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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Why are women- and trans-led bands so rare in the world of rock and pop? We don’t know, but here’s a way to support both women and trans musicians swimming upstream against the macho current in the river of punk and dark wave: the West Coast Women’s Darkwave Festival in Oakland. The sound engineers, the lighting techs, even the vendors in the goth mall will be women or trans. Featured bands include the Bay Area’s Ink Bats, the legendary Portland band Arctic Flowers, Chicago’s Scary Lady Sarah and many more. And don’t forget your ear protection — it will be loud. \u003ca href=\"https://www.facebook.com/events/1808084342835252/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/J0GVagNni-o'\n title='//www.youtube.com/embed/J0GVagNni-o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"title": "Pardoner Think They're Going to Hell",
"headTitle": "Pardoner Think They’re Going to Hell | KQED",
"content": "\u003cp>On a recent Monday evening at Hockey Haven, middle-aged men hunker over juicy-looking steaks, occasionally glancing up at the football game overhead. The old-school sports bar — which has served San Francisco’s Outer Richmond district since 1949 — might seem like an odd place to meet up with the San Francisco post-punk band \u003ca href=\"https://pardoner.bandcamp.com\" rel=\"noopener\" target=\"_blank\">Pardoner\u003c/a>, but they come here all the time.\u003c/p>\n\u003cp>Max Freeland, the band’s charismatic singer and guitarist, briskly leads me through the narrow kitchen, where a woman lines up rows and rows of steaks. “They said we can hang out on the patio for an hour if we don’t go in and out,” he assures me. \u003c/p>\n\u003cp>Freeland and his bandmates sport the normcore uniform of dad hats, beanies, vintage jeans, and thick-framed glasses. They post up at a picnic table, chit-chatting cheerfully as they light up cigarettes. Clearly, they’re are at home here even though they’re about 30 years younger than the rest of the clientele. \u003c/p>\n\u003cp>The members of Pardoner — which also include guitarist-vocalist Trey Flanigan, bassist Will Mervau, and drummer River Van Den Berghe — first met at nearby San Francisco State University, where two of them are still undergrads. Like fellow punk band \u003ca href=\"https://www.eastbayexpress.com/oakland/toyotas-pseudo-corporate-rock/Content?oid=4625532\" rel=\"noopener\" target=\"_blank\">Toyota\u003c/a>, which also formed at S.F. State, they’ve made a name for themselves in San Francisco and Oakland’s house-show circuit, slowly getting buzz that’s led to some pretty big opportunities.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/333030818″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>The influential San Francisco indie label \u003ca href=\"http://www.fatherdaughterrecords.com/\" rel=\"noopener\" target=\"_blank\">Father Daughter Records\u003c/a>, whose roster includes rising pop singer \u003ca href=\"https://www.nytimes.com/2017/09/08/arts/music/shamir-revelations-interview.html\" rel=\"noopener\" target=\"_blank\">Shamir\u003c/a>, recently put out Pardoner’s excellent debut LP, \u003ca href=\"https://pardoner.bandcamp.com/album/uncontrollable-salvation\" rel=\"noopener\" target=\"_blank\">\u003cem>Uncontrollable Salvation\u003c/em>\u003c/a>. The record — which combines tight, punchy song structures with heavy distortion and comically dark lyrics — caught the attention of well-known indie rock producer John Vanderslice, whose production credits at his \u003ca href=\"http://www.tinytelephone.com/\" rel=\"noopener\" target=\"_blank\">Tiny Telephone\u003c/a> recording studio include Spoon and the Mountain Goats. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Vanderslice recently booked Pardoner for the Tiny Telephone 20th anniversary party, where they shared the stage with \u003ca href=\"https://www.newyorker.com/culture/culture-desk/diddys-favorite-indie-musician-chaz-bear-of-toro-y-moi\" rel=\"noopener\" target=\"_blank\">Toro y Moi\u003c/a>, the Berkeley-based indie multi-instrumentalist and P. Diddy collaborator. Pardoner recorded new material at Tiny Telephone the following week when a Canadian sound engineer booked the studio for a weekend to learn the ropes of recording; the engineer invited Pardoner to lay down some tracks for free per Vanderslice’s recommendation. \u003c/p>\n\u003cp>“The reason I chose Pardoner was because they’re a really, really good band worthy of being recorded,” Vanderslice says in a phone interview. “They’re really creative and they do this post-punk thing that I have in my blood. One thing I like about them is that they have a really strange harmonic language: It’s pop music, essentially, but there’s an angular weirdness that doesn’t stray into nonsense-ville but is flirting with that.”\u003c/p>\n\u003cfigure id=\"attachment_13811973\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/DSC_0547-800x536.jpg\" alt=\"Pardoner's new album, 'Uncontrollable Salvation,' reigns in distortion and noise with tight, catchy song writing.\" width=\"800\" height=\"536\" class=\"size-medium wp-image-13811973\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0547.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0547-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0547-768x515.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0547-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0547-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0547-520x348.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pardoner’s new album, ‘Uncontrollable Salvation,’ reigns in distortion and noise with tight, catchy songwriting. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The opportunity to record at Tiny Telephone came at short notice, but Pardoner impressed Vanderslice with the fact that they wrote five songs in a week and recorded them over the course of two days. “They ended up recording all five tunes and they were really, really good,” Vanderslice confirms enthusiastically.\u003c/p>\n\u003cp>“It was pretty short notice. We had to get work off and practice real quick,” Flanigan explains.\u003c/p>\n\u003cp>“I was really happy with the way it turned out,” Freeland chimes in. “I don’t know when those will be seeing the light of day but, someday they’ll be available somehow.”\u003c/p>\n\u003cp>Though Pardoner have been climbing the ranks of San Francisco’s indie scene, the bandmates still have the most fun at scrappy house shows full of familiar faces — like Hole Fest, an all-day mini-festival that took place in a musty, dusty West Oakland basement a few weekends ago. \u003c/p>\n\u003cp>“I like that kind of shit way more. It’s way more fun,” says Flanigan.\u003c/p>\n\u003cp>“We’re able to be ourselves more,” adds Mervau. “It doesn’t feel like we’re performing, it just feels like we’re playing.”\u003c/p>\n\u003cp>Packed with 20-somethings with unwashed hair and tall cans, the show felt like the polar opposite of when Pardoner opened for dance-rock band !!! (pronounced chk! chk! chk!) at the Chapel in July to an audience of clean-cut, well-to-do San Francisco hipsters. \u003c/p>\n\u003cp>The bandmates chat among themselves about how strange it is to play for an audience of people they don’t know, then turn to me and say how grateful they are for the opportunity nonetheless. “We played to like 500 people and they gave us free fried chicken,” Freeland recalls happily of the !!! show. “I don’t think I’ve ever been more set. And then at the end, they gave us money. I was like, ‘Wow!'”\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/337472172″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>Despite the bandmates’ endearingly goofy demeanor, plenty of elements in Pardoner’s work conjure images of Christian guilt: The band’s name, the title \u003cem>Uncontrollable Salvation\u003c/em>, and lyrics like “I belong in hell” from the song “Hint.” But the theme seems to be more subconscious than intentional: Van Den Berghe, an English major, came up with the band’s name after studying Chaucer’s \u003cem>The Pardoner’s Tale\u003c/em>, in which the titular character tricks people into paying him money to absolve them of their sins. The theme was a fascinating one for Freeland, who, as a lyricist, spends a lot of time thinking about morality.\u003c/p>\n\u003cp>“I’m not religious at all,” Freeland explains. “I went to church once when I was a kid and had an allergic reaction to nuts and had to leave. … Mostly, I just think about punishment and doing bad things and getting punished for them and cosmic law.”\u003c/p>\n\u003cp>“A lot of our lyrics deal with spiritual anguish, but none of us are Christian,” Flanigan adds. \u003c/p>\n\u003cp>“Not all of us believe in a higher power per se, but we believe in love and stuff,” says Mervau as the other bandmates giggle. With the sudden uptick in attention from the music industry (\u003ca href=\"http://www.npr.org/sections/allsongs/2017/07/20/538062156/pardoners-uncontrollable-salvation-is-a-punk-blessing-that-bludgeons\" rel=\"noopener\" target=\"_blank\">NPR\u003c/a> and \u003ca href=\"https://pitchfork.com/reviews/tracks/pardoner-blue-hell/\" rel=\"noopener\" target=\"_blank\">Pitchfork\u003c/a> both gave tracks from \u003cem>Uncontrollable Salvation\u003c/em> rave reviews), they seem unsure of how seriously they should take themselves when journalists ask them about the religious overtones of their name and album title.\u003c/p>\n\u003cp>“I think one of us was literally like, ‘Pardoner’ sounds cool,” says Van Den Berghe with an eye-roll.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Pardoner performs at Balboa Theater on Oct. 19 with Unity, Sirena Victima, and Share. More info \u003ca href=\"https://www.facebook.com/events/1988699731367545/?acontext=%7B%22action_history%22%3A%22%5B%7B%5C%22surface%5C%22%3A%5C%22page%5C%22%2C%5C%22mechanism%5C%22%3A%5C%22page_upcoming_events_card%5C%22%2C%5C%22extra_data%5C%22%3A%5B%5D%7D%5D%22%2C%22has_source%22%3Atrue%7D\" rel=\"noopener\" target=\"_blank\">here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "The San Francisco post-punk band rapidly rose from house shows to playing with Toro y Moi and !!!. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On a recent Monday evening at Hockey Haven, middle-aged men hunker over juicy-looking steaks, occasionally glancing up at the football game overhead. The old-school sports bar — which has served San Francisco’s Outer Richmond district since 1949 — might seem like an odd place to meet up with the San Francisco post-punk band \u003ca href=\"https://pardoner.bandcamp.com\" rel=\"noopener\" target=\"_blank\">Pardoner\u003c/a>, but they come here all the time.\u003c/p>\n\u003cp>Max Freeland, the band’s charismatic singer and guitarist, briskly leads me through the narrow kitchen, where a woman lines up rows and rows of steaks. “They said we can hang out on the patio for an hour if we don’t go in and out,” he assures me. \u003c/p>\n\u003cp>Freeland and his bandmates sport the normcore uniform of dad hats, beanies, vintage jeans, and thick-framed glasses. They post up at a picnic table, chit-chatting cheerfully as they light up cigarettes. Clearly, they’re are at home here even though they’re about 30 years younger than the rest of the clientele. \u003c/p>\n\u003cp>The members of Pardoner — which also include guitarist-vocalist Trey Flanigan, bassist Will Mervau, and drummer River Van Den Berghe — first met at nearby San Francisco State University, where two of them are still undergrads. Like fellow punk band \u003ca href=\"https://www.eastbayexpress.com/oakland/toyotas-pseudo-corporate-rock/Content?oid=4625532\" rel=\"noopener\" target=\"_blank\">Toyota\u003c/a>, which also formed at S.F. State, they’ve made a name for themselves in San Francisco and Oakland’s house-show circuit, slowly getting buzz that’s led to some pretty big opportunities.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/333030818″&visual=true&”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true”'\n title='”https://api.soundcloud.com/tracks/333030818″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The influential San Francisco indie label \u003ca href=\"http://www.fatherdaughterrecords.com/\" rel=\"noopener\" target=\"_blank\">Father Daughter Records\u003c/a>, whose roster includes rising pop singer \u003ca href=\"https://www.nytimes.com/2017/09/08/arts/music/shamir-revelations-interview.html\" rel=\"noopener\" target=\"_blank\">Shamir\u003c/a>, recently put out Pardoner’s excellent debut LP, \u003ca href=\"https://pardoner.bandcamp.com/album/uncontrollable-salvation\" rel=\"noopener\" target=\"_blank\">\u003cem>Uncontrollable Salvation\u003c/em>\u003c/a>. The record — which combines tight, punchy song structures with heavy distortion and comically dark lyrics — caught the attention of well-known indie rock producer John Vanderslice, whose production credits at his \u003ca href=\"http://www.tinytelephone.com/\" rel=\"noopener\" target=\"_blank\">Tiny Telephone\u003c/a> recording studio include Spoon and the Mountain Goats. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Vanderslice recently booked Pardoner for the Tiny Telephone 20th anniversary party, where they shared the stage with \u003ca href=\"https://www.newyorker.com/culture/culture-desk/diddys-favorite-indie-musician-chaz-bear-of-toro-y-moi\" rel=\"noopener\" target=\"_blank\">Toro y Moi\u003c/a>, the Berkeley-based indie multi-instrumentalist and P. Diddy collaborator. Pardoner recorded new material at Tiny Telephone the following week when a Canadian sound engineer booked the studio for a weekend to learn the ropes of recording; the engineer invited Pardoner to lay down some tracks for free per Vanderslice’s recommendation. \u003c/p>\n\u003cp>“The reason I chose Pardoner was because they’re a really, really good band worthy of being recorded,” Vanderslice says in a phone interview. “They’re really creative and they do this post-punk thing that I have in my blood. One thing I like about them is that they have a really strange harmonic language: It’s pop music, essentially, but there’s an angular weirdness that doesn’t stray into nonsense-ville but is flirting with that.”\u003c/p>\n\u003cfigure id=\"attachment_13811973\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/DSC_0547-800x536.jpg\" alt=\"Pardoner's new album, 'Uncontrollable Salvation,' reigns in distortion and noise with tight, catchy song writing.\" width=\"800\" height=\"536\" class=\"size-medium wp-image-13811973\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0547.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0547-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0547-768x515.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0547-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0547-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0547-520x348.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pardoner’s new album, ‘Uncontrollable Salvation,’ reigns in distortion and noise with tight, catchy songwriting. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The opportunity to record at Tiny Telephone came at short notice, but Pardoner impressed Vanderslice with the fact that they wrote five songs in a week and recorded them over the course of two days. “They ended up recording all five tunes and they were really, really good,” Vanderslice confirms enthusiastically.\u003c/p>\n\u003cp>“It was pretty short notice. We had to get work off and practice real quick,” Flanigan explains.\u003c/p>\n\u003cp>“I was really happy with the way it turned out,” Freeland chimes in. “I don’t know when those will be seeing the light of day but, someday they’ll be available somehow.”\u003c/p>\n\u003cp>Though Pardoner have been climbing the ranks of San Francisco’s indie scene, the bandmates still have the most fun at scrappy house shows full of familiar faces — like Hole Fest, an all-day mini-festival that took place in a musty, dusty West Oakland basement a few weekends ago. \u003c/p>\n\u003cp>“I like that kind of shit way more. It’s way more fun,” says Flanigan.\u003c/p>\n\u003cp>“We’re able to be ourselves more,” adds Mervau. “It doesn’t feel like we’re performing, it just feels like we’re playing.”\u003c/p>\n\u003cp>Packed with 20-somethings with unwashed hair and tall cans, the show felt like the polar opposite of when Pardoner opened for dance-rock band !!! (pronounced chk! chk! chk!) at the Chapel in July to an audience of clean-cut, well-to-do San Francisco hipsters. \u003c/p>\n\u003cp>The bandmates chat among themselves about how strange it is to play for an audience of people they don’t know, then turn to me and say how grateful they are for the opportunity nonetheless. “We played to like 500 people and they gave us free fried chicken,” Freeland recalls happily of the !!! show. “I don’t think I’ve ever been more set. And then at the end, they gave us money. I was like, ‘Wow!'”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/337472172″&visual=true&”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true”'\n title='”https://api.soundcloud.com/tracks/337472172″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Despite the bandmates’ endearingly goofy demeanor, plenty of elements in Pardoner’s work conjure images of Christian guilt: The band’s name, the title \u003cem>Uncontrollable Salvation\u003c/em>, and lyrics like “I belong in hell” from the song “Hint.” But the theme seems to be more subconscious than intentional: Van Den Berghe, an English major, came up with the band’s name after studying Chaucer’s \u003cem>The Pardoner’s Tale\u003c/em>, in which the titular character tricks people into paying him money to absolve them of their sins. The theme was a fascinating one for Freeland, who, as a lyricist, spends a lot of time thinking about morality.\u003c/p>\n\u003cp>“I’m not religious at all,” Freeland explains. “I went to church once when I was a kid and had an allergic reaction to nuts and had to leave. … Mostly, I just think about punishment and doing bad things and getting punished for them and cosmic law.”\u003c/p>\n\u003cp>“A lot of our lyrics deal with spiritual anguish, but none of us are Christian,” Flanigan adds. \u003c/p>\n\u003cp>“Not all of us believe in a higher power per se, but we believe in love and stuff,” says Mervau as the other bandmates giggle. With the sudden uptick in attention from the music industry (\u003ca href=\"http://www.npr.org/sections/allsongs/2017/07/20/538062156/pardoners-uncontrollable-salvation-is-a-punk-blessing-that-bludgeons\" rel=\"noopener\" target=\"_blank\">NPR\u003c/a> and \u003ca href=\"https://pitchfork.com/reviews/tracks/pardoner-blue-hell/\" rel=\"noopener\" target=\"_blank\">Pitchfork\u003c/a> both gave tracks from \u003cem>Uncontrollable Salvation\u003c/em> rave reviews), they seem unsure of how seriously they should take themselves when journalists ask them about the religious overtones of their name and album title.\u003c/p>\n\u003cp>“I think one of us was literally like, ‘Pardoner’ sounds cool,” says Van Den Berghe with an eye-roll.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Pardoner performs at Balboa Theater on Oct. 19 with Unity, Sirena Victima, and Share. More info \u003ca href=\"https://www.facebook.com/events/1988699731367545/?acontext=%7B%22action_history%22%3A%22%5B%7B%5C%22surface%5C%22%3A%5C%22page%5C%22%2C%5C%22mechanism%5C%22%3A%5C%22page_upcoming_events_card%5C%22%2C%5C%22extra_data%5C%22%3A%5B%5D%7D%5D%22%2C%22has_source%22%3Atrue%7D\" rel=\"noopener\" target=\"_blank\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Flesh World's 'Into the Shroud' Sighs Out Our Collective Anxiety",
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"content": "\u003cp>With the Las Vegas shooting and the aftermath of Hurricanes Harvey and Irma dominating our newsfeeds and inner monologues, it can be tempting to retreat from the world and hide under our blankets. \u003c/p>\n\u003cp>That’s the image the title of the new album from Bay Area post-punk band Flesh World, \u003ca href=\"https://fleshworldusa.bandcamp.com/album/into-the-shroud\" rel=\"noopener\" target=\"_blank\">\u003cem>Into the Shroud\u003c/em>\u003c/a>, initially brings to mind. But rather than evoking a cloak under which to disappear, \u003cem>Into the Shroud\u003c/em> speaks more to riding out the chaos of tumultuous times, painting a picture of mounting tension and paranoia. “Into the shroud / I’m spiral bound,” sings vocalist \u003ca href=\"http://tellyboys.com/\" rel=\"noopener\" target=\"_blank\">Jess Scott\u003c/a> on the album’s titular track, alluding to an impending storm of anxiety and paranoia. \u003c/p>\n\u003cp>It’s “not that I have this massive, intense struggle with anxiety, but I do have it,” says the singer in a phone interview from Los Angeles, where she’s been living for the past year while the rest of the band resides in San Francisco and Oakland. “For me, [\u003cem>Into the Shroud\u003c/em>] meant peering into the cyclone of not being in total control of how I feel.”\u003c/p>\n\u003cp>\u003cem>Into the Shroud\u003c/em>, released this month on \u003ca href=\"http://www.darkentriesrecords.com/\" rel=\"noopener\" target=\"_blank\">Dark Entries Records\u003c/a>, has steadily garnered national attention. The album’s lead single, “Destination Moon,” got a \u003ca href=\"http://www.npr.org/sections/allsongs/2017/06/28/534688469/dreamy-post-punks-flesh-world-blast-off-to-destination-moon\" rel=\"noopener\" target=\"_blank\">glowing review\u003c/a> from NPR. Flesh World also recently returned from a national tour with \u003ca href=\"https://sheermag.bandcamp.com/\" rel=\"noopener\" target=\"_blank\">Sheer Mag\u003c/a>, the buzzworthy Philadelphia power-pop band whom \u003cem>The Fader\u003c/em> dubbed “the best band nobody can sign.” \u003c/p>\n\u003cfigure id=\"attachment_13810348\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/a2014019772_10-800x800.jpg\" alt=\"Flesh World's 'Into the Shroud' draws from a rich history of queer film and literature. \" width=\"800\" height=\"800\" class=\"size-medium wp-image-13810348\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/a2014019772_10-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/a2014019772_10-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/a2014019772_10-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/a2014019772_10-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/a2014019772_10-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/a2014019772_10-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/a2014019772_10-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/a2014019772_10-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/a2014019772_10-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/a2014019772_10-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/a2014019772_10-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/a2014019772_10-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/a2014019772_10-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/a2014019772_10-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/a2014019772_10-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/a2014019772_10.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Flesh World’s ‘Into the Shroud’ draws from a rich history of queer film and literature.\u003c/figcaption>\u003c/figure>\n\u003cp>Though Scott founded Flesh World with guitarist Scott Moore only five years ago, in many ways, the band’s origin story reflects San Francisco’s storied past as a hub for dreamers and artists: According to the band’s oft-repeated lore, Scott and Moore met in San Francisco’s Panhandle district at the former headquarters of the influential punk fanzine \u003cem>Maximum Rocknroll\u003c/em>. There, they bonded over their genre-agnostic music tastes and eventually embarked on their unlikely collaboration. Moore came from the hardcore band \u003ca href=\"https://limpwrist.bandcamp.com/album/facades\" rel=\"noopener\" target=\"_blank\">Limp Wrist\u003c/a>, which has been around since 1998 and is practically synonymous with queer punk. Scott was previously the band leader of indie rock band \u003ca href=\"http://www.maximumrocknroll.com/blast-from-the-past-brilliant-colors/\" rel=\"noopener\" target=\"_blank\">Brilliant Colors\u003c/a> — Limp Wrist’s polar opposite, with washed-out, psychedelic instrumentation and hazy vocals. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Scott recalls how Brilliant Colors sometimes opened for Limp Wrist before she and Moore decided to start Flesh World. “That used to be kind of the cool thing about San Francisco: Because the scene was so small and everyone’s bands didn’t sound the same, it was kind of just like, if you wanted to hang out, your band would play. It didn’t matter what it sounded like.”\u003c/p>\n\u003cp>As Flesh World, the band members combined Scott’s unpolished, wispy pop vocals and bright distorted guitar playing with Moore’s dense guitar riffs, which evoke the speed and agility of hardcore minus its aggression. A driving, steady rhythm section courtesy of bassist Andrew Luttrell and drummer Sam Lefebvre (a journalist and occasional KQED Arts contributor) amps up Flesh World’s somewhat melancholic melodies, making them more substantial and robust. The band dubbed this dynamic fusion “dream punk” — a fitting description for the juxtaposition between the album’s celestial timbre and bubbling swell of energy. \u003c/p>\n\u003cp>While Scott and Moore both identify as queer, LGBTQ identity isn’t at the forefront of Flesh World. Instead, Scott, an avid reader and cinephile, took inspiration from a variety of queer cultural icons for her lyrics on the album’s eight tracks. “To me, it seems incredibly obvious that Scott [Moore] and I are gay based on talking to us for five seconds — and the writers we reference and the films and painters and stuff like that,” she says, adding that her influences included early 20th-century filmmaker Jean Cocteau — whose work is referenced on several \u003ca href=\"http://www.nme.com/photos/the-smiths-the-stories-behind-all-27-of-their-provocative-album-and-single-sleeves-1424816\" rel=\"noopener\" target=\"_blank\">Smiths album covers\u003c/a> — and \u003ca href=\"https://beta.theglobeandmail.com/arts/books-and-media/the-unique-genius-of-cookie-mueller/article21992884/?ref=http://www.theglobeandmail.com&\" rel=\"noopener\" target=\"_blank\">Cookie Mueller\u003c/a>, a writer and actress who starred in several John Waters films. \u003c/p>\n\u003cp>Flesh World’s collage of sounds and influences might come off as an odd combination — even to the band members themselves — but on \u003cem>Into the Shroud\u003c/em> it blends seamlessly.\u003c/p>\n\u003cp>“I can almost certainly say neither [Moore nor I] thought we’d even record when we started,” Scott laughed, “let alone still be tramping our words around five years later.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"alignright size-medium wp-image-12127869\" 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>Flesh World performs at the Elbo Room in San Francisco on Oct. 4. More information \u003ca href=\"https://www.facebook.com/events/116739162281764\" rel=\"noopener\" target=\"_blank\">here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With the Las Vegas shooting and the aftermath of Hurricanes Harvey and Irma dominating our newsfeeds and inner monologues, it can be tempting to retreat from the world and hide under our blankets. \u003c/p>\n\u003cp>That’s the image the title of the new album from Bay Area post-punk band Flesh World, \u003ca href=\"https://fleshworldusa.bandcamp.com/album/into-the-shroud\" rel=\"noopener\" target=\"_blank\">\u003cem>Into the Shroud\u003c/em>\u003c/a>, initially brings to mind. But rather than evoking a cloak under which to disappear, \u003cem>Into the Shroud\u003c/em> speaks more to riding out the chaos of tumultuous times, painting a picture of mounting tension and paranoia. “Into the shroud / I’m spiral bound,” sings vocalist \u003ca href=\"http://tellyboys.com/\" rel=\"noopener\" target=\"_blank\">Jess Scott\u003c/a> on the album’s titular track, alluding to an impending storm of anxiety and paranoia. \u003c/p>\n\u003cp>It’s “not that I have this massive, intense struggle with anxiety, but I do have it,” says the singer in a phone interview from Los Angeles, where she’s been living for the past year while the rest of the band resides in San Francisco and Oakland. “For me, [\u003cem>Into the Shroud\u003c/em>] meant peering into the cyclone of not being in total control of how I feel.”\u003c/p>\n\u003cp>\u003cem>Into the Shroud\u003c/em>, released this month on \u003ca href=\"http://www.darkentriesrecords.com/\" rel=\"noopener\" target=\"_blank\">Dark Entries Records\u003c/a>, has steadily garnered national attention. The album’s lead single, “Destination Moon,” got a \u003ca href=\"http://www.npr.org/sections/allsongs/2017/06/28/534688469/dreamy-post-punks-flesh-world-blast-off-to-destination-moon\" rel=\"noopener\" target=\"_blank\">glowing review\u003c/a> from NPR. Flesh World also recently returned from a national tour with \u003ca href=\"https://sheermag.bandcamp.com/\" rel=\"noopener\" target=\"_blank\">Sheer Mag\u003c/a>, the buzzworthy Philadelphia power-pop band whom \u003cem>The Fader\u003c/em> dubbed “the best band nobody can sign.” \u003c/p>\n\u003cfigure id=\"attachment_13810348\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/a2014019772_10-800x800.jpg\" alt=\"Flesh World's 'Into the Shroud' draws from a rich history of queer film and literature. \" width=\"800\" height=\"800\" class=\"size-medium wp-image-13810348\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/a2014019772_10-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/a2014019772_10-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/a2014019772_10-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/a2014019772_10-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/a2014019772_10-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/a2014019772_10-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/a2014019772_10-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/a2014019772_10-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/a2014019772_10-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/a2014019772_10-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/a2014019772_10-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/a2014019772_10-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/a2014019772_10-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/a2014019772_10-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/a2014019772_10-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/a2014019772_10.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Flesh World’s ‘Into the Shroud’ draws from a rich history of queer film and literature.\u003c/figcaption>\u003c/figure>\n\u003cp>Though Scott founded Flesh World with guitarist Scott Moore only five years ago, in many ways, the band’s origin story reflects San Francisco’s storied past as a hub for dreamers and artists: According to the band’s oft-repeated lore, Scott and Moore met in San Francisco’s Panhandle district at the former headquarters of the influential punk fanzine \u003cem>Maximum Rocknroll\u003c/em>. There, they bonded over their genre-agnostic music tastes and eventually embarked on their unlikely collaboration. Moore came from the hardcore band \u003ca href=\"https://limpwrist.bandcamp.com/album/facades\" rel=\"noopener\" target=\"_blank\">Limp Wrist\u003c/a>, which has been around since 1998 and is practically synonymous with queer punk. Scott was previously the band leader of indie rock band \u003ca href=\"http://www.maximumrocknroll.com/blast-from-the-past-brilliant-colors/\" rel=\"noopener\" target=\"_blank\">Brilliant Colors\u003c/a> — Limp Wrist’s polar opposite, with washed-out, psychedelic instrumentation and hazy vocals. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Scott recalls how Brilliant Colors sometimes opened for Limp Wrist before she and Moore decided to start Flesh World. “That used to be kind of the cool thing about San Francisco: Because the scene was so small and everyone’s bands didn’t sound the same, it was kind of just like, if you wanted to hang out, your band would play. It didn’t matter what it sounded like.”\u003c/p>\n\u003cp>As Flesh World, the band members combined Scott’s unpolished, wispy pop vocals and bright distorted guitar playing with Moore’s dense guitar riffs, which evoke the speed and agility of hardcore minus its aggression. A driving, steady rhythm section courtesy of bassist Andrew Luttrell and drummer Sam Lefebvre (a journalist and occasional KQED Arts contributor) amps up Flesh World’s somewhat melancholic melodies, making them more substantial and robust. The band dubbed this dynamic fusion “dream punk” — a fitting description for the juxtaposition between the album’s celestial timbre and bubbling swell of energy. \u003c/p>\n\u003cp>While Scott and Moore both identify as queer, LGBTQ identity isn’t at the forefront of Flesh World. Instead, Scott, an avid reader and cinephile, took inspiration from a variety of queer cultural icons for her lyrics on the album’s eight tracks. “To me, it seems incredibly obvious that Scott [Moore] and I are gay based on talking to us for five seconds — and the writers we reference and the films and painters and stuff like that,” she says, adding that her influences included early 20th-century filmmaker Jean Cocteau — whose work is referenced on several \u003ca href=\"http://www.nme.com/photos/the-smiths-the-stories-behind-all-27-of-their-provocative-album-and-single-sleeves-1424816\" rel=\"noopener\" target=\"_blank\">Smiths album covers\u003c/a> — and \u003ca href=\"https://beta.theglobeandmail.com/arts/books-and-media/the-unique-genius-of-cookie-mueller/article21992884/?ref=http://www.theglobeandmail.com&\" rel=\"noopener\" target=\"_blank\">Cookie Mueller\u003c/a>, a writer and actress who starred in several John Waters films. \u003c/p>\n\u003cp>Flesh World’s collage of sounds and influences might come off as an odd combination — even to the band members themselves — but on \u003cem>Into the Shroud\u003c/em> it blends seamlessly.\u003c/p>\n\u003cp>“I can almost certainly say neither [Moore nor I] thought we’d even record when we started,” Scott laughed, “let alone still be tramping our words around five years later.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"alignright size-medium wp-image-12127869\" 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>Flesh World performs at the Elbo Room in San Francisco on Oct. 4. More information \u003ca href=\"https://www.facebook.com/events/116739162281764\" rel=\"noopener\" target=\"_blank\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Your Music Editor's Picks: September's Best Local Releases",
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"content": "\u003cp>September was a busy month for independent music in the Bay Area: \u003ca href=\"https://soundcloud.com/thejulialewis/on-the-regular-w-elujay-mr-carmack-mikos-da-gawd\" rel=\"noopener\" target=\"_blank\">“On the Regular”\u003c/a> — San Francisco producer Julia Lewis’s soulful track with Elujay, Mr. Carmack, and Mikos Da Gawd — made it to Spotify’s Viral 50 playlist. Rayana Jay, a rising R&B star and one of KQED’s \u003ca href=\"https://ww2.kqed.org/arts/2017/07/23/women-to-watch-rayana-jay/\" rel=\"noopener\" target=\"_blank\">Women to Watch\u003c/a>, dropped her highly anticipated third EP, \u003cem>Morning After\u003c/em>, and we \u003ca href=\"https://ww2.kqed.org/arts/2017/09/18/the-five-best-lyrics-from-rayana-jays-morning-after-ep/\" rel=\"noopener\" target=\"_blank\">still can’t get enough\u003c/a>. Hot off the release of August’s \u003cem>Black Ken\u003c/em>, Lil B gave us a rare live appearance at \u003ca href=\"https://ww2.kqed.org/arts/2017/09/05/hiero-day-2017-music-highlights-and-photo-gallery/\" rel=\"noopener\" target=\"_blank\">Hiero Day\u003c/a>, where he gave his guitar and keyboard away to fans. \u003c/p>\n\u003cp>The local scene feels invigorated and active, and there’s no shortage of good music. We didn’t want anything to slip through the cracks, which is why we’ve rounded up our favorite new rap, pop, punk, and experimental releases. \u003c/p>\n\u003ch2>DaBoii, \u003cem>Young Wild N-gga\u003c/em>\u003cbr>\n(SOB x RBE)\u003c/h2>\n\u003cp>https://youtu.be/mMlWkLBF6hU\u003c/p>\n\u003cp>While the smooth, soulful Yhung T.O. might have the most pop appeal in \u003ca href=\"https://soundcloud.com/sob-rbe\" rel=\"noopener\" target=\"_blank\">SOB x RBE\u003c/a>, DaBoii’s firecracker persona is what makes the Vallejo rap group so riveting. On his solo project \u003cem>Young Wild N-gga\u003c/em>, DaBoii is explosive and brash: He’s just as quick to make puns about the rounds in his clip as he is to call out police brutality. Production-wise, \u003cem>YWN\u003c/em> contains some interesting stylistic choices. “Humble” samples the freestyle classic “\u003ca href=\"https://www.youtube.com/watch?v=_-0sUuGufmw\" rel=\"noopener\" target=\"_blank\">Let The Music Play\u003c/a>” by Shannon, and “Beast Mode” couples DaBoii and Yhung T.O.’s breathless, back-to-back flows with a whimsical, sparkly keyboard loop that contrasts with the rest of the project’s East Bay mobb-music feel. Listen \u003ca href=\"http://www.datpiff.com/SOB-X-RBE-DaBoii-YWN-mixtape.861136.html\" rel=\"noopener\" target=\"_blank\">here\u003c/a>. \u003c/p>\n\u003ch2>Pardoner, \u003cem>Uncontrollable Salvation\u003c/em> (Father/Daughter)\u003c/h2>\n\u003cp>https://youtu.be/SYdQyPvwO3U\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://pardoner.bandcamp.com/\" rel=\"noopener\" target=\"_blank\">Pardoner’s\u003c/a> debut LP, \u003cem>Uncontrollable Salvation\u003c/em> is an experiment in controlled chaos: Max Freeland and Trey Flanigan’s clanging guitars sound like they’re on the verge of spilling into unbridled noise, but despite the outward semblance of messiness, Pardoner’s compositions are tight and punchy with plenty of drive. The band’s name and album title hint at themes of redemption, but its lyrics are full of blasé humor that would make Daria, the dry-witted cartoon character, proud: “I belong in hell / It will be more fun there anyway, probably.” Listen \u003ca href=\"http://fatherdaughterrecords.bandcamp.com/album/uncontrollable-salvation\" rel=\"noopener\" target=\"_blank\">here\u003c/a>. \u003c/p>\n\u003ch2>The Classical, \u003cem>Survival of the Softest\u003c/em>\u003cbr>\n(self-released)\u003c/h2>\n\u003cp>https://youtu.be/qZi77HaJaVA\u003c/p>\n\u003cp>Even though it came out in August, \u003ca href=\"https://theclassical.bandcamp.com\" rel=\"noopener\" target=\"_blank\">the Classical’s\u003c/a> \u003cem>Survival of the Softest\u003c/em> made this list not only because it’s a phenomenal experimental pop project, but because, unfortunately, it’s the Oakland duo’s final album. The Classical was made up of former creative and romantic partners Juliet Gordon and Brett Ciampa, who have dissolved the band since their split. While their debut album, \u003cem>Diptych\u003c/em>, indulged in theatrical vocals, suspenseful pauses, and challenging drum patterns, \u003cem>Survival of the Softest\u003c/em> — which doesn’t include percussionist Ciampa in its credits — is a smoother, more danceable project with R&B undertones. Listen \u003ca href=\"http://theclassical.bandcamp.com/album/survival-of-the-softest\" rel=\"noopener\" target=\"_blank\">here\u003c/a>. \u003c/p>\n\u003ch2>Flesh World, \u003cem>Into the Shroud\u003c/em>\u003cbr>\n(Dark Entries)\u003c/h2>\n\u003cp>https://youtu.be/d9F5PPyaYgg\u003c/p>\n\u003cp>\u003ca href=\"https://fleshworldusa.bandcamp.com\" rel=\"noopener\" target=\"_blank\">Flesh World’s\u003c/a> \u003cem>Into the Shroud\u003c/em> is a bright, sunny album with a tempestuous energy — a result befitting of a collaboration between an indie-pop vocalist and a hardcore guitarist. (Bandleader Jess Scott started out in shoegaze outfit Brilliant Colors and guitarist Scott Moore came from legendary queer hardcore band \u003ca href=\"https://limpwrist.bandcamp.com/\" rel=\"noopener\" target=\"_blank\">Limp Wrist\u003c/a>.) On \u003cem>Into the Shroud\u003c/em>, Flesh World’s instrumentation is robust and frenzied yet beautiful and delicate, with the rhythm section welling up underneath the warm, reverb-laden guitars like a gathering storm. Listen \u003ca href=\"http://fleshworldusa.bandcamp.com/album/into-the-shroud\" rel=\"noopener\" target=\"_blank\">here\u003c/a>. \u003c/p>\n\u003ch2>Harris the KnowItAll, \u003cem>Stargazzer\u003c/em> (self-released)\u003c/h2>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/playlists/334356974″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”450″ iframe=”true” /]\u003c/p>\n\u003cp>Oakland rapper-producer \u003ca href=\"https://soundcloud.com/harristheknowitall\" rel=\"noopener\" target=\"_blank\">Harris the KnowItAll’s\u003c/a> new EP, \u003cem>Stargazzer\u003c/em>, is a veritable constellation of psychedelic sounds. Processed vocals call to mind Kanye’s \u003cem>808s & Heartbreak\u003c/em>, only trippier. Twinkling, jazzy keys channel Flying Lotus and Afrofuturist predecessors like Alice Coltrane. Sci-fi lyrical themes stem from the otherworldly lineage of Shabbazz Palaces. KnowItAll gives these elements an East Oakland spin, with features from 1-O.A.K., K.E.L.L.S., and other East Bay artists including Berkeley’s Marty Grimes. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"alignright size-medium wp-image-12127869\" 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\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>September was a busy month for independent music in the Bay Area: \u003ca href=\"https://soundcloud.com/thejulialewis/on-the-regular-w-elujay-mr-carmack-mikos-da-gawd\" rel=\"noopener\" target=\"_blank\">“On the Regular”\u003c/a> — San Francisco producer Julia Lewis’s soulful track with Elujay, Mr. Carmack, and Mikos Da Gawd — made it to Spotify’s Viral 50 playlist. Rayana Jay, a rising R&B star and one of KQED’s \u003ca href=\"https://ww2.kqed.org/arts/2017/07/23/women-to-watch-rayana-jay/\" rel=\"noopener\" target=\"_blank\">Women to Watch\u003c/a>, dropped her highly anticipated third EP, \u003cem>Morning After\u003c/em>, and we \u003ca href=\"https://ww2.kqed.org/arts/2017/09/18/the-five-best-lyrics-from-rayana-jays-morning-after-ep/\" rel=\"noopener\" target=\"_blank\">still can’t get enough\u003c/a>. Hot off the release of August’s \u003cem>Black Ken\u003c/em>, Lil B gave us a rare live appearance at \u003ca href=\"https://ww2.kqed.org/arts/2017/09/05/hiero-day-2017-music-highlights-and-photo-gallery/\" rel=\"noopener\" target=\"_blank\">Hiero Day\u003c/a>, where he gave his guitar and keyboard away to fans. \u003c/p>\n\u003cp>The local scene feels invigorated and active, and there’s no shortage of good music. We didn’t want anything to slip through the cracks, which is why we’ve rounded up our favorite new rap, pop, punk, and experimental releases. \u003c/p>\n\u003ch2>DaBoii, \u003cem>Young Wild N-gga\u003c/em>\u003cbr>\n(SOB x RBE)\u003c/h2>\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/mMlWkLBF6hU'\n title='//www.youtube.com/embed/mMlWkLBF6hU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>While the smooth, soulful Yhung T.O. might have the most pop appeal in \u003ca href=\"https://soundcloud.com/sob-rbe\" rel=\"noopener\" target=\"_blank\">SOB x RBE\u003c/a>, DaBoii’s firecracker persona is what makes the Vallejo rap group so riveting. On his solo project \u003cem>Young Wild N-gga\u003c/em>, DaBoii is explosive and brash: He’s just as quick to make puns about the rounds in his clip as he is to call out police brutality. Production-wise, \u003cem>YWN\u003c/em> contains some interesting stylistic choices. “Humble” samples the freestyle classic “\u003ca href=\"https://www.youtube.com/watch?v=_-0sUuGufmw\" rel=\"noopener\" target=\"_blank\">Let The Music Play\u003c/a>” by Shannon, and “Beast Mode” couples DaBoii and Yhung T.O.’s breathless, back-to-back flows with a whimsical, sparkly keyboard loop that contrasts with the rest of the project’s East Bay mobb-music feel. Listen \u003ca href=\"http://www.datpiff.com/SOB-X-RBE-DaBoii-YWN-mixtape.861136.html\" rel=\"noopener\" target=\"_blank\">here\u003c/a>. \u003c/p>\n\u003ch2>Pardoner, \u003cem>Uncontrollable Salvation\u003c/em> (Father/Daughter)\u003c/h2>\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/SYdQyPvwO3U'\n title='//www.youtube.com/embed/SYdQyPvwO3U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://pardoner.bandcamp.com/\" rel=\"noopener\" target=\"_blank\">Pardoner’s\u003c/a> debut LP, \u003cem>Uncontrollable Salvation\u003c/em> is an experiment in controlled chaos: Max Freeland and Trey Flanigan’s clanging guitars sound like they’re on the verge of spilling into unbridled noise, but despite the outward semblance of messiness, Pardoner’s compositions are tight and punchy with plenty of drive. The band’s name and album title hint at themes of redemption, but its lyrics are full of blasé humor that would make Daria, the dry-witted cartoon character, proud: “I belong in hell / It will be more fun there anyway, probably.” Listen \u003ca href=\"http://fatherdaughterrecords.bandcamp.com/album/uncontrollable-salvation\" rel=\"noopener\" target=\"_blank\">here\u003c/a>. \u003c/p>\n\u003ch2>The Classical, \u003cem>Survival of the Softest\u003c/em>\u003cbr>\n(self-released)\u003c/h2>\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/qZi77HaJaVA'\n title='//www.youtube.com/embed/qZi77HaJaVA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Even though it came out in August, \u003ca href=\"https://theclassical.bandcamp.com\" rel=\"noopener\" target=\"_blank\">the Classical’s\u003c/a> \u003cem>Survival of the Softest\u003c/em> made this list not only because it’s a phenomenal experimental pop project, but because, unfortunately, it’s the Oakland duo’s final album. The Classical was made up of former creative and romantic partners Juliet Gordon and Brett Ciampa, who have dissolved the band since their split. While their debut album, \u003cem>Diptych\u003c/em>, indulged in theatrical vocals, suspenseful pauses, and challenging drum patterns, \u003cem>Survival of the Softest\u003c/em> — which doesn’t include percussionist Ciampa in its credits — is a smoother, more danceable project with R&B undertones. Listen \u003ca href=\"http://theclassical.bandcamp.com/album/survival-of-the-softest\" rel=\"noopener\" target=\"_blank\">here\u003c/a>. \u003c/p>\n\u003ch2>Flesh World, \u003cem>Into the Shroud\u003c/em>\u003cbr>\n(Dark Entries)\u003c/h2>\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/d9F5PPyaYgg'\n title='//www.youtube.com/embed/d9F5PPyaYgg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003ca href=\"https://fleshworldusa.bandcamp.com\" rel=\"noopener\" target=\"_blank\">Flesh World’s\u003c/a> \u003cem>Into the Shroud\u003c/em> is a bright, sunny album with a tempestuous energy — a result befitting of a collaboration between an indie-pop vocalist and a hardcore guitarist. (Bandleader Jess Scott started out in shoegaze outfit Brilliant Colors and guitarist Scott Moore came from legendary queer hardcore band \u003ca href=\"https://limpwrist.bandcamp.com/\" rel=\"noopener\" target=\"_blank\">Limp Wrist\u003c/a>.) On \u003cem>Into the Shroud\u003c/em>, Flesh World’s instrumentation is robust and frenzied yet beautiful and delicate, with the rhythm section welling up underneath the warm, reverb-laden guitars like a gathering storm. Listen \u003ca href=\"http://fleshworldusa.bandcamp.com/album/into-the-shroud\" rel=\"noopener\" target=\"_blank\">here\u003c/a>. \u003c/p>\n\u003ch2>Harris the KnowItAll, \u003cem>Stargazzer\u003c/em> (self-released)\u003c/h2>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”450″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/playlists/334356974″&visual=true&”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/playlists/334356974″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Oakland rapper-producer \u003ca href=\"https://soundcloud.com/harristheknowitall\" rel=\"noopener\" target=\"_blank\">Harris the KnowItAll’s\u003c/a> new EP, \u003cem>Stargazzer\u003c/em>, is a veritable constellation of psychedelic sounds. Processed vocals call to mind Kanye’s \u003cem>808s & Heartbreak\u003c/em>, only trippier. Twinkling, jazzy keys channel Flying Lotus and Afrofuturist predecessors like Alice Coltrane. Sci-fi lyrical themes stem from the otherworldly lineage of Shabbazz Palaces. KnowItAll gives these elements an East Oakland spin, with features from 1-O.A.K., K.E.L.L.S., and other East Bay artists including Berkeley’s Marty Grimes. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"alignright size-medium wp-image-12127869\" 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\n\u003c/div>\u003c/p>",
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"title": "Now That’s What I Call Nazi-Fightin’ Music (Vol. 500)",
"headTitle": "Now That’s What I Call Nazi-Fightin’ Music (Vol. 500) | KQED",
"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">O\u003c/span>n Aug. 12, as images of the white supremacist rally in Charlottesville, Virginia began to circulate — and \u003ca href=\"https://ww2.kqed.org/arts/2017/08/14/on-outside-lands-chartlottesville-and-conspicuous-silence/\" target=\"_blank\" rel=\"noopener noreferrer\">as it sunk in\u003c/a> over the next hours, days, weeks that what we were dealing with were large groups of Nazis, actual Nazis, in 2017, in the United States of America — a now-all-too-familiar social media rollout followed. In addition to news stories, photos and outraged status updates, many people in my feeds began to post music.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13807423\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/EmmaSilvers.Headshot-160x160.jpg\" alt=\"\" width=\"160\" height=\"160\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/EmmaSilvers.Headshot-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/EmmaSilvers.Headshot-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/EmmaSilvers.Headshot-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/EmmaSilvers.Headshot-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/EmmaSilvers.Headshot-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/EmmaSilvers.Headshot-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/EmmaSilvers.Headshot-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/EmmaSilvers.Headshot-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/EmmaSilvers.Headshot.jpg 299w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>The 1981 Dead Kennedys song “\u003ca href=\"https://www.youtube.com/watch?v=-MkRuV0aCcI\" target=\"_blank\" rel=\"noopener noreferrer\">Nazi Punks F-ck Off\u003c/a>” was a common, obvious choice; I was far from alone in thinking its simplicity and direct anger was exactly the kind of counter-anthem such a simplistically terrifying and upsetting event deserved. Recorded in one take, the song originally addressed the growing number of skinheads showing up at Dead Kennedys shows; frontman Jello Biafra \u003ca href=\"http://articles.latimes.com/2012/aug/09/entertainment/la-et-ms-jello-biafra-nazi-punks-hate-speech-20120809\" target=\"_blank\" rel=\"noopener noreferrer\">said at the time\u003c/a> that it felt necessary to distance the band from the Nazi-sympathizing element that had crept into punk rock.\u003c/p>\n\u003cp>Was the track successful? That all depends on what you want from a political song. Nazis, you may have noticed, never really f-cked off.\u003c/p>\n\u003cfigure id=\"attachment_13809766\" class=\"wp-caption aligncenter\" style=\"max-width: 753px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13809766\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Mayasongbird.jpg\" alt=\"Maya Songbird.\" width=\"753\" height=\"725\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Mayasongbird.jpg 753w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Mayasongbird-160x154.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Mayasongbird-240x231.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Mayasongbird-375x361.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Mayasongbird-520x501.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Mayasongbird-32x32.jpg 32w\" sizes=\"(max-width: 753px) 100vw, 753px\">\u003cfigcaption class=\"wp-caption-text\">Maya Songbird.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>hich brings us to \u003cem>\u003ca href=\"https://evaluatewhatyoutolerate.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Evaluate What You Tolerate\u003c/a>\u003c/em>, a forthcoming, two-volume compilation of songs by modern-day Bay Area punk bands taking a stand against racism and white supremacy. Created by a group of local activists and musicians, the comp is due Oct. 1 on two limited-edition cassette tapes as well as digitally \u003ca href=\"https://evaluatewhatyoutolerate.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">via Bandcamp\u003c/a>, and accompanied by a zine of the same name. All proceeds from sales are earmarked for the Anti Police-Terror Project, an Oakland nonprofit dedicated to ending “state-sanctioned murder and violence perpetuated against black, brown and poor people”; among other services, the group provides support and legal resources to families affected by police violence.\u003c/p>\n\u003caside class=\"pullquote alignright\">Who knows which 13-year-old may be listening? Who knows what note, what lyric, might spark a political awakening?\u003c/aside>\n\u003cp>“It was a few days before the Bay Area counter-demonstrations against the white supremacist rallies, and I was laying in my bed just super depressed about how Trump has galvanized white supremacists, how 800,000 Dreamers were at risk of being deported, how my friends and family are being targeted and attacked,” recalls Vanessa T., an organizer who wished to go by her first name because of her immigration status. “And I was thinking, ‘Okay, what can I do outside of taking to the streets? How do I keep showing my friends who are targeted every day that I love and support them?’”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Bands who agreed to the compilation included Wax Idols, Mall Walk, Maya Songbird, Los Huaycos, Silent Era, SBSM, and more. Hether Fortune, Wax Idols’ singer, says her band decided to cover “Born Without a Mind” by the Reno hardcore band 7 Seconds because its lyrics include a nod to the everyday kind of racism that might not make the news.\u003c/p>\n\u003cblockquote>\u003cp>Maybe you’re not out and open with your f-cked up views,\u003cbr>\nand you don’t use the ‘n-word’, that is something you refuse,\u003cbr>\nintolerance that’s quiet, makes it just as bad it seems,\u003cbr>\nit’s one way or another, you can’t have it in between\u003c/p>\u003c/blockquote>\n\u003cp>“It’s really easy to be like ‘f-ck Nazis.’ There’s sensationalism there, and come on, nobody likes Nazis. But I think it’s important to not just talk about a form of genocide that arose in Europe 70 years ago — there are more subtle forms of racism that are very harmful, and we also need to talk about what is born and bred of this country,” says Fortune, noting that while Wax Idols is “fairly white-passing” as a band, her bandmates are of Filipino and Peruvian descent; racism affects the band on a “personal, lived level.”\u003c/p>\n\u003cp>To Maya Songbird, whose “People Hold On” is a song of strength and defiance, “The power levels have gotten worse over the years,” she tells me. “I fear for my son’s first experience with the cops. When he was younger they were all his \u003ca href=\"http://californiapal.org/\" target=\"_blank\" rel=\"noopener noreferrer\">PAL\u003c/a> and wanted him to join the program and gave him a sticker and some crayons also some candy. I threw it away because I know those same cops giving my son sugar, and trying to sugarcoat the police and what they do, will be the same police slamming my innocent son into the concrete based on the color of his skin.”\u003c/p>\n\u003cp>Fortune herself was raised in a Lebanese family in the Midwest, where, she says, “I saw white supremacy firsthand. I grew up around people who were very racist. We’re in such a bubble here [in the Bay Area]… I think a lot of people in coastal areas have no idea what the rest of the country can be like.”\u003c/p>\n\u003cfigure id=\"attachment_13809764\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13809764\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/CompArtMain.jpg\" alt=\"Artwork from 'Evaluate What You Tolerate' Vol. 1.\" width=\"600\" height=\"741\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/CompArtMain.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/CompArtMain-160x198.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/CompArtMain-240x296.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/CompArtMain-375x463.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/CompArtMain-520x642.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Artwork from ‘Evaluate What You Tolerate’ Vol. 1.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">S\u003c/span>o, yeah, about that bubble: I’m a product of it. I was aware of skinheads in the punk scene — or, more often, lame shock-punk dudes who thought it was cool to adopt skinhead aesthetics and Nazi imagery. But overt white supremacists? In the Bay? You might as well have told me Cruella DeVille was real, and drove the train at Tilden Park. In the recent documentary \u003cem>\u003ca href=\"https://ww2.kqed.org/arts/2017/05/16/the-definitive-documentary-on-east-bay-punk-is-coming-pit-warning/\" target=\"_blank\" rel=\"noopener noreferrer\">Turn It Around: The Story of East Bay Punk\u003c/a>\u003c/em>, a scene in which a group of Gilman volunteers and regulars wield baseball bats and fight off a truck full of skinheads is sweet and triumphant, to be sure. But even that feels a little too tidy in light of recent events. \u003cem>And they never came back again.\u003c/em> Except…\u003c/p>\n\u003cp>Talking with Vanessa, I wonder what impact, if any, she thinks the compilation might have. The group’s message, after all, is most likely to reach people who already share their views. \u003cem>Are you trying to change anyone’s mind?\u003c/em> I ask. \u003cem>Or is it enough to be a source of comfort, a kind of rally cry for like-minded people when they’re feeling angry and helpless and hopeless, as so many of us are?\u003c/em>\u003c/p>\n\u003cp>“I can’t speak on behalf of the punk community, but I don’t want to ‘change the hearts and minds’ of white supremacists,” she tells me. “I don’t want to engage them, I don’t want to talk to them. They don’t believe my friends and family have a right to exist. They want people to die.”\u003c/p>\n\u003cp>Strengthening the alliance between the local punk scene and activist groups, particularly those led by black and brown people, is one obvious benefit, adds Vanessa. It’s a show of solidarity: anti-racist work doesn’t end, after all, when the headlines move on to something else.\u003c/p>\n\u003cp>And then there’s the rally-cry component — which, yes, might seem tired for adults who have lived through multiple protest movements and their accompanying soundtracks. But I find myself remembering that the power of a song should not, perhaps, be underestimated. Who knows which 13-year-old may be listening? Who knows what note, what lyric, might spark a political awakening? Which might mean everything to someone, even decades later?\u003c/p>\n\u003cp>“I’ve been listening to a lot of Nina Simone,” offers Hether. “That’s been helpful with my rage blackouts.”\u003c/p>\n\u003cp>Sure, “It’s easy to get jaded [about music’s potential],” says Vanessa. “But do you remember your first political song? For me, the first time I heard Rage Against the Machine it was ‘Oh, I’m not alone.’ I grew up in a very conservative family, and literally, music led me on a path to activism.”\u003c/p>\n\u003cp>And then she echoes the sentiments of so many others: “If it weren’t for punk, I don’t know who I’d be.”\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>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Emma Silvers lives in San Francisco. Find her on Twitter \u003ca href=\"https://twitter.com/emmaruthless\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"title": "Now That’s What I Call Nazi-Fightin’ Music (Vol. 500) | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">O\u003c/span>n Aug. 12, as images of the white supremacist rally in Charlottesville, Virginia began to circulate — and \u003ca href=\"https://ww2.kqed.org/arts/2017/08/14/on-outside-lands-chartlottesville-and-conspicuous-silence/\" target=\"_blank\" rel=\"noopener noreferrer\">as it sunk in\u003c/a> over the next hours, days, weeks that what we were dealing with were large groups of Nazis, actual Nazis, in 2017, in the United States of America — a now-all-too-familiar social media rollout followed. In addition to news stories, photos and outraged status updates, many people in my feeds began to post music.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13807423\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/EmmaSilvers.Headshot-160x160.jpg\" alt=\"\" width=\"160\" height=\"160\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/EmmaSilvers.Headshot-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/EmmaSilvers.Headshot-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/EmmaSilvers.Headshot-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/EmmaSilvers.Headshot-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/EmmaSilvers.Headshot-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/EmmaSilvers.Headshot-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/EmmaSilvers.Headshot-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/EmmaSilvers.Headshot-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/EmmaSilvers.Headshot.jpg 299w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>The 1981 Dead Kennedys song “\u003ca href=\"https://www.youtube.com/watch?v=-MkRuV0aCcI\" target=\"_blank\" rel=\"noopener noreferrer\">Nazi Punks F-ck Off\u003c/a>” was a common, obvious choice; I was far from alone in thinking its simplicity and direct anger was exactly the kind of counter-anthem such a simplistically terrifying and upsetting event deserved. Recorded in one take, the song originally addressed the growing number of skinheads showing up at Dead Kennedys shows; frontman Jello Biafra \u003ca href=\"http://articles.latimes.com/2012/aug/09/entertainment/la-et-ms-jello-biafra-nazi-punks-hate-speech-20120809\" target=\"_blank\" rel=\"noopener noreferrer\">said at the time\u003c/a> that it felt necessary to distance the band from the Nazi-sympathizing element that had crept into punk rock.\u003c/p>\n\u003cp>Was the track successful? That all depends on what you want from a political song. Nazis, you may have noticed, never really f-cked off.\u003c/p>\n\u003cfigure id=\"attachment_13809766\" class=\"wp-caption aligncenter\" style=\"max-width: 753px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13809766\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Mayasongbird.jpg\" alt=\"Maya Songbird.\" width=\"753\" height=\"725\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Mayasongbird.jpg 753w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Mayasongbird-160x154.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Mayasongbird-240x231.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Mayasongbird-375x361.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Mayasongbird-520x501.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Mayasongbird-32x32.jpg 32w\" sizes=\"(max-width: 753px) 100vw, 753px\">\u003cfigcaption class=\"wp-caption-text\">Maya Songbird.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>hich brings us to \u003cem>\u003ca href=\"https://evaluatewhatyoutolerate.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Evaluate What You Tolerate\u003c/a>\u003c/em>, a forthcoming, two-volume compilation of songs by modern-day Bay Area punk bands taking a stand against racism and white supremacy. Created by a group of local activists and musicians, the comp is due Oct. 1 on two limited-edition cassette tapes as well as digitally \u003ca href=\"https://evaluatewhatyoutolerate.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">via Bandcamp\u003c/a>, and accompanied by a zine of the same name. All proceeds from sales are earmarked for the Anti Police-Terror Project, an Oakland nonprofit dedicated to ending “state-sanctioned murder and violence perpetuated against black, brown and poor people”; among other services, the group provides support and legal resources to families affected by police violence.\u003c/p>\n\u003caside class=\"pullquote alignright\">Who knows which 13-year-old may be listening? Who knows what note, what lyric, might spark a political awakening?\u003c/aside>\n\u003cp>“It was a few days before the Bay Area counter-demonstrations against the white supremacist rallies, and I was laying in my bed just super depressed about how Trump has galvanized white supremacists, how 800,000 Dreamers were at risk of being deported, how my friends and family are being targeted and attacked,” recalls Vanessa T., an organizer who wished to go by her first name because of her immigration status. “And I was thinking, ‘Okay, what can I do outside of taking to the streets? How do I keep showing my friends who are targeted every day that I love and support them?’”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bands who agreed to the compilation included Wax Idols, Mall Walk, Maya Songbird, Los Huaycos, Silent Era, SBSM, and more. Hether Fortune, Wax Idols’ singer, says her band decided to cover “Born Without a Mind” by the Reno hardcore band 7 Seconds because its lyrics include a nod to the everyday kind of racism that might not make the news.\u003c/p>\n\u003cblockquote>\u003cp>Maybe you’re not out and open with your f-cked up views,\u003cbr>\nand you don’t use the ‘n-word’, that is something you refuse,\u003cbr>\nintolerance that’s quiet, makes it just as bad it seems,\u003cbr>\nit’s one way or another, you can’t have it in between\u003c/p>\u003c/blockquote>\n\u003cp>“It’s really easy to be like ‘f-ck Nazis.’ There’s sensationalism there, and come on, nobody likes Nazis. But I think it’s important to not just talk about a form of genocide that arose in Europe 70 years ago — there are more subtle forms of racism that are very harmful, and we also need to talk about what is born and bred of this country,” says Fortune, noting that while Wax Idols is “fairly white-passing” as a band, her bandmates are of Filipino and Peruvian descent; racism affects the band on a “personal, lived level.”\u003c/p>\n\u003cp>To Maya Songbird, whose “People Hold On” is a song of strength and defiance, “The power levels have gotten worse over the years,” she tells me. “I fear for my son’s first experience with the cops. When he was younger they were all his \u003ca href=\"http://californiapal.org/\" target=\"_blank\" rel=\"noopener noreferrer\">PAL\u003c/a> and wanted him to join the program and gave him a sticker and some crayons also some candy. I threw it away because I know those same cops giving my son sugar, and trying to sugarcoat the police and what they do, will be the same police slamming my innocent son into the concrete based on the color of his skin.”\u003c/p>\n\u003cp>Fortune herself was raised in a Lebanese family in the Midwest, where, she says, “I saw white supremacy firsthand. I grew up around people who were very racist. We’re in such a bubble here [in the Bay Area]… I think a lot of people in coastal areas have no idea what the rest of the country can be like.”\u003c/p>\n\u003cfigure id=\"attachment_13809764\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13809764\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/CompArtMain.jpg\" alt=\"Artwork from 'Evaluate What You Tolerate' Vol. 1.\" width=\"600\" height=\"741\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/CompArtMain.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/CompArtMain-160x198.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/CompArtMain-240x296.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/CompArtMain-375x463.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/CompArtMain-520x642.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Artwork from ‘Evaluate What You Tolerate’ Vol. 1.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">S\u003c/span>o, yeah, about that bubble: I’m a product of it. I was aware of skinheads in the punk scene — or, more often, lame shock-punk dudes who thought it was cool to adopt skinhead aesthetics and Nazi imagery. But overt white supremacists? In the Bay? You might as well have told me Cruella DeVille was real, and drove the train at Tilden Park. In the recent documentary \u003cem>\u003ca href=\"https://ww2.kqed.org/arts/2017/05/16/the-definitive-documentary-on-east-bay-punk-is-coming-pit-warning/\" target=\"_blank\" rel=\"noopener noreferrer\">Turn It Around: The Story of East Bay Punk\u003c/a>\u003c/em>, a scene in which a group of Gilman volunteers and regulars wield baseball bats and fight off a truck full of skinheads is sweet and triumphant, to be sure. But even that feels a little too tidy in light of recent events. \u003cem>And they never came back again.\u003c/em> Except…\u003c/p>\n\u003cp>Talking with Vanessa, I wonder what impact, if any, she thinks the compilation might have. The group’s message, after all, is most likely to reach people who already share their views. \u003cem>Are you trying to change anyone’s mind?\u003c/em> I ask. \u003cem>Or is it enough to be a source of comfort, a kind of rally cry for like-minded people when they’re feeling angry and helpless and hopeless, as so many of us are?\u003c/em>\u003c/p>\n\u003cp>“I can’t speak on behalf of the punk community, but I don’t want to ‘change the hearts and minds’ of white supremacists,” she tells me. “I don’t want to engage them, I don’t want to talk to them. They don’t believe my friends and family have a right to exist. They want people to die.”\u003c/p>\n\u003cp>Strengthening the alliance between the local punk scene and activist groups, particularly those led by black and brown people, is one obvious benefit, adds Vanessa. It’s a show of solidarity: anti-racist work doesn’t end, after all, when the headlines move on to something else.\u003c/p>\n\u003cp>And then there’s the rally-cry component — which, yes, might seem tired for adults who have lived through multiple protest movements and their accompanying soundtracks. But I find myself remembering that the power of a song should not, perhaps, be underestimated. Who knows which 13-year-old may be listening? Who knows what note, what lyric, might spark a political awakening? Which might mean everything to someone, even decades later?\u003c/p>\n\u003cp>“I’ve been listening to a lot of Nina Simone,” offers Hether. “That’s been helpful with my rage blackouts.”\u003c/p>\n\u003cp>Sure, “It’s easy to get jaded [about music’s potential],” says Vanessa. “But do you remember your first political song? For me, the first time I heard Rage Against the Machine it was ‘Oh, I’m not alone.’ I grew up in a very conservative family, and literally, music led me on a path to activism.”\u003c/p>\n\u003cp>And then she echoes the sentiments of so many others: “If it weren’t for punk, I don’t know who I’d be.”\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>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Emma Silvers lives in San Francisco. Find her on Twitter \u003ca href=\"https://twitter.com/emmaruthless\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Grant Hart, Hüsker Dü Drummer and Songwriter, is Dead at 56",
"headTitle": "Grant Hart, Hüsker Dü Drummer and Songwriter, is Dead at 56 | KQED",
"content": "\u003cp>Grant Hart, a drummer and songwriter best-known as a member of Minneapolis’ widely influential punk trio, Hüsker Dü, died Wednesday night at the University of Minnesota Medical Center of complications from liver cancer and hepatitis, his wife, Brigid McGough, confirmed to NPR. He was 56 years old.\u003c/p>\n\u003cp>The seed of Hüsker Dü — named after a phonetic game its members played with the Talking Heads song “Psycho Killer” — germinated in 1978, when the band’s eventual guitarist and singer Bob Mould met Hart while the latter was working at a record store called Cheapo near Macalester College in St. Paul, Minn., where Mould was in school. As Mould described in his memoir, \u003cem>See A Little Light,\u003c/em> Hart closed the store after Mould mentioned he played guitar: “I’m gonna close the store and I wanna go see you play right now.”\u003c/p>\n\u003cp>That pairing, with the addition of bassist Greg Norton, began 10 years of collaboration that saw Hüsker Dü transition from speed-obsessed hardcore punks to the architects of the melodic, high-concept double album \u003cem>Zen Arcade\u003c/em>. The trio’s final album, \u003cem>Warehouse: Songs & Stories, \u003c/em>was a relatively bright and melodic piece that would help define the sound of alternative and college rock for nearly a decade after.\u003c/p>\n\u003cp>The health of Hart and Mould’s relationship as co-songwriters was inversely proportional to Hüsker Dü’s success. Healthy competition was a principal driving force of the band, but as Mould became the group’s manager following the suicide of David Savoy, the acrimony between them increased. Hart slipped into heavier drug use around 1986, particularly heroin (amphetamines were openly shared among the group’s members, according to Mould in his book). In 1988, the group split following an attempted intervention at the house of Hart’s parents. “We’re lucky we got out of it with our lives,” Hart told the filmmaker Gorman Bechard for \u003ca href=\"https://vimeo.com/ondemand/51351\">Every Everything\u003c/a>, a documentary on Hart’s life.\u003c/p>\n\u003cp>In contrast to the fierce salt of Mould, Hart’s songwriting often looked skyward, melodic and heady, typified in “Turn on the News.” His solo work would showcase the same reflective, tender sensibilities.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We stayed in contact over the next 29 years — sometimes peaceful, sometimes difficult, sometimes through go-betweens,” \u003ca href=\"https://www.facebook.com/bobmouldmusic/photos/a.440776305698.243232.45470330698/10155650510815699/?type=3&theater\" target=\"_blank\" rel=\"noopener\">wrote Mould\u003c/a> in a remembrance posted on Facebook Thursday morning. “For better or worse, that’s how it was, and occasionally that’s what it is when two people care deeply about everything they built together.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=eoKeH7JYE48\u003c/p>\n\u003cp>Hart’s final show, held this past July 1 at the Hook and Ladder Theater in Minneapolis, was actually a surprise tribute to him that featured Soul Asylum’s Dave Pirner, Babes In Toyland’s Lori Barbero and others.\u003c/p>\n\u003cp>“I carried my guitar in, and it was like this sea of faces turning to me with great affection. There’s not too many big surprises that have been successfully thrown at me, but that was definitely one,” he \u003ca href=\"https://blog.thecurrent.org/2017/09/songwriter-and-husker-du-founder-grant-hart-passes-away-at-56/\" target=\"_blank\" rel=\"noopener\">told Andrea Swensson\u003c/a> of member station The Current in what would be his final interview.\u003c/p>\n\u003cp>Hart was born in St. Paul in 1961, the youngest of three children. After his elder brother was killed by a drunken driver, Hart began playing his drum set, going on to play in various bands before founding Hüsker Dü with Mould and Norton.\u003c/p>\n\u003cp>Following the world tours and the frenetic Hüsker years, Hart continued to release music under his given name and with Nova Mob, which shared a chuggy, pristine, punk-rooted sensibility with contemporaries like Lungfish. He was a constant presence in the clubs and stage-equipped bars of Minneapolis and St. Paul, floating through crowds whether he was performing, often solo with a guitar, or not. Possessing a silver tongue with a flair for self-aggrandizement, Hart was always happy to hold forth with interlocutors, regardless of their source.\u003c/p>\n\u003cp>Ken Shipley, head of the Numero Group reissue label, which recently announced a years-in-the-making box set of remastered material from Hüsker’s aggressive early years, describes Hart as loving “to stir the peanut butter” and “disarming and masterminding all at once.”\u003c/p>\n\u003cp>As Hart told \u003ca href=\"https://thumped.com/features/interviews/grant-hart-all-of-my-old-friends-are-assholes/\">Thumped\u003c/a>\u003cem> \u003c/em>in 2012: “Any music that was ever broadcast is right now heading further into space at light speed.” His and Hüsker’s work might get there before everyone else. \u003c/p>\n\u003cp>\u003ci>Watch Grant Hart play live on KEXP in 2011:\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Rl7mtCQbVf4\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=Grant+Hart%2C+H%C3%BCsker+D%C3%BC+Drummer+And+Songwriter%2C+Is+Dead+At+56&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Hart, who wrote songs like \"Turn on the News\" for the influential Minneapolis band and went on to become a fixture of the city after the band's dissolution, battled cancer publicly for many years.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Grant Hart, a drummer and songwriter best-known as a member of Minneapolis’ widely influential punk trio, Hüsker Dü, died Wednesday night at the University of Minnesota Medical Center of complications from liver cancer and hepatitis, his wife, Brigid McGough, confirmed to NPR. He was 56 years old.\u003c/p>\n\u003cp>The seed of Hüsker Dü — named after a phonetic game its members played with the Talking Heads song “Psycho Killer” — germinated in 1978, when the band’s eventual guitarist and singer Bob Mould met Hart while the latter was working at a record store called Cheapo near Macalester College in St. Paul, Minn., where Mould was in school. As Mould described in his memoir, \u003cem>See A Little Light,\u003c/em> Hart closed the store after Mould mentioned he played guitar: “I’m gonna close the store and I wanna go see you play right now.”\u003c/p>\n\u003cp>That pairing, with the addition of bassist Greg Norton, began 10 years of collaboration that saw Hüsker Dü transition from speed-obsessed hardcore punks to the architects of the melodic, high-concept double album \u003cem>Zen Arcade\u003c/em>. The trio’s final album, \u003cem>Warehouse: Songs & Stories, \u003c/em>was a relatively bright and melodic piece that would help define the sound of alternative and college rock for nearly a decade after.\u003c/p>\n\u003cp>The health of Hart and Mould’s relationship as co-songwriters was inversely proportional to Hüsker Dü’s success. Healthy competition was a principal driving force of the band, but as Mould became the group’s manager following the suicide of David Savoy, the acrimony between them increased. Hart slipped into heavier drug use around 1986, particularly heroin (amphetamines were openly shared among the group’s members, according to Mould in his book). In 1988, the group split following an attempted intervention at the house of Hart’s parents. “We’re lucky we got out of it with our lives,” Hart told the filmmaker Gorman Bechard for \u003ca href=\"https://vimeo.com/ondemand/51351\">Every Everything\u003c/a>, a documentary on Hart’s life.\u003c/p>\n\u003cp>In contrast to the fierce salt of Mould, Hart’s songwriting often looked skyward, melodic and heady, typified in “Turn on the News.” His solo work would showcase the same reflective, tender sensibilities.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We stayed in contact over the next 29 years — sometimes peaceful, sometimes difficult, sometimes through go-betweens,” \u003ca href=\"https://www.facebook.com/bobmouldmusic/photos/a.440776305698.243232.45470330698/10155650510815699/?type=3&theater\" target=\"_blank\" rel=\"noopener\">wrote Mould\u003c/a> in a remembrance posted on Facebook Thursday morning. “For better or worse, that’s how it was, and occasionally that’s what it is when two people care deeply about everything they built together.”\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/eoKeH7JYE48'\n title='//www.youtube.com/embed/eoKeH7JYE48'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Hart’s final show, held this past July 1 at the Hook and Ladder Theater in Minneapolis, was actually a surprise tribute to him that featured Soul Asylum’s Dave Pirner, Babes In Toyland’s Lori Barbero and others.\u003c/p>\n\u003cp>“I carried my guitar in, and it was like this sea of faces turning to me with great affection. There’s not too many big surprises that have been successfully thrown at me, but that was definitely one,” he \u003ca href=\"https://blog.thecurrent.org/2017/09/songwriter-and-husker-du-founder-grant-hart-passes-away-at-56/\" target=\"_blank\" rel=\"noopener\">told Andrea Swensson\u003c/a> of member station The Current in what would be his final interview.\u003c/p>\n\u003cp>Hart was born in St. Paul in 1961, the youngest of three children. After his elder brother was killed by a drunken driver, Hart began playing his drum set, going on to play in various bands before founding Hüsker Dü with Mould and Norton.\u003c/p>\n\u003cp>Following the world tours and the frenetic Hüsker years, Hart continued to release music under his given name and with Nova Mob, which shared a chuggy, pristine, punk-rooted sensibility with contemporaries like Lungfish. He was a constant presence in the clubs and stage-equipped bars of Minneapolis and St. Paul, floating through crowds whether he was performing, often solo with a guitar, or not. Possessing a silver tongue with a flair for self-aggrandizement, Hart was always happy to hold forth with interlocutors, regardless of their source.\u003c/p>\n\u003cp>Ken Shipley, head of the Numero Group reissue label, which recently announced a years-in-the-making box set of remastered material from Hüsker’s aggressive early years, describes Hart as loving “to stir the peanut butter” and “disarming and masterminding all at once.”\u003c/p>\n\u003cp>As Hart told \u003ca href=\"https://thumped.com/features/interviews/grant-hart-all-of-my-old-friends-are-assholes/\">Thumped\u003c/a>\u003cem> \u003c/em>in 2012: “Any music that was ever broadcast is right now heading further into space at light speed.” His and Hüsker’s work might get there before everyone else. \u003c/p>\n\u003cp>\u003ci>Watch Grant Hart play live on KEXP in 2011:\u003c/i>\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/Rl7mtCQbVf4'\n title='//www.youtube.com/embed/Rl7mtCQbVf4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cdiv class=\"fullattribution\">Copyright 2017 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=Grant+Hart%2C+H%C3%BCsker+D%C3%BC+Drummer+And+Songwriter%2C+Is+Dead+At+56&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Hardly Strictly Lineup: Cheap Trick, Big Freedia, Courtney Barnett, More",
"headTitle": "Hardly Strictly Lineup: Cheap Trick, Big Freedia, Courtney Barnett, More | KQED",
"content": "\u003cp>It seems like just yesterday that hundreds of thousands of music lovers stormed Golden Gate Park for \u003ca href=\"https://ww2.kqed.org/arts/2017/08/14/on-outside-lands-chartlottesville-and-conspicuous-silence/\" target=\"_blank\" rel=\"noopener\">Outside Lands\u003c/a> — and now it’s time to do it all over again for the \u003ca href=\"http://www.hardlystrictlybluegrass.com/2017/\" target=\"_blank\" rel=\"noopener\">Hardly Strictly Bluegrass Festival\u003c/a>, taking place Oct. 6-8. As its name suggests, Hardly Strictly once featured exclusively bluegrass, but in recent years the free festival has diversified its roster to include hip-hop, classic rock, Afrobeat, and a slew of other genres. \u003c/p>\n\u003cp>Festival mainstays like Emmylou Harris, Steve Earle, Buddy Miller, Hot Tuna and Conner Oberst are back on the lineup, but there are also plenty of surprises. See Hardly Strictly’s full lineup — over 100 acts — \u003ca href=\"http://www.hardlystrictlybluegrass.com/2017/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, and read more for five unexpected acts not to miss at its 17th edition.\u003c/p>\n\u003ch3>Kurt Vile and Courtney Barnett\u003c/h3>\n\u003cp>https://youtu.be/3KNsBCf34fQ\u003c/p>\n\u003cp>\u003ca href=\"https://soundcloud.com/kurtvile\" target=\"_blank\" rel=\"noopener\">Kurt Vile\u003c/a>, former guitarist for The War on Drugs-turned-solo songwriter, is a long-haired rocker whose reverb-laden chillwave tunes conjure images of skipping class to smoke cigarettes at the skatepark. He recently teamed up with \u003ca href=\"https://soundcloud.com/courtney-barnett-milk\" target=\"_blank\" rel=\"noopener\">Courtney Barnett\u003c/a>, an Australian singer-songwriter who makes high-energy garage rock, for a forthcoming collaborative album called \u003ca href=\"http://courtneybarnettandkurtvile.com/home/\" target=\"_blank\" rel=\"noopener\">\u003cem>Lotta Sea Lice\u003c/em>\u003c/a>. Together, they’ve developed a twangy, country-rock sound that still contains the same disaffected swagger of their solo work. \u003c/p>\n\u003ch3>Big Freedia\u003c/h3>\n\u003cp>https://youtu.be/fMQGqOg4lDw\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"http://www.bigfreedia.com/\" target=\"_blank\" rel=\"noopener\">Big Freedia\u003c/a> is the queen diva of New Orleans bounce music, the rump-shaking hip-hop subgenre that gave rise to twerking as we know it today. The bold, gender-nonconforming artist has always represented NoLa’s queer club culture. An annual mainstay at Outside Lands, and longtime underground favorite, she recently broke into the mainstream with “\u003ca href=\"https://www.youtube.com/watch?v=bHNiNP3hDkU\" target=\"_blank\" rel=\"noopener\">Drop\u003c/a>,” a collaboration with Diplo and DJ Snake. \u003c/p>\n\u003ch3>Cheap Trick\u003c/h3>\n\u003cp>https://youtu.be/th370QmFtk8\u003c/p>\n\u003cp>With their classics “Surrender” and “I Want You to Want Me,” \u003ca href=\"http://www.cheaptrick.com/\" target=\"_blank\" rel=\"noopener\">Cheap Trick\u003c/a> helped define the power-pop sound of the ’70s, which is why the Platinum-selling band was rightfully — and \u003ca href=\"http://www.salon.com/2015/04/15/cheap_trick_is_one_of_the_best_rock_bands_ever_why_arent_they_in_the_hall_of_fame/\" target=\"_blank\" rel=\"noopener\">according to some critics\u003c/a>, belatedly — inducted into the Rock & Roll Hall of Fame last year. The band is independent now and still touring, but a free performance from these legends is pretty rare. \u003c/p>\n\u003ch3>Seun Kuti & Egypt 80\u003c/h3>\n\u003cp>https://youtu.be/hADxHPEekqg\u003c/p>\n\u003cp>Nigerian musician \u003ca href=\"https://www.facebook.com/seunkutiofficial/\" target=\"_blank\" rel=\"noopener\">Seun Kuti\u003c/a> was just 14 years old when his father, Afrobeat pioneer Fela Kuti, passed away in 1997. The young man picked up where his dad left off and took the helm of his band, Egypt 80. They now tour the world with their percussive, high-energy, and often political live show, which includes new originals and Fela Kuti classics.\u003c/p>\n\u003ch3>Jello Biafra\u003c/h3>\n\u003cp>https://youtu.be/eIqESwzCGg4\u003c/p>\n\u003cp>As the former frontman of legendary San Francisco band the Dead Kennedys, \u003ca href=\"https://www.facebook.com/jbiafra/\" target=\"_blank\" rel=\"noopener\">Jello Biafra\u003c/a> is a Bay Area punk icon who has long been on the political frontlines. In the ’80s, he and his label, Alternative Tentacles, were taken to court for an obscenity charge, an accusation they decried as political censorship (the case was eventually dropped); Biafra is also a member of the Green Party and ran for president in 2000. Today, he’s a staunch critic of the Trump administration and continues to perform solo, both as a musician and spoken word artist. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" 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\n",
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"excerpt": "Our music editor's picks for who to see at the free San Francisco fest — a list of five unlikely acts among the mostly acoustic lineup. ",
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"description": "Our music editor's picks for who to see at the free San Francisco fest — a list of five unlikely acts among the mostly acoustic lineup. ",
"title": "Hardly Strictly Lineup: Cheap Trick, Big Freedia, Courtney Barnett, More | KQED",
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"headline": "Hardly Strictly Lineup: Cheap Trick, Big Freedia, Courtney Barnett, More",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It seems like just yesterday that hundreds of thousands of music lovers stormed Golden Gate Park for \u003ca href=\"https://ww2.kqed.org/arts/2017/08/14/on-outside-lands-chartlottesville-and-conspicuous-silence/\" target=\"_blank\" rel=\"noopener\">Outside Lands\u003c/a> — and now it’s time to do it all over again for the \u003ca href=\"http://www.hardlystrictlybluegrass.com/2017/\" target=\"_blank\" rel=\"noopener\">Hardly Strictly Bluegrass Festival\u003c/a>, taking place Oct. 6-8. As its name suggests, Hardly Strictly once featured exclusively bluegrass, but in recent years the free festival has diversified its roster to include hip-hop, classic rock, Afrobeat, and a slew of other genres. \u003c/p>\n\u003cp>Festival mainstays like Emmylou Harris, Steve Earle, Buddy Miller, Hot Tuna and Conner Oberst are back on the lineup, but there are also plenty of surprises. See Hardly Strictly’s full lineup — over 100 acts — \u003ca href=\"http://www.hardlystrictlybluegrass.com/2017/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, and read more for five unexpected acts not to miss at its 17th edition.\u003c/p>\n\u003ch3>Kurt Vile and Courtney Barnett\u003c/h3>\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/3KNsBCf34fQ'\n title='//www.youtube.com/embed/3KNsBCf34fQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003ca href=\"https://soundcloud.com/kurtvile\" target=\"_blank\" rel=\"noopener\">Kurt Vile\u003c/a>, former guitarist for The War on Drugs-turned-solo songwriter, is a long-haired rocker whose reverb-laden chillwave tunes conjure images of skipping class to smoke cigarettes at the skatepark. He recently teamed up with \u003ca href=\"https://soundcloud.com/courtney-barnett-milk\" target=\"_blank\" rel=\"noopener\">Courtney Barnett\u003c/a>, an Australian singer-songwriter who makes high-energy garage rock, for a forthcoming collaborative album called \u003ca href=\"http://courtneybarnettandkurtvile.com/home/\" target=\"_blank\" rel=\"noopener\">\u003cem>Lotta Sea Lice\u003c/em>\u003c/a>. Together, they’ve developed a twangy, country-rock sound that still contains the same disaffected swagger of their solo work. \u003c/p>\n\u003ch3>Big Freedia\u003c/h3>\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/fMQGqOg4lDw'\n title='//www.youtube.com/embed/fMQGqOg4lDw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.bigfreedia.com/\" target=\"_blank\" rel=\"noopener\">Big Freedia\u003c/a> is the queen diva of New Orleans bounce music, the rump-shaking hip-hop subgenre that gave rise to twerking as we know it today. The bold, gender-nonconforming artist has always represented NoLa’s queer club culture. An annual mainstay at Outside Lands, and longtime underground favorite, she recently broke into the mainstream with “\u003ca href=\"https://www.youtube.com/watch?v=bHNiNP3hDkU\" target=\"_blank\" rel=\"noopener\">Drop\u003c/a>,” a collaboration with Diplo and DJ Snake. \u003c/p>\n\u003ch3>Cheap Trick\u003c/h3>\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/th370QmFtk8'\n title='//www.youtube.com/embed/th370QmFtk8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>With their classics “Surrender” and “I Want You to Want Me,” \u003ca href=\"http://www.cheaptrick.com/\" target=\"_blank\" rel=\"noopener\">Cheap Trick\u003c/a> helped define the power-pop sound of the ’70s, which is why the Platinum-selling band was rightfully — and \u003ca href=\"http://www.salon.com/2015/04/15/cheap_trick_is_one_of_the_best_rock_bands_ever_why_arent_they_in_the_hall_of_fame/\" target=\"_blank\" rel=\"noopener\">according to some critics\u003c/a>, belatedly — inducted into the Rock & Roll Hall of Fame last year. The band is independent now and still touring, but a free performance from these legends is pretty rare. \u003c/p>\n\u003ch3>Seun Kuti & Egypt 80\u003c/h3>\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/hADxHPEekqg'\n title='//www.youtube.com/embed/hADxHPEekqg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Nigerian musician \u003ca href=\"https://www.facebook.com/seunkutiofficial/\" target=\"_blank\" rel=\"noopener\">Seun Kuti\u003c/a> was just 14 years old when his father, Afrobeat pioneer Fela Kuti, passed away in 1997. The young man picked up where his dad left off and took the helm of his band, Egypt 80. They now tour the world with their percussive, high-energy, and often political live show, which includes new originals and Fela Kuti classics.\u003c/p>\n\u003ch3>Jello Biafra\u003c/h3>\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/eIqESwzCGg4'\n title='//www.youtube.com/embed/eIqESwzCGg4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As the former frontman of legendary San Francisco band the Dead Kennedys, \u003ca href=\"https://www.facebook.com/jbiafra/\" target=\"_blank\" rel=\"noopener\">Jello Biafra\u003c/a> is a Bay Area punk icon who has long been on the political frontlines. In the ’80s, he and his label, Alternative Tentacles, were taken to court for an obscenity charge, an accusation they decried as political censorship (the case was eventually dropped); Biafra is also a member of the Green Party and ran for president in 2000. Today, he’s a staunch critic of the Trump administration and continues to perform solo, both as a musician and spoken word artist. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" 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\n\u003c/div>\u003c/p>",
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"title": "Jawbreaker Plays First Show in 21 Years: Video, Photos, Setlist",
"headTitle": "Jawbreaker Plays First Show in 21 Years: Video, Photos, Setlist | KQED",
"content": "\u003cp>“The Boat Dreams From the Hill.” That’s it. \u003cem>Of course\u003c/em> it’s “Boat.” The first song that Jawbreaker plays live in 21 years, a song of yearning for one’s more active days, of a new life, and of beginning again — that’s how they start their set.\u003c/p>\n\u003cp>And \u003cem>of course\u003c/em> it’s at the Ivy Room — a tiny 200-capacity dive bar in the East Bay with neon signs and a broken bathroom sink. Not at the Civic Auditorium, or the Warfield Theater. Just a small get-together with friends, a warm-up for their Riot Fest date, a chance to drink and hug and catch up: \u003cem>we’re having this party, please come\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ekvzvUbp-tI\u003c/p>\n\u003cp>In a short seven-song set, it’s like nothing has changed for Jawbreaker since their last tour in 1996. Chris cracks jokes and scratches off a lottery ticket between songs. Blake recites “Ode on a Grecian Urn” by Keats and waxes rhapsodic about The Cure’s \u003cem>Disintegration\u003c/em>. Adam anchors it all in propulsive fills. They are still good. \u003cem>Damn\u003c/em> good.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>“While you’ve been having children and suffering in the real world, I’ve been in my cryochamber thinking of material for this comeback.”\u003c/em>\u003c/strong> \u003c/p>\n\u003cfigure id=\"attachment_13804542\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Blake.Lighting-800x533.jpg\" alt=\"Blake Schwarzenbach at Jawbreaker's first show in 21 years, Aug. 3, 2017.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13804542\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Blake.Lighting-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Blake.Lighting-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Blake.Lighting-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Blake.Lighting-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Blake.Lighting.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Blake.Lighting-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Blake.Lighting-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Blake.Lighting-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Blake.Lighting-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Blake.Lighting-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Blake Schwarzenbach at Jawbreaker’s first show in 21 years, Aug. 3, 2017. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reunions are, by nature, as much a reflection on how you’ve aged as any aging on the band’s part. They play “West Bay Invitational,” and it hits you. Maybe you still see Jawbreaker on four hours’ sleep like you once routinely did, but now, you’re not tired from drinking Oly, smoking GPCs and talking shit on the back porch — you’re tired from working past midnight and spending the entire day in meetings. Why try to gauge if Jawbreaker changed? We all changed.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>\u003cem>“With so many emotions in the world, we had to limit some of the material tonight because we were afraid of what could be unleashed.”\u003c/em>\u003c/strong> \u003c/p>\n\u003cfigure id=\"attachment_13804541\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Adam-800x533.jpg\" alt=\"Adam Pfahler at Jawbreaker's first show in 21 years, Aug. 3, 2017.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13804541\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Adam-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Adam-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Adam-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Adam-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Adam.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Adam-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Adam-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Adam-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Adam-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Adam-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Adam Pfahler at Jawbreaker’s first show in 21 years, Aug. 3, 2017. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The other thing is: during “Condition Oakland” and “Jet Black,” you realize you’ve imagined, for years, how monumental a Jawbreaker reunion would be. The world \u003ca href=\"https://noisey.vice.com/en_us/article/r7mvzr/jawbreaker-reunion-is-what-some-band-named-themselves\" target=\"_blank\" rel=\"noopener\">cannot allow you to forget it\u003c/a>. But at the Ivy Room, the place where you danced with your wife before you were married, where you drank too many martinis, and now, where old friends turn up around every corner, it feels normal. Jawbreaker is just three people playing together, ten feet away. The soundtrack of your life, sure. But somehow, after all this buildup, it’s a beautiful gift instead of a blaring headline.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>“Where is the bro that can admit to crying in the fetal position hoping for change in this world?”\u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13804543\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Chris-800x533.jpg\" alt=\"Chris Bauermeister at Jawbreaker's first show in 21 years, Aug. 3, 2017.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13804543\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Chris-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Chris-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Chris-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Chris-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Chris.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Chris-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Chris-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Chris-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Chris-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Chris-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chris Bauermeister at Jawbreaker’s first show in 21 years, Aug. 3, 2017. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Dear You\u003c/em> songs come next: “Chemistry,” “Save Your Generation.” You think of the people who texted you feverishly once word of the show got out; or your friend Nick, who came to the Ivy Room at 5:30, ordered a beer and then tried to hide out in the bathroom stall for three hours, but got caught and thrown out by the bartender. There’s been a crowd of 30 or so people outside on the sidewalk all night who raced down here, just listening outside, not on the list. But at this point, the staff at the door simply start letting people in. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=GStQBD98Rro&feature=youtu.be\u003c/p>\n\u003cp>Everyone’s here now. There’s only one song left to play, a foregone conclusion, really: “Boxcar,” with the chorus sung so loud by the entire room that it washes away all decades-old drama of signing and breaking up and leaving everyone to wonder what the hell happened over the course of seven joyful, cathartic years when Jawbreaker was alive and kicking. And then it’s over. \u003c/p>\n\u003cfigure id=\"attachment_13804548\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Jawbreaker.Setlist-800x600.jpg\" alt=\"Jawbreaker's setlist for their first show in 21 years, Aug. 3, 2017.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13804548\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Jawbreaker.Setlist-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Jawbreaker.Setlist-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Jawbreaker.Setlist-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Jawbreaker.Setlist-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Jawbreaker.Setlist.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Jawbreaker.Setlist-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Jawbreaker.Setlist-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Jawbreaker.Setlist-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Jawbreaker.Setlist-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Jawbreaker.Setlist-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jawbreaker’s setlist for their first show in 21 years, Aug. 3, 2017. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>People file out. Catch their breath, order another beer. You run into Blake, sitting on the floor near the one-foot-high stage, and tell him you can’t believe it. \u003c/p>\n\u003cp>“I can’t believe it either,” he says, beaming. “I never thought I’d see the day that my cool band would play in Albany.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Jawbreaker has \u003ca href=\"https://www.punknews.org/article/64428/jawbreaker-reunited-last-night-will-play-august-12\">some other things going on\u003c/a>. More photos below; all video and photos by Gabe Meline.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[gallery type=\"slideshow\" size=\"full\" ids=\"13804551,13804552,13804553,13804554,13804555,13804556,13804557,13804558,13804559,13804560,13804561,13804562\" orderby=\"rand\"]\u003c/p>\n\n",
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"excerpt": "See photos, video and setlist from Jawbreaker's first show since 1996 — a seven-song invite-only set at the Ivy Room in Albany, Calif.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“The Boat Dreams From the Hill.” That’s it. \u003cem>Of course\u003c/em> it’s “Boat.” The first song that Jawbreaker plays live in 21 years, a song of yearning for one’s more active days, of a new life, and of beginning again — that’s how they start their set.\u003c/p>\n\u003cp>And \u003cem>of course\u003c/em> it’s at the Ivy Room — a tiny 200-capacity dive bar in the East Bay with neon signs and a broken bathroom sink. Not at the Civic Auditorium, or the Warfield Theater. Just a small get-together with friends, a warm-up for their Riot Fest date, a chance to drink and hug and catch up: \u003cem>we’re having this party, please come\u003c/em>.\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/ekvzvUbp-tI'\n title='//www.youtube.com/embed/ekvzvUbp-tI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In a short seven-song set, it’s like nothing has changed for Jawbreaker since their last tour in 1996. Chris cracks jokes and scratches off a lottery ticket between songs. Blake recites “Ode on a Grecian Urn” by Keats and waxes rhapsodic about The Cure’s \u003cem>Disintegration\u003c/em>. Adam anchors it all in propulsive fills. They are still good. \u003cem>Damn\u003c/em> good.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>“While you’ve been having children and suffering in the real world, I’ve been in my cryochamber thinking of material for this comeback.”\u003c/em>\u003c/strong> \u003c/p>\n\u003cfigure id=\"attachment_13804542\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Blake.Lighting-800x533.jpg\" alt=\"Blake Schwarzenbach at Jawbreaker's first show in 21 years, Aug. 3, 2017.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13804542\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Blake.Lighting-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Blake.Lighting-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Blake.Lighting-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Blake.Lighting-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Blake.Lighting.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Blake.Lighting-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Blake.Lighting-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Blake.Lighting-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Blake.Lighting-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Blake.Lighting-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Blake Schwarzenbach at Jawbreaker’s first show in 21 years, Aug. 3, 2017. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reunions are, by nature, as much a reflection on how you’ve aged as any aging on the band’s part. They play “West Bay Invitational,” and it hits you. Maybe you still see Jawbreaker on four hours’ sleep like you once routinely did, but now, you’re not tired from drinking Oly, smoking GPCs and talking shit on the back porch — you’re tired from working past midnight and spending the entire day in meetings. Why try to gauge if Jawbreaker changed? We all changed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>“With so many emotions in the world, we had to limit some of the material tonight because we were afraid of what could be unleashed.”\u003c/em>\u003c/strong> \u003c/p>\n\u003cfigure id=\"attachment_13804541\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Adam-800x533.jpg\" alt=\"Adam Pfahler at Jawbreaker's first show in 21 years, Aug. 3, 2017.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13804541\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Adam-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Adam-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Adam-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Adam-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Adam.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Adam-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Adam-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Adam-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Adam-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Adam-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Adam Pfahler at Jawbreaker’s first show in 21 years, Aug. 3, 2017. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The other thing is: during “Condition Oakland” and “Jet Black,” you realize you’ve imagined, for years, how monumental a Jawbreaker reunion would be. The world \u003ca href=\"https://noisey.vice.com/en_us/article/r7mvzr/jawbreaker-reunion-is-what-some-band-named-themselves\" target=\"_blank\" rel=\"noopener\">cannot allow you to forget it\u003c/a>. But at the Ivy Room, the place where you danced with your wife before you were married, where you drank too many martinis, and now, where old friends turn up around every corner, it feels normal. Jawbreaker is just three people playing together, ten feet away. The soundtrack of your life, sure. But somehow, after all this buildup, it’s a beautiful gift instead of a blaring headline.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>“Where is the bro that can admit to crying in the fetal position hoping for change in this world?”\u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13804543\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Chris-800x533.jpg\" alt=\"Chris Bauermeister at Jawbreaker's first show in 21 years, Aug. 3, 2017.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13804543\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Chris-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Chris-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Chris-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Chris-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Chris.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Chris-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Chris-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Chris-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Chris-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Chris-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chris Bauermeister at Jawbreaker’s first show in 21 years, Aug. 3, 2017. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Dear You\u003c/em> songs come next: “Chemistry,” “Save Your Generation.” You think of the people who texted you feverishly once word of the show got out; or your friend Nick, who came to the Ivy Room at 5:30, ordered a beer and then tried to hide out in the bathroom stall for three hours, but got caught and thrown out by the bartender. There’s been a crowd of 30 or so people outside on the sidewalk all night who raced down here, just listening outside, not on the list. But at this point, the staff at the door simply start letting people in. \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/GStQBD98Rro'\n title='//www.youtube.com/embed/GStQBD98Rro'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Everyone’s here now. There’s only one song left to play, a foregone conclusion, really: “Boxcar,” with the chorus sung so loud by the entire room that it washes away all decades-old drama of signing and breaking up and leaving everyone to wonder what the hell happened over the course of seven joyful, cathartic years when Jawbreaker was alive and kicking. And then it’s over. \u003c/p>\n\u003cfigure id=\"attachment_13804548\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Jawbreaker.Setlist-800x600.jpg\" alt=\"Jawbreaker's setlist for their first show in 21 years, Aug. 3, 2017.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13804548\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Jawbreaker.Setlist-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Jawbreaker.Setlist-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Jawbreaker.Setlist-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Jawbreaker.Setlist-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Jawbreaker.Setlist.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Jawbreaker.Setlist-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Jawbreaker.Setlist-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Jawbreaker.Setlist-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Jawbreaker.Setlist-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Jawbreaker.Setlist-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jawbreaker’s setlist for their first show in 21 years, Aug. 3, 2017. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>People file out. Catch their breath, order another beer. You run into Blake, sitting on the floor near the one-foot-high stage, and tell him you can’t believe it. \u003c/p>\n\u003cp>“I can’t believe it either,” he says, beaming. “I never thought I’d see the day that my cool band would play in Albany.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Jawbreaker has \u003ca href=\"https://www.punknews.org/article/64428/jawbreaker-reunited-last-night-will-play-august-12\">some other things going on\u003c/a>. More photos below; all video and photos by Gabe Meline.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "the-definitive-documentary-on-east-bay-punk-is-coming-pit-warning",
"title": "The Definitive Documentary on East Bay Punk is Here (@: Pit Warning)",
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"content": "\u003cp>After watching the new documentary \u003cem>Turn It Around: The Story of East Bay Punk\u003c/em>, I can’t help but think about a teenager named Jimmy Mahoney, who last year was \u003ca href=\"https://youtu.be/rC2zISCslcI?t=3m4s\" target=\"_blank\" rel=\"noopener noreferrer\">called up on stage by Billie Joe Armstrong\u003c/a> from Green Day for a dream opportunity: to play guitar with his favorite band in front of thousands of people.\u003c/p>\n\u003cp>The band does this for a fan routinely, almost every night on tour, but on this night at the Oracle Arena, after two songs, Billie Joe unexpectedly gave Mahoney his guitar to keep, covered in stickers from early-’90s East Bay punk bands like Monsula, Econochrist and Spitboy.\u003c/p>\n\u003cp>You have to wonder: Was the guitar intentionally decorated with those band’s stickers beforehand? As clues, perhaps, for its young new owner in a musical treasure hunt? Did Jimmy bring the guitar home and Google those bands, and discover the influence they had on his teenage heroes?\u003c/p>\n\u003cfigure id=\"attachment_13243288\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13243288\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/KAMALA-PARKS-AT-A-SHOW-IN-PINOLE-CA-1989-PHOTO-BY-MURRAY-BOWLES-800x533.jpg\" alt=\"Kamala Parks at a backyard show in Pinole, 1989.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KAMALA-PARKS-AT-A-SHOW-IN-PINOLE-CA-1989-PHOTO-BY-MURRAY-BOWLES-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KAMALA-PARKS-AT-A-SHOW-IN-PINOLE-CA-1989-PHOTO-BY-MURRAY-BOWLES-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KAMALA-PARKS-AT-A-SHOW-IN-PINOLE-CA-1989-PHOTO-BY-MURRAY-BOWLES-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KAMALA-PARKS-AT-A-SHOW-IN-PINOLE-CA-1989-PHOTO-BY-MURRAY-BOWLES-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KAMALA-PARKS-AT-A-SHOW-IN-PINOLE-CA-1989-PHOTO-BY-MURRAY-BOWLES.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KAMALA-PARKS-AT-A-SHOW-IN-PINOLE-CA-1989-PHOTO-BY-MURRAY-BOWLES-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KAMALA-PARKS-AT-A-SHOW-IN-PINOLE-CA-1989-PHOTO-BY-MURRAY-BOWLES-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KAMALA-PARKS-AT-A-SHOW-IN-PINOLE-CA-1989-PHOTO-BY-MURRAY-BOWLES-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KAMALA-PARKS-AT-A-SHOW-IN-PINOLE-CA-1989-PHOTO-BY-MURRAY-BOWLES-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KAMALA-PARKS-AT-A-SHOW-IN-PINOLE-CA-1989-PHOTO-BY-MURRAY-BOWLES-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kamala Parks at a backyard show in Pinole, 1989. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003ca href=\"https://eastbaypunk.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Turn It Around\u003c/a>\u003c/em>, a 158-minute documentary produced by members of Green Day which opens May 31, is that same idea in extended cinematic form. Released during Green Day’s current world tour of sold-out arenas, it’s their way of telling the world: \u003cem>We didn’t do this alone. The East Bay is special. Here’s where we came from\u003c/em>.\u003c/p>\n\u003cp>It’s a job that tireless director Corbett Redford, 41, didn’t take lightly. “I know I’ve been tasked to represent a sacred history,” the musician, filmmaker and Pinole native says. “I spent four years of my life letting it consume me. But it had to be done right.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Narrated by Iggy Pop and featuring commentary from 150 band members, zine editors, volunteers and more, \u003cem>Turn It Around\u003c/em> is a massive, authoritative document of the scene around the Berkeley all-ages club 924 Gilman that would eventually change punk rock all over the world. Packed with previously unseen footage — Operation Ivy’s early rehearsals, Miranda July’s 1992 play staged at Gilman, unearthed images from photographer Murray Bowles’ vast archive — the film brings in perspective from observant outsiders like Bikini Kill’s Kathleen Hanna and Fugazi’s Ian MacKaye on down to less-celebrated contributors like the drummer of \u003ca href=\"https://www.youtube.com/watch?v=QHgMQwmHRmY\" target=\"_blank\" rel=\"noopener noreferrer\">Sewer Trout\u003c/a> and that one guy who got too drunk once in Eggplant’s backyard.\u003c/p>\n\u003cfigure id=\"attachment_13243289\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13243289\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Director-Corbett-Redford-interviews-Adrienne-Melanie-Stone-of-Spitboy-for-the-documentary.-Photo-by-Melissa-Dale-1-800x530.jpg\" alt=\"Director Corbett Redford interview Adrienne Melanie Stone of Spitboy for 'Turn It Around.'\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Director-Corbett-Redford-interviews-Adrienne-Melanie-Stone-of-Spitboy-for-the-documentary.-Photo-by-Melissa-Dale-1-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Director-Corbett-Redford-interviews-Adrienne-Melanie-Stone-of-Spitboy-for-the-documentary.-Photo-by-Melissa-Dale-1-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Director-Corbett-Redford-interviews-Adrienne-Melanie-Stone-of-Spitboy-for-the-documentary.-Photo-by-Melissa-Dale-1-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Director-Corbett-Redford-interviews-Adrienne-Melanie-Stone-of-Spitboy-for-the-documentary.-Photo-by-Melissa-Dale-1-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Director-Corbett-Redford-interviews-Adrienne-Melanie-Stone-of-Spitboy-for-the-documentary.-Photo-by-Melissa-Dale-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Director-Corbett-Redford-interviews-Adrienne-Melanie-Stone-of-Spitboy-for-the-documentary.-Photo-by-Melissa-Dale-1-1180x782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Director-Corbett-Redford-interviews-Adrienne-Melanie-Stone-of-Spitboy-for-the-documentary.-Photo-by-Melissa-Dale-1-960x637.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Director-Corbett-Redford-interviews-Adrienne-Melanie-Stone-of-Spitboy-for-the-documentary.-Photo-by-Melissa-Dale-1-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Director-Corbett-Redford-interviews-Adrienne-Melanie-Stone-of-Spitboy-for-the-documentary.-Photo-by-Melissa-Dale-1-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Director-Corbett-Redford-interviews-Adrienne-Melanie-Stone-of-Spitboy-for-the-documentary.-Photo-by-Melissa-Dale-1-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Director Corbett Redford interviews Adrienne Melanie Stone of Spitboy for ‘Turn It Around.’ \u003ccite>(Melissa Dale)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Because of this breadth and length, there’s no singular narrative driving \u003cem>Turn It Around\u003c/em>, no easy-entry character study for a mainstream public. It’s unlikely the film will have the same crossover success as, say, \u003cem>Searching for Sugarman\u003c/em> or \u003cem>Standing in the Shadows of Motown\u003c/em>, or other \u003ca href=\"http://www.twingalaxies.com/forumdisplay.php/406-The-King-of-Kong-Official-Statement\" target=\"_blank\" rel=\"noopener noreferrer\">looser documentaries\u003c/a> that don’t let the truth get in the way of a good story.\u003c/p>\n\u003cp>But that’s why it’s definitive. As someone who spent his formative teenage years going to Gilman, volunteering there and yes, even sleeping at the club during the years in the film (which, full disclosure, I’m seen in for a split second), I can’t find much that it omits. For others who were there, and for the growing number of kids worldwide interested in the era, there’s value in this. Redford says he originally cut a five-hour version from 500 hours of footage before the final two-and-a-half-hour cut, and with any luck, that extra footage will surface as DVD extras or on streaming services after this theatrical run. Ask anyone involved in the punk scene at the time, and they’ll tell you that it’s impossible to boil it down to one simple story. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/TurnItAroundHeaderArt-800x354.jpg\" alt=\"\" width=\"800\" height=\"354\" class=\"aligncenter size-medium wp-image-13243602\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/TurnItAroundHeaderArt-800x354.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/TurnItAroundHeaderArt-160x71.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/TurnItAroundHeaderArt-768x340.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/TurnItAroundHeaderArt-1020x452.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/TurnItAroundHeaderArt.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/TurnItAroundHeaderArt-1180x522.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/TurnItAroundHeaderArt-960x425.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/TurnItAroundHeaderArt-240x106.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/TurnItAroundHeaderArt-375x166.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/TurnItAroundHeaderArt-520x230.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>The film crew itself evinces a “by the punks, for the punks” philosophy: both \u003cem>Absolutely Zippo\u003c/em> editor Robert Eggplant and drummer and booker Kamala Parks served on the production crew, and the titles and illustrations were hand-drawn by \u003cem>Cometbus\u003c/em> editor Aaron Cometbus, Rancid’s Tim Armstrong and Operation Ivy’s Jesse Michaels. Before this, his first full-length film, Redford had mainly directed videos for his band, Bobby Joe Ebola and the Children Macnuggits.\u003c/p>\n\u003cp>That band name hints at the humor in the film, and also the idea, embraced by figures like \u003cem>Tales of Blarg\u003c/em> editor Janelle Hessig (and bands like \u003ca href=\"https://www.youtube.com/watch?v=u7MOxF5gz9A\" target=\"_blank\" rel=\"noopener noreferrer\">Stikky\u003c/a>), that despite the East Bay punk scene’s impact, it isn’t to be taken too seriously. \u003cem>Turn it Around\u003c/em>’s release during the current \u003ca href=\"https://ww2.kqed.org/arts/2017/04/12/de-young-summer-of-love-50th-anniversary/\" target=\"_blank\" rel=\"noopener noreferrer\">50th anniversary bonanza for the Summer of Love\u003c/a> is a curious study in contrasts on how to commemorate a musical moment.\u003c/p>\n\u003cfigure id=\"attachment_13243291\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13243291\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Tim-Armstrong-Murray-Bowles-Robert-Eggplant-and-Corbett-Redford-after-sorting-through-Murrays-photo-archive-800x600.jpg\" alt=\"Tim Armstrong, Murray Bowles, Robert Eggplant and Corbett Redford, sorting through Bowles' 30,000-strong photo archive. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Tim-Armstrong-Murray-Bowles-Robert-Eggplant-and-Corbett-Redford-after-sorting-through-Murrays-photo-archive-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Tim-Armstrong-Murray-Bowles-Robert-Eggplant-and-Corbett-Redford-after-sorting-through-Murrays-photo-archive-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Tim-Armstrong-Murray-Bowles-Robert-Eggplant-and-Corbett-Redford-after-sorting-through-Murrays-photo-archive-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Tim-Armstrong-Murray-Bowles-Robert-Eggplant-and-Corbett-Redford-after-sorting-through-Murrays-photo-archive-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Tim-Armstrong-Murray-Bowles-Robert-Eggplant-and-Corbett-Redford-after-sorting-through-Murrays-photo-archive-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Tim-Armstrong-Murray-Bowles-Robert-Eggplant-and-Corbett-Redford-after-sorting-through-Murrays-photo-archive-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Tim-Armstrong-Murray-Bowles-Robert-Eggplant-and-Corbett-Redford-after-sorting-through-Murrays-photo-archive.jpg 808w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tim Armstrong, Robert Eggplant, Murray Bowles, and Corbett Redford, after sorting through Bowles’ 30,000-strong photo archive.\u003c/figcaption>\u003c/figure>\n\u003cp>“One thing we’re not trying to do is mystify that time,” Redford says, citing the Chicago punk documentary title \u003cem>\u003ca href=\"http://www.imdb.com/title/tt1340142/\" target=\"_blank\" rel=\"noopener noreferrer\">You Weren’t There\u003c/a>\u003c/em> as an elitist idea he wanted to oppose. “We’re just trying to show how human or normal a lot of these larger-than-life figures were, how they did their best to try to make something good. We’re not saying, ‘This is the best scene ever.’ You know?”\u003c/p>\n\u003cp>That said, the film doesn’t lack in context. It opens with then-California governor Ronald Reagan ordering gas to be dropped on protesting students at People’s Park in Berkeley, soon moving to \u003cem>MaximumRockNRoll\u003c/em> founder Tim Yohannon’s on-air argument about punk with rock promoter Bill Graham. Many cultural forces coalesced in the 1970s to guide Bay Area punk, and even Kirk Hammett from Metallica and Duff McKagan from Guns ‘N’ Roses attest to the notion of the 1980s San Francisco punk scene as the country’s strongest.\u003c/p>\n\u003cfigure id=\"attachment_13243299\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13243299\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/The-Turn-It-Around-production-crew-pack-for-a-location-interview.-Photo-by-Greg-Schneider-800x533.jpg\" alt=\"The 'Turn It Around' production crew packs for an interview, with Corbett Redford at left.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Turn-It-Around-production-crew-pack-for-a-location-interview.-Photo-by-Greg-Schneider-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Turn-It-Around-production-crew-pack-for-a-location-interview.-Photo-by-Greg-Schneider-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Turn-It-Around-production-crew-pack-for-a-location-interview.-Photo-by-Greg-Schneider-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Turn-It-Around-production-crew-pack-for-a-location-interview.-Photo-by-Greg-Schneider-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Turn-It-Around-production-crew-pack-for-a-location-interview.-Photo-by-Greg-Schneider.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Turn-It-Around-production-crew-pack-for-a-location-interview.-Photo-by-Greg-Schneider-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Turn-It-Around-production-crew-pack-for-a-location-interview.-Photo-by-Greg-Schneider-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Turn-It-Around-production-crew-pack-for-a-location-interview.-Photo-by-Greg-Schneider-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Turn-It-Around-production-crew-pack-for-a-location-interview.-Photo-by-Greg-Schneider-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Turn-It-Around-production-crew-pack-for-a-location-interview.-Photo-by-Greg-Schneider-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ‘Turn It Around’ production crew packs for an interview, with Corbett Redford at left. \u003ccite>(Greg Schneider)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Berkeley was a bastard child of it all, a place where kids of hippies and college professors resisted trends. The film hits its stride with the founding of the Gilman Street Project, and its philosophical opposition to knuckleheaded thrash shows with drink minimums and violent pits. In fact, the pits at Gilman are decidedly silly: “geekcore” punks play leapfrog in a circle, or ride tricycles. The band Isocracy hauls in hundreds of pounds of garbage from dumpsters, and throws it on the crowd and themselves. Inexplicably, an odd trend emerges of stagediving into bushes, and \u003ca href=\"https://www.youtube.com/watch?v=46ZtNtiZrCc\" target=\"_blank\" rel=\"noopener noreferrer\">an anthem for it\u003c/a> is written.\u003c/p>\n\u003cp>Gilman goes through various changes, including an infiltration by skinheads (in an uplifting segment of the film, the geeks fight back), but a running theme is the folly of fame. Operation Ivy breaks up because they get too popular. Yohannon suddenly closes Gilman when he feels it’s achieved all it can. The insider nature of “\u003ca href=\"http://www.foopee.com/punk/the-list/\" target=\"_blank\" rel=\"noopener noreferrer\">THE LIST\u003c/a>,” replete with “@:pit warnings” by veteran Steve Koepke, is lauded as a secret, pre-internet social network. When Gilman reopens, and Green Day starts packing in a more normal, preppy crowd than usually frequents the club, many diehards get nervous. By the film’s end, Green Day signs to a major label, a trenchant debate over what constitutes “punk” rages, Tim Yohannon passes away, and Gilman goes on to enjoy an influx — continuing to this day — of enthusiastic kids ready to start something new.\u003c/p>\n\u003cfigure id=\"attachment_13243294\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13243294\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-800x533.jpg\" alt=\"Green Day with first drummer John Kiffmeyer at Gilman, circa 1990.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Green Day with first drummer John Kiffmeyer at Gilman, circa 1990. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>No punk scene is without its scandals, and \u003cem>Turn it Around\u003c/em> conspicuously ignores them and other unsavory bits of lore: Jello Biafra getting his leg broken by crust punks; Sam McBride from Fang being convicted of killing his girlfriend; the Feederz throwing a dead dog into the crowd. (Readers can find these stories in Jack Boulware and Silke Tudor’s \u003ca href=\"http://www.bohemian.com/northbay/yellin-in-my-ear/Content?oid=2173776\" target=\"_blank\" rel=\"noopener noreferrer\">excellent oral history\u003c/a> \u003cem>Gimme Something Better: The Profound, Progressive, and Occasionally Pointless History of Bay Area Punk\u003c/em>.)\u003c/p>\n\u003cp>That’s intentional, Redford says, and ultimately, the film’s theme isn’t Do It Yourself so much as Do It Together. “The emergence of the Gilman Street Project is a pretty good example of the good things that can happen when people are nice to each other, when they decide to cooperate and build as opposed to destroy or backbite,” he says. “And again, our scene isn’t perfect, but I think that in the world today, places where outliers can converge are very important.”\u003c/p>\n\u003cfigure id=\"attachment_13243293\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13243293\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Orlando.SPecialForces-800x796.jpg\" alt=\"Orlando and Turner Babcock of Special Forces.\" width=\"800\" height=\"796\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Orlando.SPecialForces-800x796.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Orlando.SPecialForces-160x159.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Orlando.SPecialForces-768x764.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Orlando.SPecialForces-240x239.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Orlando.SPecialForces-375x373.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Orlando.SPecialForces-520x518.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Orlando.SPecialForces-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Orlando.SPecialForces-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Orlando.SPecialForces-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Orlando.SPecialForces-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Orlando.SPecialForces-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Orlando.SPecialForces-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Orlando.SPecialForces.jpg 853w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Orlando and Turner Babcock of Special Forces. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That’s evident in the diverse alumni of Gilman’s scene. Queercore groups like Tribe 8 and Pansy Division; feminist bands Spitboy and the Yeastie Girlz; black performers like the Beatnigs’ Michael Franti or Special Forces’ Orlando all weigh in. Stylistically, too, the music ranges from the Beatles-inspired harmonies of Sweet Baby to the nascent emo of Jawbreaker and the hardcore nihilism of Christ on Parade. Billie Joe, singer for one of the poppiest bands on the planet, saves his strongest words of enthusiasm for apocalyptic doom-punk overlords Neurosis.\u003c/p>\n\u003cp>And that may be the underpinning lesson of \u003cem>Turn it Around\u003c/em>: that it’s about something bigger than music.\u003c/p>\n\u003cp>“East Bay punk to me was always just a thoughtful, heartfelt, intellectual kind of thing,” says Redford. “And it taught me that punk, as opposed to just a costume or spitting on authority, is about potentially being a better citizen of the world. You know?”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Turn it Around: The Story of East Bay Punk’ premieres on \u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=284925~50c99741-ceec-4bfa-94b4-b7d919a3c410&epguid=accf668f-e555-48ca-a4fc-f10c8aa7f53d&\" target=\"_blank\" rel=\"noopener noreferrer\">Wednesday, May 31\u003c/a>, at the Alamo Drafthouse New Mission Theater in San Francisco as part of SF DocFest. A Q&A with the director, an afterparty, and others from the cast and crew are all part of the premiere; \u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=284925~50c99741-ceec-4bfa-94b4-b7d919a3c410&epguid=accf668f-e555-48ca-a4fc-f10c8aa7f53d&\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>. A national theatrical run begins June 2. For more details and photos from the film, \u003ca href=\"https://eastbaypunk.com/\">see here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "'Turn It Around' centers on the fertile years of 1986–1994, when a new club on Gilman Street in Berkeley spawned an all-ages scene that changed punk around the world.",
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"title": "The Definitive Documentary on East Bay Punk is Here (@: Pit Warning) | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After watching the new documentary \u003cem>Turn It Around: The Story of East Bay Punk\u003c/em>, I can’t help but think about a teenager named Jimmy Mahoney, who last year was \u003ca href=\"https://youtu.be/rC2zISCslcI?t=3m4s\" target=\"_blank\" rel=\"noopener noreferrer\">called up on stage by Billie Joe Armstrong\u003c/a> from Green Day for a dream opportunity: to play guitar with his favorite band in front of thousands of people.\u003c/p>\n\u003cp>The band does this for a fan routinely, almost every night on tour, but on this night at the Oracle Arena, after two songs, Billie Joe unexpectedly gave Mahoney his guitar to keep, covered in stickers from early-’90s East Bay punk bands like Monsula, Econochrist and Spitboy.\u003c/p>\n\u003cp>You have to wonder: Was the guitar intentionally decorated with those band’s stickers beforehand? As clues, perhaps, for its young new owner in a musical treasure hunt? Did Jimmy bring the guitar home and Google those bands, and discover the influence they had on his teenage heroes?\u003c/p>\n\u003cfigure id=\"attachment_13243288\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13243288\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/KAMALA-PARKS-AT-A-SHOW-IN-PINOLE-CA-1989-PHOTO-BY-MURRAY-BOWLES-800x533.jpg\" alt=\"Kamala Parks at a backyard show in Pinole, 1989.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KAMALA-PARKS-AT-A-SHOW-IN-PINOLE-CA-1989-PHOTO-BY-MURRAY-BOWLES-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KAMALA-PARKS-AT-A-SHOW-IN-PINOLE-CA-1989-PHOTO-BY-MURRAY-BOWLES-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KAMALA-PARKS-AT-A-SHOW-IN-PINOLE-CA-1989-PHOTO-BY-MURRAY-BOWLES-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KAMALA-PARKS-AT-A-SHOW-IN-PINOLE-CA-1989-PHOTO-BY-MURRAY-BOWLES-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KAMALA-PARKS-AT-A-SHOW-IN-PINOLE-CA-1989-PHOTO-BY-MURRAY-BOWLES.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KAMALA-PARKS-AT-A-SHOW-IN-PINOLE-CA-1989-PHOTO-BY-MURRAY-BOWLES-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KAMALA-PARKS-AT-A-SHOW-IN-PINOLE-CA-1989-PHOTO-BY-MURRAY-BOWLES-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KAMALA-PARKS-AT-A-SHOW-IN-PINOLE-CA-1989-PHOTO-BY-MURRAY-BOWLES-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KAMALA-PARKS-AT-A-SHOW-IN-PINOLE-CA-1989-PHOTO-BY-MURRAY-BOWLES-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/KAMALA-PARKS-AT-A-SHOW-IN-PINOLE-CA-1989-PHOTO-BY-MURRAY-BOWLES-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kamala Parks at a backyard show in Pinole, 1989. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003ca href=\"https://eastbaypunk.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Turn It Around\u003c/a>\u003c/em>, a 158-minute documentary produced by members of Green Day which opens May 31, is that same idea in extended cinematic form. Released during Green Day’s current world tour of sold-out arenas, it’s their way of telling the world: \u003cem>We didn’t do this alone. The East Bay is special. Here’s where we came from\u003c/em>.\u003c/p>\n\u003cp>It’s a job that tireless director Corbett Redford, 41, didn’t take lightly. “I know I’ve been tasked to represent a sacred history,” the musician, filmmaker and Pinole native says. “I spent four years of my life letting it consume me. But it had to be done right.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Narrated by Iggy Pop and featuring commentary from 150 band members, zine editors, volunteers and more, \u003cem>Turn It Around\u003c/em> is a massive, authoritative document of the scene around the Berkeley all-ages club 924 Gilman that would eventually change punk rock all over the world. Packed with previously unseen footage — Operation Ivy’s early rehearsals, Miranda July’s 1992 play staged at Gilman, unearthed images from photographer Murray Bowles’ vast archive — the film brings in perspective from observant outsiders like Bikini Kill’s Kathleen Hanna and Fugazi’s Ian MacKaye on down to less-celebrated contributors like the drummer of \u003ca href=\"https://www.youtube.com/watch?v=QHgMQwmHRmY\" target=\"_blank\" rel=\"noopener noreferrer\">Sewer Trout\u003c/a> and that one guy who got too drunk once in Eggplant’s backyard.\u003c/p>\n\u003cfigure id=\"attachment_13243289\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13243289\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Director-Corbett-Redford-interviews-Adrienne-Melanie-Stone-of-Spitboy-for-the-documentary.-Photo-by-Melissa-Dale-1-800x530.jpg\" alt=\"Director Corbett Redford interview Adrienne Melanie Stone of Spitboy for 'Turn It Around.'\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Director-Corbett-Redford-interviews-Adrienne-Melanie-Stone-of-Spitboy-for-the-documentary.-Photo-by-Melissa-Dale-1-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Director-Corbett-Redford-interviews-Adrienne-Melanie-Stone-of-Spitboy-for-the-documentary.-Photo-by-Melissa-Dale-1-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Director-Corbett-Redford-interviews-Adrienne-Melanie-Stone-of-Spitboy-for-the-documentary.-Photo-by-Melissa-Dale-1-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Director-Corbett-Redford-interviews-Adrienne-Melanie-Stone-of-Spitboy-for-the-documentary.-Photo-by-Melissa-Dale-1-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Director-Corbett-Redford-interviews-Adrienne-Melanie-Stone-of-Spitboy-for-the-documentary.-Photo-by-Melissa-Dale-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Director-Corbett-Redford-interviews-Adrienne-Melanie-Stone-of-Spitboy-for-the-documentary.-Photo-by-Melissa-Dale-1-1180x782.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Director-Corbett-Redford-interviews-Adrienne-Melanie-Stone-of-Spitboy-for-the-documentary.-Photo-by-Melissa-Dale-1-960x637.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Director-Corbett-Redford-interviews-Adrienne-Melanie-Stone-of-Spitboy-for-the-documentary.-Photo-by-Melissa-Dale-1-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Director-Corbett-Redford-interviews-Adrienne-Melanie-Stone-of-Spitboy-for-the-documentary.-Photo-by-Melissa-Dale-1-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Director-Corbett-Redford-interviews-Adrienne-Melanie-Stone-of-Spitboy-for-the-documentary.-Photo-by-Melissa-Dale-1-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Director Corbett Redford interviews Adrienne Melanie Stone of Spitboy for ‘Turn It Around.’ \u003ccite>(Melissa Dale)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Because of this breadth and length, there’s no singular narrative driving \u003cem>Turn It Around\u003c/em>, no easy-entry character study for a mainstream public. It’s unlikely the film will have the same crossover success as, say, \u003cem>Searching for Sugarman\u003c/em> or \u003cem>Standing in the Shadows of Motown\u003c/em>, or other \u003ca href=\"http://www.twingalaxies.com/forumdisplay.php/406-The-King-of-Kong-Official-Statement\" target=\"_blank\" rel=\"noopener noreferrer\">looser documentaries\u003c/a> that don’t let the truth get in the way of a good story.\u003c/p>\n\u003cp>But that’s why it’s definitive. As someone who spent his formative teenage years going to Gilman, volunteering there and yes, even sleeping at the club during the years in the film (which, full disclosure, I’m seen in for a split second), I can’t find much that it omits. For others who were there, and for the growing number of kids worldwide interested in the era, there’s value in this. Redford says he originally cut a five-hour version from 500 hours of footage before the final two-and-a-half-hour cut, and with any luck, that extra footage will surface as DVD extras or on streaming services after this theatrical run. Ask anyone involved in the punk scene at the time, and they’ll tell you that it’s impossible to boil it down to one simple story. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/TurnItAroundHeaderArt-800x354.jpg\" alt=\"\" width=\"800\" height=\"354\" class=\"aligncenter size-medium wp-image-13243602\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/TurnItAroundHeaderArt-800x354.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/TurnItAroundHeaderArt-160x71.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/TurnItAroundHeaderArt-768x340.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/TurnItAroundHeaderArt-1020x452.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/TurnItAroundHeaderArt.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/TurnItAroundHeaderArt-1180x522.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/TurnItAroundHeaderArt-960x425.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/TurnItAroundHeaderArt-240x106.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/TurnItAroundHeaderArt-375x166.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/TurnItAroundHeaderArt-520x230.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>The film crew itself evinces a “by the punks, for the punks” philosophy: both \u003cem>Absolutely Zippo\u003c/em> editor Robert Eggplant and drummer and booker Kamala Parks served on the production crew, and the titles and illustrations were hand-drawn by \u003cem>Cometbus\u003c/em> editor Aaron Cometbus, Rancid’s Tim Armstrong and Operation Ivy’s Jesse Michaels. Before this, his first full-length film, Redford had mainly directed videos for his band, Bobby Joe Ebola and the Children Macnuggits.\u003c/p>\n\u003cp>That band name hints at the humor in the film, and also the idea, embraced by figures like \u003cem>Tales of Blarg\u003c/em> editor Janelle Hessig (and bands like \u003ca href=\"https://www.youtube.com/watch?v=u7MOxF5gz9A\" target=\"_blank\" rel=\"noopener noreferrer\">Stikky\u003c/a>), that despite the East Bay punk scene’s impact, it isn’t to be taken too seriously. \u003cem>Turn it Around\u003c/em>’s release during the current \u003ca href=\"https://ww2.kqed.org/arts/2017/04/12/de-young-summer-of-love-50th-anniversary/\" target=\"_blank\" rel=\"noopener noreferrer\">50th anniversary bonanza for the Summer of Love\u003c/a> is a curious study in contrasts on how to commemorate a musical moment.\u003c/p>\n\u003cfigure id=\"attachment_13243291\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13243291\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Tim-Armstrong-Murray-Bowles-Robert-Eggplant-and-Corbett-Redford-after-sorting-through-Murrays-photo-archive-800x600.jpg\" alt=\"Tim Armstrong, Murray Bowles, Robert Eggplant and Corbett Redford, sorting through Bowles' 30,000-strong photo archive. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Tim-Armstrong-Murray-Bowles-Robert-Eggplant-and-Corbett-Redford-after-sorting-through-Murrays-photo-archive-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Tim-Armstrong-Murray-Bowles-Robert-Eggplant-and-Corbett-Redford-after-sorting-through-Murrays-photo-archive-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Tim-Armstrong-Murray-Bowles-Robert-Eggplant-and-Corbett-Redford-after-sorting-through-Murrays-photo-archive-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Tim-Armstrong-Murray-Bowles-Robert-Eggplant-and-Corbett-Redford-after-sorting-through-Murrays-photo-archive-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Tim-Armstrong-Murray-Bowles-Robert-Eggplant-and-Corbett-Redford-after-sorting-through-Murrays-photo-archive-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Tim-Armstrong-Murray-Bowles-Robert-Eggplant-and-Corbett-Redford-after-sorting-through-Murrays-photo-archive-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Tim-Armstrong-Murray-Bowles-Robert-Eggplant-and-Corbett-Redford-after-sorting-through-Murrays-photo-archive.jpg 808w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tim Armstrong, Robert Eggplant, Murray Bowles, and Corbett Redford, after sorting through Bowles’ 30,000-strong photo archive.\u003c/figcaption>\u003c/figure>\n\u003cp>“One thing we’re not trying to do is mystify that time,” Redford says, citing the Chicago punk documentary title \u003cem>\u003ca href=\"http://www.imdb.com/title/tt1340142/\" target=\"_blank\" rel=\"noopener noreferrer\">You Weren’t There\u003c/a>\u003c/em> as an elitist idea he wanted to oppose. “We’re just trying to show how human or normal a lot of these larger-than-life figures were, how they did their best to try to make something good. We’re not saying, ‘This is the best scene ever.’ You know?”\u003c/p>\n\u003cp>That said, the film doesn’t lack in context. It opens with then-California governor Ronald Reagan ordering gas to be dropped on protesting students at People’s Park in Berkeley, soon moving to \u003cem>MaximumRockNRoll\u003c/em> founder Tim Yohannon’s on-air argument about punk with rock promoter Bill Graham. Many cultural forces coalesced in the 1970s to guide Bay Area punk, and even Kirk Hammett from Metallica and Duff McKagan from Guns ‘N’ Roses attest to the notion of the 1980s San Francisco punk scene as the country’s strongest.\u003c/p>\n\u003cfigure id=\"attachment_13243299\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13243299\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/The-Turn-It-Around-production-crew-pack-for-a-location-interview.-Photo-by-Greg-Schneider-800x533.jpg\" alt=\"The 'Turn It Around' production crew packs for an interview, with Corbett Redford at left.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Turn-It-Around-production-crew-pack-for-a-location-interview.-Photo-by-Greg-Schneider-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Turn-It-Around-production-crew-pack-for-a-location-interview.-Photo-by-Greg-Schneider-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Turn-It-Around-production-crew-pack-for-a-location-interview.-Photo-by-Greg-Schneider-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Turn-It-Around-production-crew-pack-for-a-location-interview.-Photo-by-Greg-Schneider-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Turn-It-Around-production-crew-pack-for-a-location-interview.-Photo-by-Greg-Schneider.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Turn-It-Around-production-crew-pack-for-a-location-interview.-Photo-by-Greg-Schneider-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Turn-It-Around-production-crew-pack-for-a-location-interview.-Photo-by-Greg-Schneider-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Turn-It-Around-production-crew-pack-for-a-location-interview.-Photo-by-Greg-Schneider-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Turn-It-Around-production-crew-pack-for-a-location-interview.-Photo-by-Greg-Schneider-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/The-Turn-It-Around-production-crew-pack-for-a-location-interview.-Photo-by-Greg-Schneider-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ‘Turn It Around’ production crew packs for an interview, with Corbett Redford at left. \u003ccite>(Greg Schneider)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Berkeley was a bastard child of it all, a place where kids of hippies and college professors resisted trends. The film hits its stride with the founding of the Gilman Street Project, and its philosophical opposition to knuckleheaded thrash shows with drink minimums and violent pits. In fact, the pits at Gilman are decidedly silly: “geekcore” punks play leapfrog in a circle, or ride tricycles. The band Isocracy hauls in hundreds of pounds of garbage from dumpsters, and throws it on the crowd and themselves. Inexplicably, an odd trend emerges of stagediving into bushes, and \u003ca href=\"https://www.youtube.com/watch?v=46ZtNtiZrCc\" target=\"_blank\" rel=\"noopener noreferrer\">an anthem for it\u003c/a> is written.\u003c/p>\n\u003cp>Gilman goes through various changes, including an infiltration by skinheads (in an uplifting segment of the film, the geeks fight back), but a running theme is the folly of fame. Operation Ivy breaks up because they get too popular. Yohannon suddenly closes Gilman when he feels it’s achieved all it can. The insider nature of “\u003ca href=\"http://www.foopee.com/punk/the-list/\" target=\"_blank\" rel=\"noopener noreferrer\">THE LIST\u003c/a>,” replete with “@:pit warnings” by veteran Steve Koepke, is lauded as a secret, pre-internet social network. When Gilman reopens, and Green Day starts packing in a more normal, preppy crowd than usually frequents the club, many diehards get nervous. By the film’s end, Green Day signs to a major label, a trenchant debate over what constitutes “punk” rages, Tim Yohannon passes away, and Gilman goes on to enjoy an influx — continuing to this day — of enthusiastic kids ready to start something new.\u003c/p>\n\u003cfigure id=\"attachment_13243294\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13243294\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-800x533.jpg\" alt=\"Green Day with first drummer John Kiffmeyer at Gilman, circa 1990.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Green Day with first drummer John Kiffmeyer at Gilman, circa 1990. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>No punk scene is without its scandals, and \u003cem>Turn it Around\u003c/em> conspicuously ignores them and other unsavory bits of lore: Jello Biafra getting his leg broken by crust punks; Sam McBride from Fang being convicted of killing his girlfriend; the Feederz throwing a dead dog into the crowd. (Readers can find these stories in Jack Boulware and Silke Tudor’s \u003ca href=\"http://www.bohemian.com/northbay/yellin-in-my-ear/Content?oid=2173776\" target=\"_blank\" rel=\"noopener noreferrer\">excellent oral history\u003c/a> \u003cem>Gimme Something Better: The Profound, Progressive, and Occasionally Pointless History of Bay Area Punk\u003c/em>.)\u003c/p>\n\u003cp>That’s intentional, Redford says, and ultimately, the film’s theme isn’t Do It Yourself so much as Do It Together. “The emergence of the Gilman Street Project is a pretty good example of the good things that can happen when people are nice to each other, when they decide to cooperate and build as opposed to destroy or backbite,” he says. “And again, our scene isn’t perfect, but I think that in the world today, places where outliers can converge are very important.”\u003c/p>\n\u003cfigure id=\"attachment_13243293\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13243293\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Orlando.SPecialForces-800x796.jpg\" alt=\"Orlando and Turner Babcock of Special Forces.\" width=\"800\" height=\"796\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Orlando.SPecialForces-800x796.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Orlando.SPecialForces-160x159.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Orlando.SPecialForces-768x764.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Orlando.SPecialForces-240x239.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Orlando.SPecialForces-375x373.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Orlando.SPecialForces-520x518.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Orlando.SPecialForces-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Orlando.SPecialForces-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Orlando.SPecialForces-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Orlando.SPecialForces-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Orlando.SPecialForces-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Orlando.SPecialForces-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Orlando.SPecialForces.jpg 853w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Orlando and Turner Babcock of Special Forces. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That’s evident in the diverse alumni of Gilman’s scene. Queercore groups like Tribe 8 and Pansy Division; feminist bands Spitboy and the Yeastie Girlz; black performers like the Beatnigs’ Michael Franti or Special Forces’ Orlando all weigh in. Stylistically, too, the music ranges from the Beatles-inspired harmonies of Sweet Baby to the nascent emo of Jawbreaker and the hardcore nihilism of Christ on Parade. Billie Joe, singer for one of the poppiest bands on the planet, saves his strongest words of enthusiasm for apocalyptic doom-punk overlords Neurosis.\u003c/p>\n\u003cp>And that may be the underpinning lesson of \u003cem>Turn it Around\u003c/em>: that it’s about something bigger than music.\u003c/p>\n\u003cp>“East Bay punk to me was always just a thoughtful, heartfelt, intellectual kind of thing,” says Redford. “And it taught me that punk, as opposed to just a costume or spitting on authority, is about potentially being a better citizen of the world. You know?”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Turn it Around: The Story of East Bay Punk’ premieres on \u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=284925~50c99741-ceec-4bfa-94b4-b7d919a3c410&epguid=accf668f-e555-48ca-a4fc-f10c8aa7f53d&\" target=\"_blank\" rel=\"noopener noreferrer\">Wednesday, May 31\u003c/a>, at the Alamo Drafthouse New Mission Theater in San Francisco as part of SF DocFest. A Q&A with the director, an afterparty, and others from the cast and crew are all part of the premiere; \u003ca href=\"http://prod3.agileticketing.net/websales/pages/info.aspx?evtinfo=284925~50c99741-ceec-4bfa-94b4-b7d919a3c410&epguid=accf668f-e555-48ca-a4fc-f10c8aa7f53d&\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>. A national theatrical run begins June 2. For more details and photos from the film, \u003ca href=\"https://eastbaypunk.com/\">see here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "It's Official: Jawbreaker to Reunite for Riot Fest in September",
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"content": "\u003cp>Jawbreaker, the heartfelt punk band that defined the Mission District scene in the 1990s, will reunite for Riot Fest in Chicago in September, the band confirmed today. Jawbreaker will headline Riot Fest’s Sunday lineup. \u003c/p>\n\u003cp>https://twitter.com/JawbreakerBand/status/854700818913566720\u003c/p>\n\u003cp>The band, which disbanded after the relative commercial failure of their major-label debut \u003cem>Dear You\u003c/em>, has seen its influence and popularity rise in the past 21 years. Rumors of a reunion have surfaced in recent years as the band has worked together to film a documentary, or to support benefit causes. (In January, both drummer Adam Phaler and bassist Chris Bauermeister were spotted together at a Nuisance show in Berkeley.)\u003c/p>\n\u003cp>Last year, the band played together in New York to test the waters for a headlining festival slot; \u003ca href=\"http://pitchfork.com/news/65526-jawbreaker-excited-for-possible-reunion-have-rehearsed-together/\" target=\"_blank\" rel=\"noopener\">according to drummer\u003c/a> Adam Pfhaler, “Blake [Schwarzenbach] would not do it for all the money in the world. And I would do it for nothing. So it’s two sides of that same coin.”\u003c/p>\n\u003cp>At press time, the Riot Fest appearance is the only date announced for the reunion, though according to the typical concert-industry contract, other upcoming dates could be likely after Riot Fest sells out. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Watch Jawbreaker play ‘Parabola’ at Punks With Presses in West Oakland in 1994:\u003cbr>\n\u003c/em>\u003cbr>\nhttps://www.youtube.com/watch?v=hT5oaxDQO4g\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The band, which disbanded after the relative commercial failure of their major-label debut \u003cem>Dear You\u003c/em>, has seen its influence and popularity rise in the past 21 years. Rumors of a reunion have surfaced in recent years as the band has worked together to film a documentary, or to support benefit causes. (In January, both drummer Adam Phaler and bassist Chris Bauermeister were spotted together at a Nuisance show in Berkeley.)\u003c/p>\n\u003cp>Last year, the band played together in New York to test the waters for a headlining festival slot; \u003ca href=\"http://pitchfork.com/news/65526-jawbreaker-excited-for-possible-reunion-have-rehearsed-together/\" target=\"_blank\" rel=\"noopener\">according to drummer\u003c/a> Adam Pfhaler, “Blake [Schwarzenbach] would not do it for all the money in the world. And I would do it for nothing. So it’s two sides of that same coin.”\u003c/p>\n\u003cp>At press time, the Riot Fest appearance is the only date announced for the reunion, though according to the typical concert-industry contract, other upcoming dates could be likely after Riot Fest sells out. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Watch Jawbreaker play ‘Parabola’ at Punks With Presses in West Oakland in 1994:\u003cbr>\n\u003c/em>\u003cbr>\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/hT5oaxDQO4g'\n title='//www.youtube.com/embed/hT5oaxDQO4g'\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>Maybe it was inevitable. Those who grew up with punk are going to find some way to tie a bow on 30 years of wild and woolly music in an official sense, and that happened Tuesday night, when the Berkeley City Council took a moment at the start of its meeting to honor \u003ca href=\"http://www.924gilman.org/\" target=\"_blank\" rel=\"noopener\">924 Gilman\u003c/a>.\u003c/p>\n\u003cp>No, seriously. Check out this clip from the video the city makes available for public download. That’s Berkeley Mayor Jesse Arreguin speaking first:\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=Lp6Obyn20gg]\u003c/p>\n\u003cp>924 Gilman, you’ll recall, is the music collective that helped birth \u003ca href=\"http://www.greenday.com/\" target=\"_blank\" rel=\"noopener\">Green Day\u003c/a>, \u003ca href=\"http://rancidrancid.com/\" target=\"_blank\" rel=\"noopener\">Rancid\u003c/a> and a host of other East Bay punk bands, starting in the 1980s. At the time, its founders proclaimed it to be a safe, all-ages space without drugs, alcohol, or violence, and it’s managed to hang on to that credo through several generations of music lovers. Now 924 Gilman is a non-profit, and turning 30 — 30! — which means it’s middle-aged.\u003c/p>\n\u003cp>“It was pretty surreal,” says Jesse Townley, who became involved with 924 Gilman with his first band, \u003ca href=\"https://www.facebook.com/blatzpunk/\" target=\"_blank\" rel=\"noopener\">Blatz\u003c/a>. “This is the only time it’s happened to us in 30 years. It’s pretty great that we were able to gain recognition as a DIY underground space, run by a ragtag bunch of volunteers.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Townley (who notes he speaks for himself and not the collective) says 924 Gilman had a testy relationship with local police back in 1989/1990, leading him to get interested in zoning politics. Around that time, a zoning board member called the club a “festering sore,” and 924 Gilman’s supporters readily adopted that as their nickname.\u003c/p>\n\u003cp>Townley has since become a longtime, elected commissioner on the \u003ca href=\"http://www.ci.berkeley.ca.us/Rent_Stabilization_Board/Home/Meet/Contact_the_Board.aspx\" target=\"_blank\" rel=\"noopener\">Berkeley Rent Stabilization Board\u003c/a>, and he says relations with the police have improved.\u003c/p>\n\u003cp>As word of the city’s commendation spread on Townley’s \u003ca href=\"https://www.facebook.com/jesse.townley.3/posts/1599779710062720\" target=\"_blank\" rel=\"noopener\">Facebook\u003c/a> page, one Mark Grody affectionately commented “Did anyone tag the lectern?!!!??”\u003c/p>\n\u003cfigure id=\"attachment_11336197\" class=\"wp-caption aligncenter\" style=\"max-width: 448px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11336197\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/gilmanrules-448x600.jpg\" alt=\"The rules posted at the entry to 924 Gilman.\" width=\"448\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/gilmanrules-448x600.jpg 448w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/gilmanrules-400x536.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/gilmanrules.jpg 478w\" sizes=\"(max-width: 448px) 100vw, 448px\">\u003cfigcaption class=\"wp-caption-text\">The rules posted at the entry to 924 Gilman. \u003ccite>(Courtesy 924 Gilman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>All grown up\u003c/strong>\u003c/p>\n\u003cp>If anything, 924 Gilman’s greatest threat these days is \u003ca href=\"https://ww2.kqed.org/arts/2016/02/17/green-day-dookie-924-gilman/\" target=\"_blank\" rel=\"noopener\">gentrification\u003c/a>. There’s a Whole Foods two blocks away, and some of the club’s most stalwart supporters are raising money to buy it preemptively, even though the owner is also a longtime supporter of the club, and there are no imminent indications he’s considering any offers from condo developers yet.\u003c/p>\n\u003cp>In the meantime, the club continues to function as a safe space to appreciate punk music, for young and old alike. \u003ca href=\"http://offspring.com/\" target=\"_blank\" rel=\"noopener\">The Offspring\u003c/a> have announced they’re going to play their classic 1992 album \u003cem>Ignition\u003c/em> in its entirety at a \u003ca href=\"http://dyingscene.com/news/the-offspring-to-play-the-entire-ignition-album-at-benefit-for-924-gilman-new-album-to-be-announced-soon/\" target=\"_blank\" rel=\"noopener\">30th anniversary birthday bash\u003c/a> on April 13th.\u003c/p>\n\u003cp>Also, indie distributor \u003ca href=\"http://abramorama.com/\" target=\"_blank\" rel=\"noopener\">Abramorama \u003c/a>is \u003ca href=\"http://deadline.com/2017/03/turn-it-around-the-story-of-east-bay-punk-green-day-abramorama-movie-1202054886/\" target=\"_blank\" rel=\"noopener\">teaming up with Green Day\u003c/a> to distribute \u003ca href=\"http://eastbaypunk.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Turn It Around: The Story Of East Bay Punk\u003c/em>\u003c/a>, a documentary directed by Corbett Redford and executive produced by the band. Iggy Pop narrates, naturally.\u003c/p>\n\u003cp>\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=\"Q.Logo.Break\" 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\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Maybe it was inevitable. Those who grew up with punk are going to find some way to tie a bow on 30 years of wild and woolly music in an official sense, and that happened Tuesday night, when the Berkeley City Council took a moment at the start of its meeting to honor \u003ca href=\"http://www.924gilman.org/\" target=\"_blank\" rel=\"noopener\">924 Gilman\u003c/a>.\u003c/p>\n\u003cp>No, seriously. Check out this clip from the video the city makes available for public download. That’s Berkeley Mayor Jesse Arreguin speaking first:\u003c/p>\n\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/Lp6Obyn20gg'\n title='//www.youtube.com/embed/Lp6Obyn20gg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>924 Gilman, you’ll recall, is the music collective that helped birth \u003ca href=\"http://www.greenday.com/\" target=\"_blank\" rel=\"noopener\">Green Day\u003c/a>, \u003ca href=\"http://rancidrancid.com/\" target=\"_blank\" rel=\"noopener\">Rancid\u003c/a> and a host of other East Bay punk bands, starting in the 1980s. At the time, its founders proclaimed it to be a safe, all-ages space without drugs, alcohol, or violence, and it’s managed to hang on to that credo through several generations of music lovers. Now 924 Gilman is a non-profit, and turning 30 — 30! — which means it’s middle-aged.\u003c/p>\n\u003cp>“It was pretty surreal,” says Jesse Townley, who became involved with 924 Gilman with his first band, \u003ca href=\"https://www.facebook.com/blatzpunk/\" target=\"_blank\" rel=\"noopener\">Blatz\u003c/a>. “This is the only time it’s happened to us in 30 years. It’s pretty great that we were able to gain recognition as a DIY underground space, run by a ragtag bunch of volunteers.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Townley (who notes he speaks for himself and not the collective) says 924 Gilman had a testy relationship with local police back in 1989/1990, leading him to get interested in zoning politics. Around that time, a zoning board member called the club a “festering sore,” and 924 Gilman’s supporters readily adopted that as their nickname.\u003c/p>\n\u003cp>Townley has since become a longtime, elected commissioner on the \u003ca href=\"http://www.ci.berkeley.ca.us/Rent_Stabilization_Board/Home/Meet/Contact_the_Board.aspx\" target=\"_blank\" rel=\"noopener\">Berkeley Rent Stabilization Board\u003c/a>, and he says relations with the police have improved.\u003c/p>\n\u003cp>As word of the city’s commendation spread on Townley’s \u003ca href=\"https://www.facebook.com/jesse.townley.3/posts/1599779710062720\" target=\"_blank\" rel=\"noopener\">Facebook\u003c/a> page, one Mark Grody affectionately commented “Did anyone tag the lectern?!!!??”\u003c/p>\n\u003cfigure id=\"attachment_11336197\" class=\"wp-caption aligncenter\" style=\"max-width: 448px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11336197\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/gilmanrules-448x600.jpg\" alt=\"The rules posted at the entry to 924 Gilman.\" width=\"448\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/gilmanrules-448x600.jpg 448w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/gilmanrules-400x536.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/gilmanrules.jpg 478w\" sizes=\"(max-width: 448px) 100vw, 448px\">\u003cfigcaption class=\"wp-caption-text\">The rules posted at the entry to 924 Gilman. \u003ccite>(Courtesy 924 Gilman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>All grown up\u003c/strong>\u003c/p>\n\u003cp>If anything, 924 Gilman’s greatest threat these days is \u003ca href=\"https://ww2.kqed.org/arts/2016/02/17/green-day-dookie-924-gilman/\" target=\"_blank\" rel=\"noopener\">gentrification\u003c/a>. There’s a Whole Foods two blocks away, and some of the club’s most stalwart supporters are raising money to buy it preemptively, even though the owner is also a longtime supporter of the club, and there are no imminent indications he’s considering any offers from condo developers yet.\u003c/p>\n\u003cp>In the meantime, the club continues to function as a safe space to appreciate punk music, for young and old alike. \u003ca href=\"http://offspring.com/\" target=\"_blank\" rel=\"noopener\">The Offspring\u003c/a> have announced they’re going to play their classic 1992 album \u003cem>Ignition\u003c/em> in its entirety at a \u003ca href=\"http://dyingscene.com/news/the-offspring-to-play-the-entire-ignition-album-at-benefit-for-924-gilman-new-album-to-be-announced-soon/\" target=\"_blank\" rel=\"noopener\">30th anniversary birthday bash\u003c/a> on April 13th.\u003c/p>\n\u003cp>Also, indie distributor \u003ca href=\"http://abramorama.com/\" target=\"_blank\" rel=\"noopener\">Abramorama \u003c/a>is \u003ca href=\"http://deadline.com/2017/03/turn-it-around-the-story-of-east-bay-punk-green-day-abramorama-movie-1202054886/\" target=\"_blank\" rel=\"noopener\">teaming up with Green Day\u003c/a> to distribute \u003ca href=\"http://eastbaypunk.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Turn It Around: The Story Of East Bay Punk\u003c/em>\u003c/a>, a documentary directed by Corbett Redford and executive produced by the band. Iggy Pop narrates, naturally.\u003c/p>\n\u003cp>\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=\"Q.Logo.Break\" 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\n\u003c/div>\u003c/p>",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
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