bunch of money into extra soundproofing and sound reinforcement for the room,” says Bedard. “When he put that room together, he did it with the ear and the eye of an engineer. I think the fact the room sounded as good as it did, that was a bit of a calling card—one reason that we were able to attract bands to play there early on.”\u003c/p>\n\u003cp>Bedard’s hiring proved to be another crucial step. Initial show bookings were somewhat haphazard. (Bedard and Zeller recall at least one situation when three different bills of bands showed up, all thinking they were playing the same night.)\u003c/p>\n\u003cp>“Tony had been very involved in all sorts of different scenes,” remembers George Chen, whose bands Kit, 7 Year Rabbit Cycle and Common Eider King Eider performed at the Hemlock. “He was an in for the kind of scene that was Mission- and Oakland-based people. He has really broad and specific tastes. He was willing to go along with a lot of things; he was willing to take a lot more chances than a lot of other bookers in that era.”\u003c/p>\n\u003cfigure id=\"attachment_13839558\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839558\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/hem4-800x535.jpg\" alt=\"Vetiver performs at the Hemlock Tavern in 2002. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/hem4-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/hem4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/hem4-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/hem4-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/hem4-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/hem4-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/hem4-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/hem4-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/hem4-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/hem4-520x348.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/hem4.jpg 1532w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vetiver performs at the Hemlock Tavern in 2002. \u003ccite>(Debra Zeller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even as Bedard kept his eye out for touring talent coming through town, he kept the emphasis on new, local acts, including bands like Vetiver, Kelley Stoltz, Xiu Xiu and Hunx and His Punx, not to mention other Northern California groups like Comets on Fire. The focus on unknown bands was part of the inevitable limitations of a small performance space, but also stemmed from his commitment to making sure new performers had a place to start.\u003c/p>\n\u003cp>“At the time, you would aspire to certain rooms,” Chen says. “For some people, the Hemlock became that room, but because it could be cozy, it was an attainable goal to have.”\u003c/p>\n\u003cp>“I think of all of the bands that would not have gotten a toehold otherwise,” says Bedard. “There was really a high bar. If you wanted to get into Bottom of the Hill or anything like that, it was really tough. There was this whole underground scene bubbling up, right?”\u003c/p>\n\u003cp>“That’s why with my shows, too, it was to help these bands out because I felt like they needed to be heard,” says Zeller. “Eventually they did gain a following and grew to bigger clubs.”\u003c/p>\n\u003ch2>The affordability crisis curbs the good times\u003c/h2>\n\u003cp>Bedard says he approached Zeller to help with booking because she liked bands with a cleaner sound while he preferred noise and chaos. Aside from booking emerging local favorites of the 2000s, including Film School and the Stratford 4, Zeller was also instrumental in putting on a famed secret show by Chan Marshall, who performs as Cat Power.\u003c/p>\n\u003cfigure id=\"attachment_13839559\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839559\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/hem5-800x1191.jpg\" alt=\"Cat Power at the Hemlock Tavern in 2002.\" width=\"800\" height=\"1191\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/hem5.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/hem5-160x238.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/hem5-768x1143.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/hem5-240x357.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/hem5-375x558.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/hem5-520x774.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cat Power at the Hemlock Tavern in 2002. \u003ccite>(Debra Zeller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This was an infamous day and night at the Hemlock,” Bedard says, recalling how, per the artist’s request, the bar had to borrow a piano from a local music store. “After that show was over, we had to roll the piano out the side door, roll it down Hemlock Alley towards Polk to the piano store. It started to get away from us! So flashing in front of our eyes, this piano’s going to go rolling into Polk Street traffic and we were trying to wrangle and manhandle this piano into the front door of the club.”\u003c/p>\n\u003cp>Bedard and Zeller have plenty of other stories about memorable shows. On a wholly separate evening in 2007, the late underground rocker Jay Reatard took offense to a clock meant to keep bands on time onstage and smashed it over his own head—to Bedard’s admitted relief, as he wasn’t fond of said clock to begin with.\u003c/p>\n\u003cp>Following the booking of surrealist anti-comic Neil Hamburger, Bedard also began booking monthly standup comedy shows under the name Club Chuckles in 2003, leading to early appearances by now-famed comedians like Ali Wong and Amy Schumer. “[We pulled] out the all the bar totals for some rock ‘n’ roll shows versus these comedy shows I had booked, and we came to the discovery that Neil Hamburger had set the all-time single bar record,” Bedard recalls.\u003c/p>\n\u003cp>With booking giant Goldenvoice recently taking over Slim’s and Great American Music Hall—as well as the Hemlock’s impending closure—independent booking is becoming increasingly scarce in San Francisco’s live music scene. But Bedard says the bigger concern for his community of musicians and fans is the city’s affordability crisis. “It maybe impacts us somewhat, but this is more about Dotcom 2.0: real estate prices, musicians and audiences and bar patrons being priced out of San Francisco,” he says.\u003c/p>\n\u003cp>Statham, for his part, takes a slightly longer view. “I moved there in the late ’80s, and by the early ’90s, I was moaning about how much it changed. But I’m sure I rented somebody’s apartment that they couldn’t afford any more and I’m sure they looked at me exactly the same way. I think different generations deserve the opportunity to make the best out of what they can make out of it.”\u003c/p>\n\u003cp>“Up-and-coming bands will find places to play, it’s just going to move somewhere else. In some way, shape or form, it’s going to exist,” says Bedard.\u003c/p>\n\u003cp>“People are asking, ‘Oh, are you going to do a big last show at the Hemlock?’” Bedard adds. “At this point, I don’t think there’d be any way to really sum it up.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Statham returns with his longtime band Fu¢k for two shows at the Hemlock on Aug. 25 and 26. The Hemlock Tavern celebrates its 17th anniversary on Oct. 6. Details \u003ca href=\"http://www.hemlocktavern.com/calendar/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "Over the past 17 years, the Hemlock Tavern has hosted 15,000 bands. It will soon be demolished to make way for new development. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Oct. 6, the Hemlock Tavern, the longtime Tenderloin rock bar, will celebrate its 17th anniversary. But the occasion is bittersweet: the celebration is also a goodbye party, as the venue is slated for demolition and will close its doors—at least in this iteration—after its last show.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The Hemlock has, per the estimate of its longtime booker, Tony Bedard, hosted around 15,000 bands since opening in 2001. Animal Collective, Joanna Newsom, Beach House, Reggie Watts, Ty Segall and Parquet Courts are just a few of the high-caliber indie rock and pop acts that cut their teeth on the Hemlock’s intimate stage.\u003c/p>\n\u003cp>The Hemlock staff has always had an ear for the weird and obscure. Other memorable performances included the exploratory acoustic guitar work of the late Jack Rose; the heavy and beautiful droning feedback of Liz Harris’s Grouper; and, in an especially memorable combination, Captain Beefheart sideman Moris Teper alongside U.K. alternative icon PJ Harvey.\u003c/p>\n\u003cp>Dolmen Property Group purchased the Hemlock in 2015. Last week, it was announced that managing partner Don Alan has \u003ca href=\"https://www.kqed.org/arts/13839003/hemlock-tavern-to-close-in-early-october\" rel=\"noopener\" target=\"_blank\">sold the business\u003c/a> after the building’s other tenants accepted buyouts. A 54-unit commercial-residential development is slated for the Polk Street property. Dolmen currently plans to open a new Hemlock Tavern in the building, but this version won’t be affiliated with its current management.\u003c/p>\n\u003cfigure id=\"attachment_13816998\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816998\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926-800x450.jpg\" alt=\"The longtime bar and live rock venue is being sold to a developer with plans to reopen a new, unrelated 'Hemlock Tavern.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The longtime bar and live rock venue is being sold to a developer with plans to reopen a new, unrelated ‘Hemlock Tavern.’ \u003ccite>(Courtesy Hemlock Tavern)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For a generation of musicians and fans that came to appreciate the current Hemlock’s adventurousness—its willingness to book small acts rather than aiming for big stars—the news stings.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We gave shows to bands that we liked that were underappreciated,” Bedard says. “Almost all the local bands for the last 17 years at one point or another have played [here]. Some we ended up giving a lot of shows to, and some play a couple of shows and boom, they blow up and they’re on to bigger and better things.”\u003c/p>\n\u003cp>“It was to help these bands out because I felt like they needed to be heard,” says Debra Zeller, a longtime show photographer who also books bands at the Hemlock.\u003c/p>\n\u003ch2>An underground mainstay\u003c/h2>\n\u003cp>The Hemlock’s opening followed the closing of another longtime Tenderloin rock club, Kimo’s, and quickly attracted a loyal following of underground and alternative music fans. A key figure who helped get the Hemlock off the ground was musician and engineer Kyle Statham. Now living in Memphis, Statham previously owned and operated Blind Pig Studios in the Tenderloin when he learned about Alan’s plans to open a new bar and joined him as co-owner.\u003c/p>\n\u003cp>“Don was looking at these different places in the Mission,” says Statham. “I say, ‘No, no, no, no, there’s enough bars in the Mission! The Tenderloin’s a little dicey, but, man, there’s a ton of people.’”\u003c/p>\n\u003cp>Statham and Alan settled on the former location of a famed Tenderloin gay bar, The Giraffe, which had existed in one form or another since the 1950s. Stories circulate about how Statham was still coating the Hemlock’s bar with shellac just hours before the tavern formally opened. Statham’s audio engineering expertise also helped the noisy bar avoid complaints—something Kimo’s had struggled with for years.\u003c/p>\n\u003cp>“Don and Kyle and those guys sunk a bunch of money into extra soundproofing and sound reinforcement for the room,” says Bedard. “When he put that room together, he did it with the ear and the eye of an engineer. I think the fact the room sounded as good as it did, that was a bit of a calling card—one reason that we were able to attract bands to play there early on.”\u003c/p>\n\u003cp>Bedard’s hiring proved to be another crucial step. Initial show bookings were somewhat haphazard. (Bedard and Zeller recall at least one situation when three different bills of bands showed up, all thinking they were playing the same night.)\u003c/p>\n\u003cp>“Tony had been very involved in all sorts of different scenes,” remembers George Chen, whose bands Kit, 7 Year Rabbit Cycle and Common Eider King Eider performed at the Hemlock. “He was an in for the kind of scene that was Mission- and Oakland-based people. He has really broad and specific tastes. He was willing to go along with a lot of things; he was willing to take a lot more chances than a lot of other bookers in that era.”\u003c/p>\n\u003cfigure id=\"attachment_13839558\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839558\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/hem4-800x535.jpg\" alt=\"Vetiver performs at the Hemlock Tavern in 2002. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/hem4-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/hem4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/hem4-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/hem4-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/hem4-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/hem4-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/hem4-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/hem4-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/hem4-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/hem4-520x348.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/hem4.jpg 1532w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vetiver performs at the Hemlock Tavern in 2002. \u003ccite>(Debra Zeller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even as Bedard kept his eye out for touring talent coming through town, he kept the emphasis on new, local acts, including bands like Vetiver, Kelley Stoltz, Xiu Xiu and Hunx and His Punx, not to mention other Northern California groups like Comets on Fire. The focus on unknown bands was part of the inevitable limitations of a small performance space, but also stemmed from his commitment to making sure new performers had a place to start.\u003c/p>\n\u003cp>“At the time, you would aspire to certain rooms,” Chen says. “For some people, the Hemlock became that room, but because it could be cozy, it was an attainable goal to have.”\u003c/p>\n\u003cp>“I think of all of the bands that would not have gotten a toehold otherwise,” says Bedard. “There was really a high bar. If you wanted to get into Bottom of the Hill or anything like that, it was really tough. There was this whole underground scene bubbling up, right?”\u003c/p>\n\u003cp>“That’s why with my shows, too, it was to help these bands out because I felt like they needed to be heard,” says Zeller. “Eventually they did gain a following and grew to bigger clubs.”\u003c/p>\n\u003ch2>The affordability crisis curbs the good times\u003c/h2>\n\u003cp>Bedard says he approached Zeller to help with booking because she liked bands with a cleaner sound while he preferred noise and chaos. Aside from booking emerging local favorites of the 2000s, including Film School and the Stratford 4, Zeller was also instrumental in putting on a famed secret show by Chan Marshall, who performs as Cat Power.\u003c/p>\n\u003cfigure id=\"attachment_13839559\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839559\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/hem5-800x1191.jpg\" alt=\"Cat Power at the Hemlock Tavern in 2002.\" width=\"800\" height=\"1191\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/hem5.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/hem5-160x238.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/hem5-768x1143.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/hem5-240x357.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/hem5-375x558.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/hem5-520x774.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cat Power at the Hemlock Tavern in 2002. \u003ccite>(Debra Zeller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This was an infamous day and night at the Hemlock,” Bedard says, recalling how, per the artist’s request, the bar had to borrow a piano from a local music store. “After that show was over, we had to roll the piano out the side door, roll it down Hemlock Alley towards Polk to the piano store. It started to get away from us! So flashing in front of our eyes, this piano’s going to go rolling into Polk Street traffic and we were trying to wrangle and manhandle this piano into the front door of the club.”\u003c/p>\n\u003cp>Bedard and Zeller have plenty of other stories about memorable shows. On a wholly separate evening in 2007, the late underground rocker Jay Reatard took offense to a clock meant to keep bands on time onstage and smashed it over his own head—to Bedard’s admitted relief, as he wasn’t fond of said clock to begin with.\u003c/p>\n\u003cp>Following the booking of surrealist anti-comic Neil Hamburger, Bedard also began booking monthly standup comedy shows under the name Club Chuckles in 2003, leading to early appearances by now-famed comedians like Ali Wong and Amy Schumer. “[We pulled] out the all the bar totals for some rock ‘n’ roll shows versus these comedy shows I had booked, and we came to the discovery that Neil Hamburger had set the all-time single bar record,” Bedard recalls.\u003c/p>\n\u003cp>With booking giant Goldenvoice recently taking over Slim’s and Great American Music Hall—as well as the Hemlock’s impending closure—independent booking is becoming increasingly scarce in San Francisco’s live music scene. But Bedard says the bigger concern for his community of musicians and fans is the city’s affordability crisis. “It maybe impacts us somewhat, but this is more about Dotcom 2.0: real estate prices, musicians and audiences and bar patrons being priced out of San Francisco,” he says.\u003c/p>\n\u003cp>Statham, for his part, takes a slightly longer view. “I moved there in the late ’80s, and by the early ’90s, I was moaning about how much it changed. But I’m sure I rented somebody’s apartment that they couldn’t afford any more and I’m sure they looked at me exactly the same way. I think different generations deserve the opportunity to make the best out of what they can make out of it.”\u003c/p>\n\u003cp>“Up-and-coming bands will find places to play, it’s just going to move somewhere else. In some way, shape or form, it’s going to exist,” says Bedard.\u003c/p>\n\u003cp>“People are asking, ‘Oh, are you going to do a big last show at the Hemlock?’” Bedard adds. “At this point, I don’t think there’d be any way to really sum it up.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Statham returns with his longtime band Fu¢k for two shows at the Hemlock on Aug. 25 and 26. The Hemlock Tavern celebrates its 17th anniversary on Oct. 6. Details \u003ca href=\"http://www.hemlocktavern.com/calendar/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"https://www.npr.org/artists/15394712/joe-strummer\" target=\"_blank\" rel=\"noopener\">Joe Strummer\u003c/a>‘s barn has been raided.\u003c/p>\n\u003cp>The \u003cem>enfant raisonnable \u003c/em>of U.K. punk’s first wave — who with \u003ca href=\"https://www.npr.org/artists/15394716/the-clash\" target=\"_blank\" rel=\"noopener\">The Clash\u003c/a> (like many lumped into it) broke from a retroactively applied punk orthodoxy to explore sounds from any and everywhere — is getting an everything-and-the-kitchen-sink treatment for the many reels of unreleased tape he had archived in his barn.\u003c/p>\n\u003cp>In 2013, \u003cem>The Clash Sound System\u003c/em> box set compiled everything of that band’s varied and sundry discography, with the standard live sets, first-, out- and mis-takes, in a package designed like a boom box, stuffed with random physical ephemera (a giant cigarette).\u003c/p>\n\u003cp>\u003cem>Joe Strummer 001\u003c/em> looks to be a more modest affair than that package in every way except the actual music it contains, covering the complete cross-section of Strummer’s solo musical development, inextricable as it is from his work with The Clash; the dead-standard early bar band material, his late-’80s hip-hop-influenced four-on-the-floor slams, bonfire-and-whiskey folk globe-trotters and the weed-smokey collage-pop of The Mescaleros, stretching back to 1975.\u003c/p>\n\u003cp>An incomplete list of the various projects included here should make it clear: The 101ers, The Astro-Physicians, Radar, Electric Dog House, The Soothsayers, Pearl Harbour, Joe Strummer and The Mescaleros, collaborations with \u003ca href=\"https://www.npr.org/artists/15382889/jimmy-cliff\" target=\"_blank\" rel=\"noopener\">Jimmy Cliff\u003c/a> and \u003ca href=\"https://www.npr.org/artists/15165794/johnny-cash\" target=\"_blank\" rel=\"noopener\">Johnny Cash\u003c/a> and post-Clash work with Mick Jones and Paul Simonon.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Below, find a sample single from it, titled “London Is Burning” — a song that was reworked into the (better) Mescaleros’ song “Burning Streets (London Is Burning).”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed?uri=spotify%3Aalbum%3A5ukiednezEKBpSK7Pt11AN\" width=\"300\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>Joe Strummer 001\u003cem> will be \u003c/em>\u003ca href=\"https://joestrummer.lnk.to/001\">\u003cem>released Sept. 28 on Ignition Records\u003c/em>\u003c/a>\u003cem>.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Joe+Strummer%27s+Solo+Work+And+Archives+To+Get+Life-Spanning+Release&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.npr.org/artists/15394712/joe-strummer\" target=\"_blank\" rel=\"noopener\">Joe Strummer\u003c/a>‘s barn has been raided.\u003c/p>\n\u003cp>The \u003cem>enfant raisonnable \u003c/em>of U.K. punk’s first wave — who with \u003ca href=\"https://www.npr.org/artists/15394716/the-clash\" target=\"_blank\" rel=\"noopener\">The Clash\u003c/a> (like many lumped into it) broke from a retroactively applied punk orthodoxy to explore sounds from any and everywhere — is getting an everything-and-the-kitchen-sink treatment for the many reels of unreleased tape he had archived in his barn.\u003c/p>\n\u003cp>In 2013, \u003cem>The Clash Sound System\u003c/em> box set compiled everything of that band’s varied and sundry discography, with the standard live sets, first-, out- and mis-takes, in a package designed like a boom box, stuffed with random physical ephemera (a giant cigarette).\u003c/p>\n\u003cp>\u003cem>Joe Strummer 001\u003c/em> looks to be a more modest affair than that package in every way except the actual music it contains, covering the complete cross-section of Strummer’s solo musical development, inextricable as it is from his work with The Clash; the dead-standard early bar band material, his late-’80s hip-hop-influenced four-on-the-floor slams, bonfire-and-whiskey folk globe-trotters and the weed-smokey collage-pop of The Mescaleros, stretching back to 1975.\u003c/p>\n\u003cp>An incomplete list of the various projects included here should make it clear: The 101ers, The Astro-Physicians, Radar, Electric Dog House, The Soothsayers, Pearl Harbour, Joe Strummer and The Mescaleros, collaborations with \u003ca href=\"https://www.npr.org/artists/15382889/jimmy-cliff\" target=\"_blank\" rel=\"noopener\">Jimmy Cliff\u003c/a> and \u003ca href=\"https://www.npr.org/artists/15165794/johnny-cash\" target=\"_blank\" rel=\"noopener\">Johnny Cash\u003c/a> and post-Clash work with Mick Jones and Paul Simonon.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Below, find a sample single from it, titled “London Is Burning” — a song that was reworked into the (better) Mescaleros’ song “Burning Streets (London Is Burning).”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed?uri=spotify%3Aalbum%3A5ukiednezEKBpSK7Pt11AN\" width=\"300\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>Joe Strummer 001\u003cem> will be \u003c/em>\u003ca href=\"https://joestrummer.lnk.to/001\">\u003cem>released Sept. 28 on Ignition Records\u003c/em>\u003c/a>\u003cem>.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Joe+Strummer%27s+Solo+Work+And+Archives+To+Get+Life-Spanning+Release&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Bobby Castro, the photographer who documented San Francisco’s wilder side in the 1970s and ’80s, died Monday. He was 66. \u003c/p>\n\u003cp>Although mostly unrecognized outside of the Bay Area, Castro photographed national luminaries like the Rolling Stones, Billy Idol, Carol Channing and George Lucas. But Castro made his mark documenting the San Francisco punk scene from its very beginning. \u003c/p>\n\u003cp>“He was a real gentleman and didn’t let his ego get in the way of his eye,” fellow San Francisco punk photographer Ruby Ray said. “He was tirelessly dedicated to the punk scene for years without much credit.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HWp79_YFODw\u003c/p>\n\u003cp>Castro was born and raised in San Francisco, and he experimented with art as a high school student, making collages for fun. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I didn’t even think of it as art when I was doing it back then,” Castro said during \u003ca href=\"http://www.blogtalkradio.com/girl-george/2015/05/31/bobby-castro-sf-rock-photographergirlgeo-radio-show-53115\" rel=\"noopener\" target=\"_blank\">an online radio show\u003c/a> in 2015. \u003c/p>\n\u003cp>In the 1970s, Castro began taking photos of San Francisco. He focused on the darker, sadder side of the city, like the then-crumbling amusement park at Ocean Beach, Playland at the Beach.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=G3q7pH96nfs\u003c/p>\n\u003cp>When punk came to San Francisco, Castro was there with his camera. He had taken pictures of bands before — most notably the Rolling Stones when they played Winterland in 1972. But the burgeoning punk scene inspired Castro, and he became a fixture at clubs like Mabuhay Gardens, Temple Beautiful and the Sound of Music. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=K3s5q-HMn8w\u003c/p>\n\u003cp>Castro also focused his camera on the women in the male-dominated scene, taking just as many photos of female-fronted bands as he did of the male ones. Notable San Francisco bands he shot include the Avengers, the Mutants and VKTMS. He was also a big supporter of San Francisco’s feminist punks Frightwig, documenting them through their decades-long career, which ended when drummer \u003ca href=\"https://www.kqed.org/arts/13186602/cecilia-kuhn-drummer-for-influential-feminist-punks-frightwig-dies-at-61\" rel=\"noopener\" target=\"_blank\">Cecelia Kuhn passed in 2017\u003c/a>. Frightwig guitarist Mia Simmans said that the band “owes him a huge debt.” \u003c/p>\n\u003cp>“[Castro] was a very dear and close friend. We refinished hardwood floors together for years, and I have eaten my lunch with him hundreds of times,” Simmans said. “He has documented my life mdash; every episode, every band, every kid.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-eH-8jLigKo\u003c/p>\n\u003cp>In recent years, Castro’s been recognized for his work. A film he made featuring his photos of the Mabuhay Gardens was included in the \u003ca href=\"https://www.kqed.org/arts/10963517/in-the-beginning-ruby-ray-discusses-the-earliest-days-of-sf-punk\" rel=\"noopener\" target=\"_blank\">San Francisco Punk Renaissance celebration\u003c/a> in 2015 and later, he had a brick dedicated to him in the San Francisco Music Walk of Fame. \u003c/p>\n\u003cp>Friends of Castro’s said he died of a heart attack Monday morning. There’s been no announcements of any public memorials, but he can be remembered through all the work he posted online on his \u003ca href=\"https://www.youtube.com/channel/UCaq-IsgJZfAKvX9bAEyH4zQ\" rel=\"noopener\" target=\"_blank\">YouTube channel\u003c/a>. But take note: he’d probably prefer you to see his work in person and not on a computer.\u003c/p>\n\u003cp>“It’s not art. It’s not photography if it’s still on a screen,” Castro said in 2015. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DprmUHYRAn8\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I didn’t even think of it as art when I was doing it back then,” Castro said during \u003ca href=\"http://www.blogtalkradio.com/girl-george/2015/05/31/bobby-castro-sf-rock-photographergirlgeo-radio-show-53115\" rel=\"noopener\" target=\"_blank\">an online radio show\u003c/a> in 2015. \u003c/p>\n\u003cp>In the 1970s, Castro began taking photos of San Francisco. He focused on the darker, sadder side of the city, like the then-crumbling amusement park at Ocean Beach, Playland at the Beach.\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/G3q7pH96nfs'\n title='//www.youtube.com/embed/G3q7pH96nfs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>When punk came to San Francisco, Castro was there with his camera. He had taken pictures of bands before — most notably the Rolling Stones when they played Winterland in 1972. But the burgeoning punk scene inspired Castro, and he became a fixture at clubs like Mabuhay Gardens, Temple Beautiful and the Sound of Music. \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/K3s5q-HMn8w'\n title='//www.youtube.com/embed/K3s5q-HMn8w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Castro also focused his camera on the women in the male-dominated scene, taking just as many photos of female-fronted bands as he did of the male ones. Notable San Francisco bands he shot include the Avengers, the Mutants and VKTMS. He was also a big supporter of San Francisco’s feminist punks Frightwig, documenting them through their decades-long career, which ended when drummer \u003ca href=\"https://www.kqed.org/arts/13186602/cecilia-kuhn-drummer-for-influential-feminist-punks-frightwig-dies-at-61\" rel=\"noopener\" target=\"_blank\">Cecelia Kuhn passed in 2017\u003c/a>. Frightwig guitarist Mia Simmans said that the band “owes him a huge debt.” \u003c/p>\n\u003cp>“[Castro] was a very dear and close friend. We refinished hardwood floors together for years, and I have eaten my lunch with him hundreds of times,” Simmans said. “He has documented my life mdash; every episode, every band, every kid.”\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/-eH-8jLigKo'\n title='//www.youtube.com/embed/-eH-8jLigKo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In recent years, Castro’s been recognized for his work. A film he made featuring his photos of the Mabuhay Gardens was included in the \u003ca href=\"https://www.kqed.org/arts/10963517/in-the-beginning-ruby-ray-discusses-the-earliest-days-of-sf-punk\" rel=\"noopener\" target=\"_blank\">San Francisco Punk Renaissance celebration\u003c/a> in 2015 and later, he had a brick dedicated to him in the San Francisco Music Walk of Fame. \u003c/p>\n\u003cp>Friends of Castro’s said he died of a heart attack Monday morning. There’s been no announcements of any public memorials, but he can be remembered through all the work he posted online on his \u003ca href=\"https://www.youtube.com/channel/UCaq-IsgJZfAKvX9bAEyH4zQ\" rel=\"noopener\" target=\"_blank\">YouTube channel\u003c/a>. But take note: he’d probably prefer you to see his work in person and not on a computer.\u003c/p>\n\u003cp>“It’s not art. It’s not photography if it’s still on a screen,” Castro said in 2015. \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/DprmUHYRAn8'\n title='//www.youtube.com/embed/DprmUHYRAn8'\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>\u003cb>UPDATE:\u003c/b> Stone Brewing, the San Diego brewery that produces NOFX’s “Punk in Drublic” beer and the music festival of the same name, announced Wednesday that it was severing ties with the band. In a statement to \u003ca href=\"https://theblast.com/nofx-stone-sponsor-cuts-ties-las-vegas-shooting/\" rel=\"noopener\" target=\"_blank\">the Blast\u003c/a>, a company representative wrote:\u003c/p>\n\u003cblockquote>\u003cp>We at Stone Brewing are aware of NOFX’s insensitive and indefensible statements this past weekend. As a result, we are severing all our ties with NOFX, including festival sponsorship and the production of our collaboration beer.\u003c/p>\u003c/blockquote>\n\u003cp>\u003cb>Original Story:\u003c/b>\u003c/p>\n\u003cp>“Fat” Mike Burkett, frontman for San Francisco punk band NOFX and co-founder of Fat Wreck Chords, is at the center of growing internet firestorm after he made a joke about the Las Vegas massacre during a concert Sunday.\u003c/p>\n\u003cp>After finishing a song during NOFX’s headlining set at the Punk Rock Bowling & Music festival in downtown Las Vegas, Burkett bantered about being shot for playing a song about Muslims. That lead into an offensive riff about country bands being shot while playing in Las Vegas — a reference to the shooting at the Route 91 Harvest Music Festival in October of last year that killed 58 people, the deadliest mass shooting in U.S. history.\u003c/p>\n\u003cp>“I mean that sucked, but at least they were country fans and not punk rock fans,” Burkett said. After the audience recoiled, he added, “Did I offend somebody? I can’t f**king believe it.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"//cdnapisec.kaltura.com/p/591531/sp/59153100/embedIframeJs/uiconf_id/6740162/partner_id/591531?iframeembed=true&playerId=kaltura-player-9999999999-20911395868828064&entry_id=0_tffakjt0\" width=\"800\" height=\"450\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>A video of the exchange has since been shared by \u003ca href=\"http://www.tmz.com/2018/05/30/nofx-vegas-massacre-country-fans-punk-joke/\" rel=\"noopener\" target=\"_blank\">TMZ\u003c/a> and \u003ca href=\"https://www.spin.com/2018/05/nofx-shooting-country-fans-punk-fans-vegas/\" rel=\"noopener\" target=\"_blank\">other outlets\u003c/a>, as well as by conservative pundits like Laura Loomer.\u003c/p>\n\u003cp>“NOFX thought it would be ‘hilarious’ to joke about the October 1 shootings while on stage in Las Vegas,” representatives from the Dave and Mahoney Morning Show, a Las Vegas radio program, \u003ca href=\"https://www.facebook.com/DaveAndMahoney/videos/1812106465479253/\" rel=\"noopener\" target=\"_blank\">posted on Facebook\u003c/a>. “This is disgusting and callous. We will never support anything involving this band ever again.”\u003c/p>\n\u003cp>Fans of NOFX, meanwhile, have long known that being offensive is part of Burkett’s brand. No issue is off-limits for the band, be it \u003ca href=\"https://www.youtube.com/watch?v=ji_AZqgdMrg\" rel=\"noopener\" target=\"_blank\">racism\u003c/a> or even bestiality (adults can search for the cover of NOFX’s \u003ci>Heavy Petting Zoo\u003c/i> for an example). \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I’m scared of \u003cem>not\u003c/em> offending anyone, that would be terrible,” Fat Mike said on the \u003ca href=\"https://noisey.vice.com/en_uk/article/rq4de5/this-interview-with-fat-mike-is-ridiculous-even-by-fat-mike-standards\" rel=\"noopener\" target=\"_blank\">\u003ci>Going Off Track\u003c/i> podcast\u003c/a> in 2014. “Punk rock’s supposed to be offensive and make them think about stuff differently.” \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>UPDATE:\u003c/b> Stone Brewing, the San Diego brewery that produces NOFX’s “Punk in Drublic” beer and the music festival of the same name, announced Wednesday that it was severing ties with the band. In a statement to \u003ca href=\"https://theblast.com/nofx-stone-sponsor-cuts-ties-las-vegas-shooting/\" rel=\"noopener\" target=\"_blank\">the Blast\u003c/a>, a company representative wrote:\u003c/p>\n\u003cblockquote>\u003cp>We at Stone Brewing are aware of NOFX’s insensitive and indefensible statements this past weekend. As a result, we are severing all our ties with NOFX, including festival sponsorship and the production of our collaboration beer.\u003c/p>\u003c/blockquote>\n\u003cp>\u003cb>Original Story:\u003c/b>\u003c/p>\n\u003cp>“Fat” Mike Burkett, frontman for San Francisco punk band NOFX and co-founder of Fat Wreck Chords, is at the center of growing internet firestorm after he made a joke about the Las Vegas massacre during a concert Sunday.\u003c/p>\n\u003cp>After finishing a song during NOFX’s headlining set at the Punk Rock Bowling & Music festival in downtown Las Vegas, Burkett bantered about being shot for playing a song about Muslims. That lead into an offensive riff about country bands being shot while playing in Las Vegas — a reference to the shooting at the Route 91 Harvest Music Festival in October of last year that killed 58 people, the deadliest mass shooting in U.S. history.\u003c/p>\n\u003cp>“I mean that sucked, but at least they were country fans and not punk rock fans,” Burkett said. After the audience recoiled, he added, “Did I offend somebody? I can’t f**king believe it.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"//cdnapisec.kaltura.com/p/591531/sp/59153100/embedIframeJs/uiconf_id/6740162/partner_id/591531?iframeembed=true&playerId=kaltura-player-9999999999-20911395868828064&entry_id=0_tffakjt0\" width=\"800\" height=\"450\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>A video of the exchange has since been shared by \u003ca href=\"http://www.tmz.com/2018/05/30/nofx-vegas-massacre-country-fans-punk-joke/\" rel=\"noopener\" target=\"_blank\">TMZ\u003c/a> and \u003ca href=\"https://www.spin.com/2018/05/nofx-shooting-country-fans-punk-fans-vegas/\" rel=\"noopener\" target=\"_blank\">other outlets\u003c/a>, as well as by conservative pundits like Laura Loomer.\u003c/p>\n\u003cp>“NOFX thought it would be ‘hilarious’ to joke about the October 1 shootings while on stage in Las Vegas,” representatives from the Dave and Mahoney Morning Show, a Las Vegas radio program, \u003ca href=\"https://www.facebook.com/DaveAndMahoney/videos/1812106465479253/\" rel=\"noopener\" target=\"_blank\">posted on Facebook\u003c/a>. “This is disgusting and callous. We will never support anything involving this band ever again.”\u003c/p>\n\u003cp>Fans of NOFX, meanwhile, have long known that being offensive is part of Burkett’s brand. No issue is off-limits for the band, be it \u003ca href=\"https://www.youtube.com/watch?v=ji_AZqgdMrg\" rel=\"noopener\" target=\"_blank\">racism\u003c/a> or even bestiality (adults can search for the cover of NOFX’s \u003ci>Heavy Petting Zoo\u003c/i> for an example). \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I’m scared of \u003cem>not\u003c/em> offending anyone, that would be terrible,” Fat Mike said on the \u003ca href=\"https://noisey.vice.com/en_uk/article/rq4de5/this-interview-with-fat-mike-is-ridiculous-even-by-fat-mike-standards\" rel=\"noopener\" target=\"_blank\">\u003ci>Going Off Track\u003c/i> podcast\u003c/a> in 2014. “Punk rock’s supposed to be offensive and make them think about stuff differently.” \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>New York may get all the credit for being the birthplace of punk, but artists from other cities had crucial roles in shaping the subculture. One such figure was John Morton, a musician from Cleveland who laid the foundation for punk with his distorted guitar playing in the Electric Eels.\u003c/p>\n\u003cp>Although it didn’t have its own CBGB’s, Cleveland attracted boundary-pushing bands like the Velvet Underground and Captain Beefheart in the early ’70s. Morton started the Electric Eels to give these bands a decent opener. The Electric Eels had an avant-garde approach but lacked technical chops; they sounded like the Stooges with the dissonance turned up to 11.\u003c/p>\n\u003cp>Over 40 years later, Morton has gained \u003ca href=\"https://noisey.vice.com/en_us/article/65zmv3/electric-eels-interview\" target=\"_blank\" rel=\"noopener\">recognition for his contributions\u003c/a> to punk, and is doing something he never did during those early days: touring. He plays his first shows in California this week, not with the Electric Eels but with X_X, his no wave band \u003ca href=\"http://www.hemlocktavern.com/calendar/x_x-cleveland-wjohn-morton-of-electric-eels-and-craig-bell-of-mirrors-rays/\" target=\"_blank\" rel=\"noopener\">performing at San Francisco’s Hemlock Tavern on May 12\u003c/a>. Pronounced “Ex Blank Ex,” the band is a perfect outlet for Morton’s abrasive vision, especially with a rhythm section that includes no wave jazz drummer Weasel Walter and Craig Bell of Rocket from the Tombs.\u003c/p>\n\u003cp>This show will provide an intimate look at one of punk’s originals, and it should not be missed.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>Although the new generation of punks may not recognize Steve Koepke, a white-mustached 65-year-old with a modest demeanor, NOFX’s Fat Mike makes sure to say hello to him when his band plays in the Bay Area. Billie Joe Armstrong often takes time to greet Koepke at Green Day’s shows, as well.\u003c/p>\n\u003cp>Getting nods from such punk royalty is no big deal to Koepke, who helped put these bands on the map as the creator of seminal concert calendar \u003ca href=\"http://www.calweb.net/~skoepke/\" target=\"_blank\" rel=\"noopener\">The List\u003c/a>, the flyer and email newsletter he started in 1990. For more than a generation, The List and its associated low-budget HTML site, \u003ca href=\"http://www.foopee.com/punk/the-list/\" target=\"_blank\" rel=\"noopener\">Foopee\u003c/a>, have been the de-facto way for locals interested in punk, funk, thrash, ska and rock to plan their show calendars.\u003c/p>\n\u003cp>“People come up to me in their 30s and say they were 14 years old and used to plan out their lives by this list,” says Koepke. Today, he’s still going strong with nearly 2,000 subscribers — despite the advent of services like Facebook events and Eventbrite.\u003c/p>\n\u003cp>Yet although he’s held the keys to hardcore heaven for nearly thirty years, The List’s creator remains a face in the crowd.\u003c/p>\n\u003ch3>Digitizing Zine Culture\u003c/h3>\n\u003cp>Koepke, a Richmond resident and Bay Area native, got into the punk scene around 1989 — when he was well over 30 — after a friend turned him onto Primus and Suicidal Tendencies. At that point, 924 Gilman had been open for only a few years and Koepke frequented it two or three times a week.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I love the energy [of punk], especially the young bands on stage at Gilman,” he says. “I saw a lot of old rock bands where people stand on stage and don’t move around; the music might be really good but that’s it.”\u003c/p>\n\u003cfigure id=\"attachment_13830460\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13830460\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/photo_2-800x578.jpg\" alt=\"Steve Koepke at a show at 924 Gilman sometime in the '90s.\" width=\"800\" height=\"578\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/photo_2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/photo_2-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/photo_2-768x555.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/photo_2-240x173.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/photo_2-375x271.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/photo_2-520x376.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Steve Koepke at a show at 924 Gilman sometime in the ’90s. \u003ccite>(Rick and Susan Seger)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Koepke was friends with Robert Eggplant, a musician and writer who published the punk fanzine Absolutely Zippo! Koepke wanted to get more involved in punk and, though he found zine culture appealing, he set his sights toward technology.\u003c/p>\n\u003cp>“I noticed there wasn’t a good show listing around, so I tried to get as much info as I could,” he says. “I used to leave little notes at Gilman and shows, and said, ‘If you want to get a listing of shows, send me an email.’”\u003c/p>\n\u003cp>At the time, Koepke was working in computer systems administration and used his Unix skills to develop an script that would populate a mass show listing email. In June 1990, at the dawn of the internet, The List was born and emailed out to the punk world.\u003c/p>\n\u003cp>These days, The List boasts 1,900 subscribers and features shows as far as Sparks, Nevada to the east, Redding to the north, and Modesto to the south. Koepke personally curates and posts well over 50 show listings per week, from backroom gigs at 1-2-3-4 Go! Records to bigger concerts at the Chapel and DNA Lounge. \u003ca href=\"http://www.foopee.com/punk/the-list/\" target=\"_blank\" rel=\"noopener\">Foopee\u003c/a> and five additional websites that use information from The List attract around 8,000 monthly visitors.\u003c/p>\n\u003cp>While Koepke used to focus exclusively on punk shows, The List has “pretty much anything,” including the occasional hip-hop or electronic show, or a music-adjacent art event. Particularly in its early days, The List became an accessible catch-all for punk, hardcore and ska bands who performed at DIY spaces and warehouses in addition to better-known venues like Gilman.\u003c/p>\n\u003cfigure id=\"attachment_11336203\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11336203\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/GDGilmanMAIN-800x450.jpg\" alt=\"Green Day at 924 Gilman in the early 1990s.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/GDGilmanMAIN.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/GDGilmanMAIN-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/GDGilmanMAIN-768x432.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Green Day at 924 Gilman in the early 1990s. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It was important to get the word out back in the day when Green Day would play backyards and kitchens, or bands like Rancid and AFI would play small venues,” Koepke says. “I hope people went to see those shows because I got the information out.”\u003c/p>\n\u003cp>The List spread through word of mouth, handled down from counterculture generation to counterculture generation. Koepke did no advertising beyond printing The List and distributing it to local venues, record stores and book shops. Since then, he’s received a continuous stream of interest from bookers, promoters, venue owners, publicists and bands who want their performances featured.\u003c/p>\n\u003cp>Twenty-eight years later, Koepke receives about 100 emails a day and spends between 6 and 12 hours a week curating the Bay’s many concerts for his subscribers. The List remains crucial for lesser-known local and touring bands that might otherwise get lost in the glut of events on Facebook or Do The Bay.\u003c/p>\n\u003ch3>DIY at the Dawn of the World Wide Web\u003c/h3>\n\u003cp>The List arrived in the years leading up to the birth of the World Wide Web, and Graham Spencer’s Foopee took things to the next level in 1994.\u003c/p>\n\u003cp>Spencer moved to the Bay Area to study computer science at Stanford about 30 years ago and fell into the Bay’s punk and hardcore community. “At the time, the Bay Area was an epicenter for that—there was Gilman Street, all the East Bay bands,” he says. Spencer met Koepke at a Gilman show, knew about The List, and wanted to improve upon it with a webpage.\u003c/p>\n\u003cp>With Koepke’s blessing, Spencer created Foopee.com, a stripped-down site that features a week-by-week, day-by-day listing of concerts. On Foopee, shows are further searchable by venue and band, and each listing notes whether the show is all ages, whether one should expect a mosh pit or whether it’s likely to sell out.\u003c/p>\n\u003cfigure id=\"attachment_13830462\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13830462\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Foopee-Comic.gif\" alt=\"“Foopee” cartoon by Eric Plumber’s Butt. From “Dear Jesus” fanzine #39. Spring 1992. \" width=\"600\" height=\"307\">\u003cfigcaption class=\"wp-caption-text\">“Foopee” cartoon by Eric Plumber’s Butt. From “Dear Jesus” fanzine #39. Spring 1992.\u003c/figcaption>\u003c/figure>\n\u003cp>A comic on Foopee’s homepage is the only clue to the origins of its name. Spencer explains that Foopee comes from a four issue fanzine called \u003cem>Dear Jesus\u003c/em>, which was created in the late ’80s by Born Against vocalist Sam McPheeters.\u003c/p>\n\u003cp>“They had a comic character called Foopee, and Foopee was just a real jerk,” Spencer says, noting the proper pronunciation is “foo-P.” “He only made like two different episodes of Foopee, but my friends and I thought it was funny.”\u003c/p>\n\u003cfigure id=\"attachment_13830464\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13830464\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Foopee-SS-800x605.jpg\" alt=\"\" width=\"800\" height=\"605\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Foopee-SS-800x605.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Foopee-SS-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Foopee-SS-768x581.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Foopee-SS-1020x772.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Foopee-SS-960x726.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Foopee-SS-240x182.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Foopee-SS-375x284.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Foopee-SS-520x393.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Foopee-SS.jpg 1052w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A screenshot from Foopee.com.\u003c/figcaption>\u003c/figure>\n\u003cp>Today, Foopee autonomously scrapes information from The List for daily updates. But it still looks straight out of the ‘90s with basic HTML formatting that’s devoid of any flair aside from blue hyperlinks. About 2,000 people visit the website each week — half from the Bay Area and the rest from Paris, Los Angeles and New York.\u003c/p>\n\u003cp>“I’ve thought about, ‘Should I make it fancier?’ But I kinda like it,” Spencer says. “There’s the aesthetic of punk which is everyone should grab a microphone or a guitar and make their own music; it’s sort of anti-professional. Anyone who knows old HTML could bang out something like [Foopee] — it matches what the music scene is about.”\u003c/p>\n\u003ch3>The List in the Age of Algorithms\u003c/h3>\n\u003cp>Elbo Room owner Matt Shapiro said he first encountered The List in 1994 at the now-shuttered Epicenter; he still tries to make sure all of his shows make it to the coveted site. Foopee is “very comprehensive as far as my interests are concerned. It’s awesome that everything is in one place and you don’t have to worry about an algorithm.”\u003c/p>\n\u003cp>Algorithms — specifically those belonging to Facebook, Songkick and other event-tracking platforms, neither of which responded to requests for comment for this story — may seem like the biggest threat to The List and Foopee. But Spencer, a partner in Google Ventures, credited Koepke’s unique curatorial approach for keeping the list relevant.\u003c/p>\n\u003cp>“It’s very democratic and egalitarian,” he says. “You could design algorithms to do that but, often times, that’s not what the people designing these systems want. Steve levels the playing field.”\u003c/p>\n\u003cp>Foopee and The List are also an unintentional cultural archive, a record of shows both large and small that shaped the Bay’s musical community. Many of the people who first contacted Koepke about his email list have become industry professionals with long social histories.\u003c/p>\n\u003cfigure id=\"attachment_13830465\" class=\"wp-caption alignright\" style=\"max-width: 584px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13830465\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/photo_1.jpg\" alt=\"Steve Koepke selling patches and passing out The List at 924 Gilman.\" width=\"584\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/photo_1.jpg 584w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/photo_1-160x197.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/photo_1-240x296.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/photo_1-375x462.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/photo_1-520x641.jpg 520w\" sizes=\"auto, (max-width: 584px) 100vw, 584px\">\u003cfigcaption class=\"wp-caption-text\">Steve Koepke selling patches and passing out The List at 924 Gilman. \u003ccite>(Rick and Susan Seger)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’ve been doing it so long that a lot of people come up to me and thank me,” Koepke says, adding that most people wouldn’t recognize him. “It’s nice to think I accomplished something.”\u003c/p>\n\u003cp>Koepke still goes to shows at Gilman and the Phoenix Theater in Petaluma — two of his favorite venues in the Bay — though he’s not out in force as he once was. He spends time working at a car dealership and collecting antiques that he sells on eBay, occasionally thinking about what he might do with his massive record collection or bounty of show and rave flyers from the ’90s.\u003c/p>\n\u003cp>As venues fall prey to gentrification, and mega-promoters like Live Nation and Goldenvoice eclipse independent bookers, young artists can find it difficult to get a foothold in the Bay Area music scene. Yet Koepke remains hopeful for the underdogs. He points to the large amount of venues that have opened in the East Bay in the past few years, and sees some benefit to the tech sector.\u003c/p>\n\u003cp>“Right now there’s so many different venues that have shows,” Koepke says. “I think a lot of it has to do with the tech bubble because there’s a lot more young people with money looking for things to do. It’s a good thing because a lot of local bands are finding it easier to find places to play.”\u003c/p>\n\u003cfigure id=\"attachment_13830467\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13830467\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/photo_6-800x597.jpg\" alt=\"Steve Koepke lounging on a counter at the Gilman.\" width=\"800\" height=\"597\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/photo_6.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/photo_6-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/photo_6-768x573.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/photo_6-240x179.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/photo_6-375x280.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/photo_6-520x388.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Steve Koepke lounging on a counter at the Gilman. \u003ccite>(Rick and Susan Seger)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Bay Area’s musical sensibilities have also drifted away from its ‘80s punk roots. Venues like Gilman are still crucial to the scene, but the groups who initially populated The List have blown up, faded away or left for other cities. Like many other regional cultural staples, punk has been pushed further into the fringes.\u003c/p>\n\u003cp>“I don’t know how punk’s gonna survive sometimes, because it gets so expensive that young bands might not be able to live here or practice,” Koepke says.\u003c/p>\n\u003cp>The Bay may no longer be the alternative epicenter it once was. But Koepke is confident that, like punk, The List will never die.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I have almost 2,000 subscribers, as long as people want me to send it out, I will,” he says. “I guess eventually I’ll get too old to do it, but I think it’ll always be relevant because I can’t see people not going to shows anymore.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Although the new generation of punks may not recognize Steve Koepke, a white-mustached 65-year-old with a modest demeanor, NOFX’s Fat Mike makes sure to say hello to him when his band plays in the Bay Area. Billie Joe Armstrong often takes time to greet Koepke at Green Day’s shows, as well.\u003c/p>\n\u003cp>Getting nods from such punk royalty is no big deal to Koepke, who helped put these bands on the map as the creator of seminal concert calendar \u003ca href=\"http://www.calweb.net/~skoepke/\" target=\"_blank\" rel=\"noopener\">The List\u003c/a>, the flyer and email newsletter he started in 1990. For more than a generation, The List and its associated low-budget HTML site, \u003ca href=\"http://www.foopee.com/punk/the-list/\" target=\"_blank\" rel=\"noopener\">Foopee\u003c/a>, have been the de-facto way for locals interested in punk, funk, thrash, ska and rock to plan their show calendars.\u003c/p>\n\u003cp>“People come up to me in their 30s and say they were 14 years old and used to plan out their lives by this list,” says Koepke. Today, he’s still going strong with nearly 2,000 subscribers — despite the advent of services like Facebook events and Eventbrite.\u003c/p>\n\u003cp>Yet although he’s held the keys to hardcore heaven for nearly thirty years, The List’s creator remains a face in the crowd.\u003c/p>\n\u003ch3>Digitizing Zine Culture\u003c/h3>\n\u003cp>Koepke, a Richmond resident and Bay Area native, got into the punk scene around 1989 — when he was well over 30 — after a friend turned him onto Primus and Suicidal Tendencies. At that point, 924 Gilman had been open for only a few years and Koepke frequented it two or three times a week.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I love the energy [of punk], especially the young bands on stage at Gilman,” he says. “I saw a lot of old rock bands where people stand on stage and don’t move around; the music might be really good but that’s it.”\u003c/p>\n\u003cfigure id=\"attachment_13830460\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13830460\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/photo_2-800x578.jpg\" alt=\"Steve Koepke at a show at 924 Gilman sometime in the '90s.\" width=\"800\" height=\"578\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/photo_2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/photo_2-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/photo_2-768x555.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/photo_2-240x173.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/photo_2-375x271.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/photo_2-520x376.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Steve Koepke at a show at 924 Gilman sometime in the ’90s. \u003ccite>(Rick and Susan Seger)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Koepke was friends with Robert Eggplant, a musician and writer who published the punk fanzine Absolutely Zippo! Koepke wanted to get more involved in punk and, though he found zine culture appealing, he set his sights toward technology.\u003c/p>\n\u003cp>“I noticed there wasn’t a good show listing around, so I tried to get as much info as I could,” he says. “I used to leave little notes at Gilman and shows, and said, ‘If you want to get a listing of shows, send me an email.’”\u003c/p>\n\u003cp>At the time, Koepke was working in computer systems administration and used his Unix skills to develop an script that would populate a mass show listing email. In June 1990, at the dawn of the internet, The List was born and emailed out to the punk world.\u003c/p>\n\u003cp>These days, The List boasts 1,900 subscribers and features shows as far as Sparks, Nevada to the east, Redding to the north, and Modesto to the south. Koepke personally curates and posts well over 50 show listings per week, from backroom gigs at 1-2-3-4 Go! Records to bigger concerts at the Chapel and DNA Lounge. \u003ca href=\"http://www.foopee.com/punk/the-list/\" target=\"_blank\" rel=\"noopener\">Foopee\u003c/a> and five additional websites that use information from The List attract around 8,000 monthly visitors.\u003c/p>\n\u003cp>While Koepke used to focus exclusively on punk shows, The List has “pretty much anything,” including the occasional hip-hop or electronic show, or a music-adjacent art event. Particularly in its early days, The List became an accessible catch-all for punk, hardcore and ska bands who performed at DIY spaces and warehouses in addition to better-known venues like Gilman.\u003c/p>\n\u003cfigure id=\"attachment_11336203\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11336203\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/GDGilmanMAIN-800x450.jpg\" alt=\"Green Day at 924 Gilman in the early 1990s.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/GDGilmanMAIN.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/GDGilmanMAIN-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/GDGilmanMAIN-768x432.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Green Day at 924 Gilman in the early 1990s. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It was important to get the word out back in the day when Green Day would play backyards and kitchens, or bands like Rancid and AFI would play small venues,” Koepke says. “I hope people went to see those shows because I got the information out.”\u003c/p>\n\u003cp>The List spread through word of mouth, handled down from counterculture generation to counterculture generation. Koepke did no advertising beyond printing The List and distributing it to local venues, record stores and book shops. Since then, he’s received a continuous stream of interest from bookers, promoters, venue owners, publicists and bands who want their performances featured.\u003c/p>\n\u003cp>Twenty-eight years later, Koepke receives about 100 emails a day and spends between 6 and 12 hours a week curating the Bay’s many concerts for his subscribers. The List remains crucial for lesser-known local and touring bands that might otherwise get lost in the glut of events on Facebook or Do The Bay.\u003c/p>\n\u003ch3>DIY at the Dawn of the World Wide Web\u003c/h3>\n\u003cp>The List arrived in the years leading up to the birth of the World Wide Web, and Graham Spencer’s Foopee took things to the next level in 1994.\u003c/p>\n\u003cp>Spencer moved to the Bay Area to study computer science at Stanford about 30 years ago and fell into the Bay’s punk and hardcore community. “At the time, the Bay Area was an epicenter for that—there was Gilman Street, all the East Bay bands,” he says. Spencer met Koepke at a Gilman show, knew about The List, and wanted to improve upon it with a webpage.\u003c/p>\n\u003cp>With Koepke’s blessing, Spencer created Foopee.com, a stripped-down site that features a week-by-week, day-by-day listing of concerts. On Foopee, shows are further searchable by venue and band, and each listing notes whether the show is all ages, whether one should expect a mosh pit or whether it’s likely to sell out.\u003c/p>\n\u003cfigure id=\"attachment_13830462\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13830462\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Foopee-Comic.gif\" alt=\"“Foopee” cartoon by Eric Plumber’s Butt. From “Dear Jesus” fanzine #39. Spring 1992. \" width=\"600\" height=\"307\">\u003cfigcaption class=\"wp-caption-text\">“Foopee” cartoon by Eric Plumber’s Butt. From “Dear Jesus” fanzine #39. Spring 1992.\u003c/figcaption>\u003c/figure>\n\u003cp>A comic on Foopee’s homepage is the only clue to the origins of its name. Spencer explains that Foopee comes from a four issue fanzine called \u003cem>Dear Jesus\u003c/em>, which was created in the late ’80s by Born Against vocalist Sam McPheeters.\u003c/p>\n\u003cp>“They had a comic character called Foopee, and Foopee was just a real jerk,” Spencer says, noting the proper pronunciation is “foo-P.” “He only made like two different episodes of Foopee, but my friends and I thought it was funny.”\u003c/p>\n\u003cfigure id=\"attachment_13830464\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13830464\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Foopee-SS-800x605.jpg\" alt=\"\" width=\"800\" height=\"605\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Foopee-SS-800x605.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Foopee-SS-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Foopee-SS-768x581.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Foopee-SS-1020x772.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Foopee-SS-960x726.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Foopee-SS-240x182.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Foopee-SS-375x284.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Foopee-SS-520x393.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Foopee-SS.jpg 1052w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A screenshot from Foopee.com.\u003c/figcaption>\u003c/figure>\n\u003cp>Today, Foopee autonomously scrapes information from The List for daily updates. But it still looks straight out of the ‘90s with basic HTML formatting that’s devoid of any flair aside from blue hyperlinks. About 2,000 people visit the website each week — half from the Bay Area and the rest from Paris, Los Angeles and New York.\u003c/p>\n\u003cp>“I’ve thought about, ‘Should I make it fancier?’ But I kinda like it,” Spencer says. “There’s the aesthetic of punk which is everyone should grab a microphone or a guitar and make their own music; it’s sort of anti-professional. Anyone who knows old HTML could bang out something like [Foopee] — it matches what the music scene is about.”\u003c/p>\n\u003ch3>The List in the Age of Algorithms\u003c/h3>\n\u003cp>Elbo Room owner Matt Shapiro said he first encountered The List in 1994 at the now-shuttered Epicenter; he still tries to make sure all of his shows make it to the coveted site. Foopee is “very comprehensive as far as my interests are concerned. It’s awesome that everything is in one place and you don’t have to worry about an algorithm.”\u003c/p>\n\u003cp>Algorithms — specifically those belonging to Facebook, Songkick and other event-tracking platforms, neither of which responded to requests for comment for this story — may seem like the biggest threat to The List and Foopee. But Spencer, a partner in Google Ventures, credited Koepke’s unique curatorial approach for keeping the list relevant.\u003c/p>\n\u003cp>“It’s very democratic and egalitarian,” he says. “You could design algorithms to do that but, often times, that’s not what the people designing these systems want. Steve levels the playing field.”\u003c/p>\n\u003cp>Foopee and The List are also an unintentional cultural archive, a record of shows both large and small that shaped the Bay’s musical community. Many of the people who first contacted Koepke about his email list have become industry professionals with long social histories.\u003c/p>\n\u003cfigure id=\"attachment_13830465\" class=\"wp-caption alignright\" style=\"max-width: 584px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13830465\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/photo_1.jpg\" alt=\"Steve Koepke selling patches and passing out The List at 924 Gilman.\" width=\"584\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/photo_1.jpg 584w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/photo_1-160x197.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/photo_1-240x296.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/photo_1-375x462.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/photo_1-520x641.jpg 520w\" sizes=\"auto, (max-width: 584px) 100vw, 584px\">\u003cfigcaption class=\"wp-caption-text\">Steve Koepke selling patches and passing out The List at 924 Gilman. \u003ccite>(Rick and Susan Seger)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’ve been doing it so long that a lot of people come up to me and thank me,” Koepke says, adding that most people wouldn’t recognize him. “It’s nice to think I accomplished something.”\u003c/p>\n\u003cp>Koepke still goes to shows at Gilman and the Phoenix Theater in Petaluma — two of his favorite venues in the Bay — though he’s not out in force as he once was. He spends time working at a car dealership and collecting antiques that he sells on eBay, occasionally thinking about what he might do with his massive record collection or bounty of show and rave flyers from the ’90s.\u003c/p>\n\u003cp>As venues fall prey to gentrification, and mega-promoters like Live Nation and Goldenvoice eclipse independent bookers, young artists can find it difficult to get a foothold in the Bay Area music scene. Yet Koepke remains hopeful for the underdogs. He points to the large amount of venues that have opened in the East Bay in the past few years, and sees some benefit to the tech sector.\u003c/p>\n\u003cp>“Right now there’s so many different venues that have shows,” Koepke says. “I think a lot of it has to do with the tech bubble because there’s a lot more young people with money looking for things to do. It’s a good thing because a lot of local bands are finding it easier to find places to play.”\u003c/p>\n\u003cfigure id=\"attachment_13830467\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13830467\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/photo_6-800x597.jpg\" alt=\"Steve Koepke lounging on a counter at the Gilman.\" width=\"800\" height=\"597\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/photo_6.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/photo_6-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/photo_6-768x573.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/photo_6-240x179.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/photo_6-375x280.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/photo_6-520x388.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Steve Koepke lounging on a counter at the Gilman. \u003ccite>(Rick and Susan Seger)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Bay Area’s musical sensibilities have also drifted away from its ‘80s punk roots. Venues like Gilman are still crucial to the scene, but the groups who initially populated The List have blown up, faded away or left for other cities. Like many other regional cultural staples, punk has been pushed further into the fringes.\u003c/p>\n\u003cp>“I don’t know how punk’s gonna survive sometimes, because it gets so expensive that young bands might not be able to live here or practice,” Koepke says.\u003c/p>\n\u003cp>The Bay may no longer be the alternative epicenter it once was. But Koepke is confident that, like punk, The List will never die.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I have almost 2,000 subscribers, as long as people want me to send it out, I will,” he says. “I guess eventually I’ll get too old to do it, but I think it’ll always be relevant because I can’t see people not going to shows anymore.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "On the Air: Cy and Nick's Do List Picks for April 27, 2018",
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"content": "\u003cp>The Do List was taken over this week and we’re delighted. My co-host is Nick Abraham, a member of KQED’s Youth Advisory Board, guitarist in the band Unpopular Opinion, a high school junior at Sequoia High School in Redwood City, and a lover of pop-punk music. He’s also a member of the invasion force for KQED’s Youth Takeover week, in which we featured news stories and commentary by students from ten Bay Area high schools. Thanks Nick; we’d love to have you co-host again.\u003c/p>\n\u003cp>Here’s the show he and I picked:\u003c/p>\n\u003cp>\u003cstrong>April 29:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13830445/keeping-musical-traditions-alive-from-generation-to-generation\" target=\"_blank\" rel=\"noopener\">The California Alliance for Traditional Arts celebrates four bands in which master musicians pass on their knowledge to a new generation\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 28-29: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13830383/a-whole-world-of-books-at-berkeleys-bay-area-book-fest\" target=\"_blank\" rel=\"noopener\">The Bay Area Book Festival makes the case that books will never be obsolete.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>May 5\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13830429/the-pride-prom-returns-to-924-gilman\" target=\"_blank\" rel=\"noopener\">The Pride Prom returns to Berkeley’s 924 Gilman, offering a safe place for LGBTQ teens.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>April 20-July 15\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13830393/not-your-grandmothers-quilts-in-an-exhibition-on-gun-violence\" target=\"_blank\" rel=\"noopener\">The San Jose Museum of Quilts and Textiles opens an exhibition on gun violence that proves these are not your grandmother’s quilts.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>May 3 and 4\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13830478/torrance-band-joyce-manor-makes-perfect-pop-punk-miniatures\" target=\"_blank\" rel=\"noopener\">Joyce Manor and awakebutstillinbed make loud intense music in shows in the North and South Bay.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 27:\u003c/strong> \u003ca href=\"https://loscenzontles.networkforgood.com/events/5805-cd-release-party\" target=\"_blank\" rel=\"noopener\">Los Cenzontles Juvenil, the kids at the Los Cenzontles Cultural Academy, stage a record release show.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>May 3: \u003c/strong>\u003ca href=\"https://www.facebook.com/unpopularopinionband/\" target=\"_blank\" rel=\"noopener\">Nick Abraham’s punk band Backyard Brew plays a gig at Backyard Brew in Palo Alto, and they’re good.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13830499\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13830499\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/IMG_4072-800x495.jpg\" alt=\"The Do List got a youth takeover this week from guitarist and KQED Youth Advisory Board Member Nick Abraham\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG_4072-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG_4072-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG_4072-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG_4072-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG_4072-1200x742.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG_4072-1920x1187.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG_4072-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG_4072-960x594.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG_4072-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG_4072-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG_4072-520x322.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG_4072.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Do List got a youth takeover this week from guitarist and KQED Youth Advisory Board Member Nick Abraham \u003ccite>(Nadia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Do List was taken over this week and we’re delighted. My co-host is Nick Abraham, a member of KQED’s Youth Advisory Board, guitarist in the band Unpopular Opinion, a high school junior at Sequoia High School in Redwood City, and a lover of pop-punk music. He’s also a member of the invasion force for KQED’s Youth Takeover week, in which we featured news stories and commentary by students from ten Bay Area high schools. Thanks Nick; we’d love to have you co-host again.\u003c/p>\n\u003cp>Here’s the show he and I picked:\u003c/p>\n\u003cp>\u003cstrong>April 29:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13830445/keeping-musical-traditions-alive-from-generation-to-generation\" target=\"_blank\" rel=\"noopener\">The California Alliance for Traditional Arts celebrates four bands in which master musicians pass on their knowledge to a new generation\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 28-29: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13830383/a-whole-world-of-books-at-berkeleys-bay-area-book-fest\" target=\"_blank\" rel=\"noopener\">The Bay Area Book Festival makes the case that books will never be obsolete.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>May 5\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13830429/the-pride-prom-returns-to-924-gilman\" target=\"_blank\" rel=\"noopener\">The Pride Prom returns to Berkeley’s 924 Gilman, offering a safe place for LGBTQ teens.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>April 20-July 15\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13830393/not-your-grandmothers-quilts-in-an-exhibition-on-gun-violence\" target=\"_blank\" rel=\"noopener\">The San Jose Museum of Quilts and Textiles opens an exhibition on gun violence that proves these are not your grandmother’s quilts.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>May 3 and 4\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13830478/torrance-band-joyce-manor-makes-perfect-pop-punk-miniatures\" target=\"_blank\" rel=\"noopener\">Joyce Manor and awakebutstillinbed make loud intense music in shows in the North and South Bay.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 27:\u003c/strong> \u003ca href=\"https://loscenzontles.networkforgood.com/events/5805-cd-release-party\" target=\"_blank\" rel=\"noopener\">Los Cenzontles Juvenil, the kids at the Los Cenzontles Cultural Academy, stage a record release show.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>May 3: \u003c/strong>\u003ca href=\"https://www.facebook.com/unpopularopinionband/\" target=\"_blank\" rel=\"noopener\">Nick Abraham’s punk band Backyard Brew plays a gig at Backyard Brew in Palo Alto, and they’re good.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13830499\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13830499\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/IMG_4072-800x495.jpg\" alt=\"The Do List got a youth takeover this week from guitarist and KQED Youth Advisory Board Member Nick Abraham\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG_4072-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG_4072-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG_4072-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG_4072-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG_4072-1200x742.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG_4072-1920x1187.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG_4072-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG_4072-960x594.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG_4072-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG_4072-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG_4072-520x322.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/IMG_4072.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Do List got a youth takeover this week from guitarist and KQED Youth Advisory Board Member Nick Abraham \u003ccite>(Nadia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"title": "The Pride Prom Returns to 924 Gilman",
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"content": "\u003cp>My co-host this week, KQED Youth Advisory Board Member Nick Abraham, brought us this event and we’re so glad.\u003c/p>\n\u003cfigure id=\"attachment_13830440\" class=\"wp-caption alignright\" style=\"max-width: 742px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13830440\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Queer-Prom-flier.jpg\" alt=\"The Pride Prom comes to 924 Gilman\" width=\"742\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Queer-Prom-flier.jpg 742w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Queer-Prom-flier-160x207.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Queer-Prom-flier-240x311.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Queer-Prom-flier-375x485.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Queer-Prom-flier-520x673.jpg 520w\" sizes=\"(max-width: 742px) 100vw, 742px\">\u003cfigcaption class=\"wp-caption-text\">The Pride Prom comes to 924 Gilman \u003ccite>(Courtesy of 924 Gilman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He volunteers along with other young people at the all ages venue 924 Gilman, a historic venue in North Berkeley for punk bands since the 1980s. The club is hosting its second annual Pride Prom, with a special welcome for LGBTQ high school students, though everyone is invited. Nick’s friends booked the bands for the prom this year, including San Francisco’s The Total Bettys, a terrific San Francisco pop punk band. They’re led by lead vocalist Maggie Grabmeier, whose powerful voice and smart lyrics make you want to pay attention. They’re playing along with A.W., the Homobiles, Polythene Pam, and Little Debbie & The Crusaders.\u003c/p>\n\u003cp>Nick says there will also be several zines (DIY magazines) to read through, and an informational safe sex table by Planned Parenthood Mar Monte. Nick’s promising a really safe space.\u003c/p>\n\u003cp>The Pride Prom is May 5 at 924 Gilman. \u003ca href=\"https://www.facebook.com/events/1878206635810872/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dLPvVWwClo4\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "Alice Bag and Riot Grrrl Royals Pay Punk Homage to '9 to 5'",
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"content": "\u003cp>https://www.youtube.com/watch?v=ZmnTGTyRjEM\u003c/p>\n\u003cp>In 1980, \u003ca href=\"https://www.npr.org/artists/15750509/dolly-parton\">Dolly Parton\u003c/a> became Doralee Rhodes for the proto-feminist workplace comedy \u003cem>9 to 5\u003c/em>. “Working 9 to 5, what a way to make a livin’ / Barely gettin’ by, it’s all takin’ and no givin’,” she sings in the film’s eponymous theme song. “They just use your mind and they never give you credit / It’s enough to drive you crazy if you let it.”\u003c/p>\n\u003cp>Perhaps a 22-year-old \u003ca href=\"https://www.npr.org/artists/588864231/alice-bag\">Alice Bag\u003c/a> sat in an East Los Angeles movie theater in 1980 and sneered at the silly white women onscreen. Or maybe she identified with Judy’s, Violet’s, and Doralee’s desire to avenge themselves against their “\u003ca href=\"http://www.imdb.com/title/tt0080319/quotes/qt0233209?mavIsAdult=false\">sexist, egotistical, lying, hypocritical bigot\u003c/a>” boss, Franklin Hart Jr. Alice Bag was, after all, the bloodthirsty Chicana punk legend who wrote “\u003ca href=\"https://www.youtube.com/watch?v=DRE_joRelOk\">Violence Girl\u003c/a>“: “She’s taken too much of the domesticated world / She’s tearing it to pieces, she’s a violence girl!”\u003c/p>\n\u003cp>In “77,” the second single off Bag’s upcoming album, \u003cem>Blueprint\u003c/em>, Bag is the ghost of female office-comedies-past. Riot Grrrl royals Kathleen Hanna of \u003ca href=\"https://www.npr.org/artists/106311747/bikini-kill\">Bikini Kill\u003c/a> and Allison Wolfe of Bratmobile — who both inherited the feminist punk mantle that Alice Bag and the Bags created in the ’70s and \u003ca href=\"https://www.spin.com/2018/01/alice-bag-turn-it-up-ft-kathleen-hanna-and-allison-wolfe/\">also appear on “Turn It Up”\u003c/a> — provide guest vocals and appear in the video. They are the Jane Fonda and Dolly Parton to Bag’s Lily Tomlin, each fake-typing in correspondingly colored wigs. They are angry that as of 2012, American women \u003ca href=\"https://www.census.gov/prod/2013pubs/p60-245.pdf#page=19\">still only earned 77 cents to a man’s dollar\u003c/a>.\u003c/p>\n\u003cp>\u003cem>9 to 5 — \u003c/em>the movie, song, musical, et al — has aged into its silliness. Like the actress who played her, Doralee is portrayed as beautiful, busty and unintelligent. Many of the film’s jokes hinge on Judy, Doralee, and Violet \u003ca href=\"https://www.youtube.com/watch?v=UDhGOYglISE\">occupying roles that their characters weren’t meant to have\u003c/a>. Yet in the moments when the trio aren’t accidentally poisoning their boss, Doralee provides the film’s best-aged and still-relevant emotional core. She confronts her harasser boss after he spreads a false rumor that he is having an affair with her.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Look, I’ve been straight with you since the first day I got here,” she tells him. “And I’ve put up with all of your pinchin’ and starin’ and chasin’ me around the desk because I need this job. But this is the last straw!”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=WPQRMeU4Co0\u003c/p>\n\u003cp>Like so many of the girl comedies of our mothers’ generations, \u003cem>9 to 5 \u003c/em>asks us to laugh, because what else was a woman to do?\u003c/p>\n\u003cp>Alice Bag is still laughing, but it’s an angry laugh. If white women like Doralee earned \u003ca href=\"http://www.pewresearch.org/fact-tank/2016/07/01/racial-gender-wage-gaps-persist-in-u-s-despite-some-progress/\">67 cents to every Franklin Hart Jr.’s dollar in 1980\u003c/a>, according to a 2016 Pew Research Center study, Hanna’s and Wolfe’s characters have won only fifteen cents more — 82 cents in 2015 — in 35 years.\u003c/p>\n\u003cp>“I make 77 cents and it’s not right / It’s bad for women!” shouts Wolfe on the song. While this figure relies on 2012 census data that is no longer accurate, Bag’s point still stands. The same Pew study indicates that Latina women like Bag statistically make 58 cents to a man’s dollar \u003cem>now \u003c/em>— less than Doralee did back in 1980. As white women trudge closer toward pay equity, real equity will involve prioritizing their sisters of color.\u003c/p>\n\u003cp>“It’s worse if you’re not white,” Bag shrieks in retort. Sneering at the traditional weak justification that \u003cem>men are providers\u003c/em>, Bag invokes the Latina mothers who have \u003cem>always “\u003c/em>needed this job” or had to work. “You’re head of household? So am I / It’s not just about me / I need to provide.”\u003c/p>\n\u003cp>And yeah, Bag, Hanna, and Wolfe do string up their boss (played by Hunx and His Punx vocalist Seth Bogart) like their foremothers with a cord telephone — only this time, it’s less Western steer and more S&M.\u003c/p>\n\u003cp>Blue-haired, this time as herself, Bag sets off a TNT explosion of money and defibrillates a man’s bare chest with clothing irons. The women mosh around a GIRLS GIRLS GIRLS neon sign and chant “it’s time, it’s time” like bacchants.\u003c/p>\n\u003cp>Somewhere, Dolly Parton may be clutching her pearls, but I hope she’s laughing, too. Bag’s humor is a violent one. Feminist music’s greatest stride over a century has been its re-purposing of \u003ca href=\"https://www.npr.org/2011/07/14/136581522/medical-musing-on-politics-poetry-and-hysteria\">female hysteria\u003c/a> into meaningful anger, refining it into something precise and sharp, yet no less piercing.\u003c/p>\n\u003cp>“Yeah, don’t pretend that we’re paid equal,” Bag sneers. “You wrote the script / But I’m writing the sequel.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>Blueprint \u003cem>comes out March 23 on \u003c/em>\u003ca href=\"http://dongiovannirecords.com/releases/alice-bag-blueprint/\">\u003cem>Don Giovanni Records\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Songs+We+Love%3A+Alice+Bag%2C+%2777%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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/ZmnTGTyRjEM'\n title='//www.youtube.com/embed/ZmnTGTyRjEM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In 1980, \u003ca href=\"https://www.npr.org/artists/15750509/dolly-parton\">Dolly Parton\u003c/a> became Doralee Rhodes for the proto-feminist workplace comedy \u003cem>9 to 5\u003c/em>. “Working 9 to 5, what a way to make a livin’ / Barely gettin’ by, it’s all takin’ and no givin’,” she sings in the film’s eponymous theme song. “They just use your mind and they never give you credit / It’s enough to drive you crazy if you let it.”\u003c/p>\n\u003cp>Perhaps a 22-year-old \u003ca href=\"https://www.npr.org/artists/588864231/alice-bag\">Alice Bag\u003c/a> sat in an East Los Angeles movie theater in 1980 and sneered at the silly white women onscreen. Or maybe she identified with Judy’s, Violet’s, and Doralee’s desire to avenge themselves against their “\u003ca href=\"http://www.imdb.com/title/tt0080319/quotes/qt0233209?mavIsAdult=false\">sexist, egotistical, lying, hypocritical bigot\u003c/a>” boss, Franklin Hart Jr. Alice Bag was, after all, the bloodthirsty Chicana punk legend who wrote “\u003ca href=\"https://www.youtube.com/watch?v=DRE_joRelOk\">Violence Girl\u003c/a>“: “She’s taken too much of the domesticated world / She’s tearing it to pieces, she’s a violence girl!”\u003c/p>\n\u003cp>In “77,” the second single off Bag’s upcoming album, \u003cem>Blueprint\u003c/em>, Bag is the ghost of female office-comedies-past. Riot Grrrl royals Kathleen Hanna of \u003ca href=\"https://www.npr.org/artists/106311747/bikini-kill\">Bikini Kill\u003c/a> and Allison Wolfe of Bratmobile — who both inherited the feminist punk mantle that Alice Bag and the Bags created in the ’70s and \u003ca href=\"https://www.spin.com/2018/01/alice-bag-turn-it-up-ft-kathleen-hanna-and-allison-wolfe/\">also appear on “Turn It Up”\u003c/a> — provide guest vocals and appear in the video. They are the Jane Fonda and Dolly Parton to Bag’s Lily Tomlin, each fake-typing in correspondingly colored wigs. They are angry that as of 2012, American women \u003ca href=\"https://www.census.gov/prod/2013pubs/p60-245.pdf#page=19\">still only earned 77 cents to a man’s dollar\u003c/a>.\u003c/p>\n\u003cp>\u003cem>9 to 5 — \u003c/em>the movie, song, musical, et al — has aged into its silliness. Like the actress who played her, Doralee is portrayed as beautiful, busty and unintelligent. Many of the film’s jokes hinge on Judy, Doralee, and Violet \u003ca href=\"https://www.youtube.com/watch?v=UDhGOYglISE\">occupying roles that their characters weren’t meant to have\u003c/a>. Yet in the moments when the trio aren’t accidentally poisoning their boss, Doralee provides the film’s best-aged and still-relevant emotional core. She confronts her harasser boss after he spreads a false rumor that he is having an affair with her.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Look, I’ve been straight with you since the first day I got here,” she tells him. “And I’ve put up with all of your pinchin’ and starin’ and chasin’ me around the desk because I need this job. But this is the last straw!”\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/WPQRMeU4Co0'\n title='//www.youtube.com/embed/WPQRMeU4Co0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Like so many of the girl comedies of our mothers’ generations, \u003cem>9 to 5 \u003c/em>asks us to laugh, because what else was a woman to do?\u003c/p>\n\u003cp>Alice Bag is still laughing, but it’s an angry laugh. If white women like Doralee earned \u003ca href=\"http://www.pewresearch.org/fact-tank/2016/07/01/racial-gender-wage-gaps-persist-in-u-s-despite-some-progress/\">67 cents to every Franklin Hart Jr.’s dollar in 1980\u003c/a>, according to a 2016 Pew Research Center study, Hanna’s and Wolfe’s characters have won only fifteen cents more — 82 cents in 2015 — in 35 years.\u003c/p>\n\u003cp>“I make 77 cents and it’s not right / It’s bad for women!” shouts Wolfe on the song. While this figure relies on 2012 census data that is no longer accurate, Bag’s point still stands. The same Pew study indicates that Latina women like Bag statistically make 58 cents to a man’s dollar \u003cem>now \u003c/em>— less than Doralee did back in 1980. As white women trudge closer toward pay equity, real equity will involve prioritizing their sisters of color.\u003c/p>\n\u003cp>“It’s worse if you’re not white,” Bag shrieks in retort. Sneering at the traditional weak justification that \u003cem>men are providers\u003c/em>, Bag invokes the Latina mothers who have \u003cem>always “\u003c/em>needed this job” or had to work. “You’re head of household? So am I / It’s not just about me / I need to provide.”\u003c/p>\n\u003cp>And yeah, Bag, Hanna, and Wolfe do string up their boss (played by Hunx and His Punx vocalist Seth Bogart) like their foremothers with a cord telephone — only this time, it’s less Western steer and more S&M.\u003c/p>\n\u003cp>Blue-haired, this time as herself, Bag sets off a TNT explosion of money and defibrillates a man’s bare chest with clothing irons. The women mosh around a GIRLS GIRLS GIRLS neon sign and chant “it’s time, it’s time” like bacchants.\u003c/p>\n\u003cp>Somewhere, Dolly Parton may be clutching her pearls, but I hope she’s laughing, too. Bag’s humor is a violent one. Feminist music’s greatest stride over a century has been its re-purposing of \u003ca href=\"https://www.npr.org/2011/07/14/136581522/medical-musing-on-politics-poetry-and-hysteria\">female hysteria\u003c/a> into meaningful anger, refining it into something precise and sharp, yet no less piercing.\u003c/p>\n\u003cp>“Yeah, don’t pretend that we’re paid equal,” Bag sneers. “You wrote the script / But I’m writing the sequel.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>Blueprint \u003cem>comes out March 23 on \u003c/em>\u003ca href=\"http://dongiovannirecords.com/releases/alice-bag-blueprint/\">\u003cem>Don Giovanni Records\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Songs+We+Love%3A+Alice+Bag%2C+%2777%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"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.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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},
"radiolab": {
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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},
"science-friday": {
"id": "science-friday",
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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