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"content": "\u003cp>Like most people who hear the words “Pussy Riot musical,” I arrived at the Regency Ballroom on Friday night not quite knowing what to expect. But lack of clarity about what we were about to witness didn’t seem to temper enthusiasm: A crowd of visibly excited people, mostly women — some of whom were wearing their pink hats from the Women’s March — piled into the third-floor lounge on March 10 for \u003cem>Revolution\u003c/em>, a new multimedia musical theater piece based on the forthcoming memoir of Pussy Riot’s Maria Alyokhina.\u003c/p>\n\u003cp>It marked another chapter for the activist/music collective, who first arrived in mainstream consciousness in 2012 after staging an anti-Putin protest at a Moscow cathedral. When members Maria Alyokhina and her bandmate Nadezhda Tolokonnikova received two-year sentences for a protest that lasted only 40 seconds, their plight as political prisoners made international headlines.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=grEBLskpDWQ\u003c/p>\n\u003cp>But for progressive Russian immigrants like myself, Pussy Riot became beacons of possibility. Authoritarianism has been ubiquitous in our home country for so long, most people don’t see the point of fighting. Centuries of political oppression have rendered Russian people cynical to the point of nihilism. The fact that a group of young women put themselves at risk to speak out in such a dramatic way was nothing short of revolutionary.\u003c/p>\n\u003cp>After their arrest, Pussy Riot came to be regarded as symbols of resistance abroad. Their brash feminism resonated with American audiences who were already primed on several decades of women’s liberation movements. Meanwhile, in Russia, their views were seen as fringe.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But interesting things happened when Pussy Riot was released in 2013: Tolokonnikova and Alyokhina became activist-celebrities and seemed to enjoy their newfound fame. When they appeared on an episode of \u003cem>House of Cards\u003c/em>, where they criticized a fictional version of Putin at a dinner in Frank Underwood’s White House, some of my young, feminist Russian-American friends accused them of being too Hollywood. “Hadn’t they just served two years in a penal colony?” I thought. “If they want to have some fun now, we should let them live.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=s-bKFo30o2o\u003c/p>\n\u003cp>Still, something seemed to be lost in translation in Pussy Riot’s attempts to cross over into mainstream America. In 2016, Tolokonnikova released two English-language singles as Pussy Riot, seemingly without the other group members’ involvement: “Make America Great Again” was an anti-Trump song set to an awkward combination of folk guitar and trap drums. And “Straight Outta Vagina,” a play on NWA’s “Straight Outta Compton,” presented itself as a radical, feminist statement. But with lyrics like \u003cem>Does your vagina have a brand?/Let your vagina start a band\u003c/em>, it came off as nonsensical at best and equating women with their genitals at worst.\u003c/p>\n\u003cp>Alyokhina’s \u003cem>Revolution, \u003c/em>which moved onto L.A. after one night in San Francisco on this national tour, taps into Pussy Riot’s legacy of avant-garde performance art in a much more authentic way.\u003c/p>\n\u003cp>Alyokhina took the stage with three collaborators: Nastia and Max (who go only by their first names) of “junk-punk” duo Asian Women on the Telephone, as well as actor Kiryl Masheka. Alyokhina and Masheka narrated, in Russian, the tale of Pussy Riot’s now famous 2012 “Punk Prayer” protest and subsequent incarceration in a remote, Siberian penal colony. A video projection with footage of the protest, courtroom drawings, and images from the penal colony played in the background, along with English subtitles to translate the dialogue on stage. Meanwhile, Nastia and Max played a live noise-punk soundtrack with drums, saxophone, and electronics.\u003c/p>\n\u003cp>It’s worth noting that director Yury Muravitsky wasn’t in attendance because, said Alyokhina, he was denied a travel visa into the United States. The reasons for the denial are unclear, but with the work’s subversive content — and the parallels between its critiques of Putin and anti-Trump rhetoric, along with the current debate over Trump’s travel ban — that news was enough to cause murmurs in the audience.\u003c/p>\n\u003cp>The performance was scrappy, but the DIY feel gave it plenty of charm. The actors actually had to restart the show after a few minutes because they had discovered that the subtitles weren’t showing up. But the audience only cheered louder the second time they declared “What about the revolution?” in the prologue. It’s also worth remembering, of course, Pussy Riot started out as a loose, informal collective of liberal arts students who staged guerrilla actions in public places and put videos of them on YouTube.\u003c/p>\n\u003cfigure id=\"attachment_12895731\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/revolution-glen-casebeer.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12895731\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/revolution-glen-casebeer-800x480.jpg\" alt=\"'Revolution': Nastia from Asian Women on the Telephone, left, and Maria Alyokhina. \" width=\"800\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/revolution-glen-casebeer-800x480.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/revolution-glen-casebeer-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/revolution-glen-casebeer-768x461.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/revolution-glen-casebeer-1020x612.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/revolution-glen-casebeer.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/revolution-glen-casebeer-1180x708.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/revolution-glen-casebeer-960x576.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/revolution-glen-casebeer-240x144.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/revolution-glen-casebeer-375x225.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/revolution-glen-casebeer-520x312.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Revolution’: Nastia from Asian Women on the Telephone, left, and Maria Alyokhina. \u003ccite>(Glen Casebeer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Revolution\u003c/em> was also a bit of a sensory overload, between Alyokhina’s motor-mouth monologues, the footage, and the experimental soundtrack vying for the viewers’ attention at once. She and the other actor would often break into song: he danced around like the frontman of a punk band as she recited her lines with an intense rigidity befitting her interpretations of Russian legal jargon and political rhetoric. The jumble of stimuli on stage created a Kafka-esque sense of confusion that conveyed, on an emotional level, the counterintuitive belief systems and Orwellian double-think required to sustain an authoritarian state.\u003c/p>\n\u003cp>A particularly emotive moment came as Alyokhina described being driven to the remote Siberian penal colony in an autozak (a Russian vehicle whose name is literally an acronym for “automobile for transporting the incarcerated”). “Next time you’re passing an autozak on the freeway, look closely. You might notice the eyes of an incarcerated person looking at you,” she said in Russian.\u003c/p>\n\u003cfigure id=\"attachment_12899708\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/maria232way-1cb4a674a14949623b004a9da2895a3d8306f07c-s800-c85.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12899708\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/maria232way-1cb4a674a14949623b004a9da2895a3d8306f07c-s800-c85-800x599.jpg\" alt=\"Maria Alyokhina, after her release from prison on Monday in Nizhny Novgorod, Russia.\" width=\"800\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/maria232way-1cb4a674a14949623b004a9da2895a3d8306f07c-s800-c85.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/maria232way-1cb4a674a14949623b004a9da2895a3d8306f07c-s800-c85-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/maria232way-1cb4a674a14949623b004a9da2895a3d8306f07c-s800-c85-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/maria232way-1cb4a674a14949623b004a9da2895a3d8306f07c-s800-c85-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/maria232way-1cb4a674a14949623b004a9da2895a3d8306f07c-s800-c85-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/maria232way-1cb4a674a14949623b004a9da2895a3d8306f07c-s800-c85-520x389.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Maria Alyokhina, after her release from prison on Monday in Nizhny Novgorod, Russia. \u003ccite>(Sergei Karpukhin via NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the years since Pussy Riot’s infamous arrest, Putin’s approval ratings have grown to 83 percent. There was a resistance movement, the so-called Snow Revolution of 2011, but over time, people grew complacent. Russia doesn’t have a viable opposition party; Putin’s outspoken critics, such as the former deputy prime minister Boris Nemtsov, mysteriously wind up dead; and public protests require permits from the state. Needless to say, it should be extremely alarming that the extent of Russia’s ties to the Trump administration are not yet known.\u003c/p>\n\u003cp>Alyokhina’s ultimate goal is to bring \u003cem>Revolution\u003c/em> to Russia — yes, her theater production, but also an actual revolution. Despite the traumatizing experiences she’s been through, she’s still fighting. That’s a powerful lesson for her American audience: that the fight for freedom is a slow, messy one; that one Women’s March isn’t enough to challenge the authoritarianism creeping into American politics; and that even though it’s hard, one needs to keep resisting.\u003c/p>\n\u003cp>Or, as Alyokhina said during the Q&A portion of the event: “The most dangerous prison is that which you can build inside your head.”\u003c/p>\n\u003cp>[ad floatright]\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=\"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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"excerpt": "At a time when anti-Putin protest and anti-Trump rhetoric look eerily similar, a new multimedia theater piece from Maria Alyokhina strikes a highly relevant note. ",
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"description": "At a time when anti-Putin protest and anti-Trump rhetoric look eerily similar, a new multimedia theater piece from Maria Alyokhina strikes a highly relevant note. ",
"title": "In New Pussy Riot Musical ‘Revolution,’ Foreshadowing of a Tough Fight Ahead | KQED",
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"headline": "In New Pussy Riot Musical ‘Revolution,’ Foreshadowing of a Tough Fight Ahead",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Like most people who hear the words “Pussy Riot musical,” I arrived at the Regency Ballroom on Friday night not quite knowing what to expect. But lack of clarity about what we were about to witness didn’t seem to temper enthusiasm: A crowd of visibly excited people, mostly women — some of whom were wearing their pink hats from the Women’s March — piled into the third-floor lounge on March 10 for \u003cem>Revolution\u003c/em>, a new multimedia musical theater piece based on the forthcoming memoir of Pussy Riot’s Maria Alyokhina.\u003c/p>\n\u003cp>It marked another chapter for the activist/music collective, who first arrived in mainstream consciousness in 2012 after staging an anti-Putin protest at a Moscow cathedral. When members Maria Alyokhina and her bandmate Nadezhda Tolokonnikova received two-year sentences for a protest that lasted only 40 seconds, their plight as political prisoners made international headlines.\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/grEBLskpDWQ'\n title='//www.youtube.com/embed/grEBLskpDWQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But for progressive Russian immigrants like myself, Pussy Riot became beacons of possibility. Authoritarianism has been ubiquitous in our home country for so long, most people don’t see the point of fighting. Centuries of political oppression have rendered Russian people cynical to the point of nihilism. The fact that a group of young women put themselves at risk to speak out in such a dramatic way was nothing short of revolutionary.\u003c/p>\n\u003cp>After their arrest, Pussy Riot came to be regarded as symbols of resistance abroad. Their brash feminism resonated with American audiences who were already primed on several decades of women’s liberation movements. Meanwhile, in Russia, their views were seen as fringe.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But interesting things happened when Pussy Riot was released in 2013: Tolokonnikova and Alyokhina became activist-celebrities and seemed to enjoy their newfound fame. When they appeared on an episode of \u003cem>House of Cards\u003c/em>, where they criticized a fictional version of Putin at a dinner in Frank Underwood’s White House, some of my young, feminist Russian-American friends accused them of being too Hollywood. “Hadn’t they just served two years in a penal colony?” I thought. “If they want to have some fun now, we should let them live.”\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/s-bKFo30o2o'\n title='//www.youtube.com/embed/s-bKFo30o2o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Still, something seemed to be lost in translation in Pussy Riot’s attempts to cross over into mainstream America. In 2016, Tolokonnikova released two English-language singles as Pussy Riot, seemingly without the other group members’ involvement: “Make America Great Again” was an anti-Trump song set to an awkward combination of folk guitar and trap drums. And “Straight Outta Vagina,” a play on NWA’s “Straight Outta Compton,” presented itself as a radical, feminist statement. But with lyrics like \u003cem>Does your vagina have a brand?/Let your vagina start a band\u003c/em>, it came off as nonsensical at best and equating women with their genitals at worst.\u003c/p>\n\u003cp>Alyokhina’s \u003cem>Revolution, \u003c/em>which moved onto L.A. after one night in San Francisco on this national tour, taps into Pussy Riot’s legacy of avant-garde performance art in a much more authentic way.\u003c/p>\n\u003cp>Alyokhina took the stage with three collaborators: Nastia and Max (who go only by their first names) of “junk-punk” duo Asian Women on the Telephone, as well as actor Kiryl Masheka. Alyokhina and Masheka narrated, in Russian, the tale of Pussy Riot’s now famous 2012 “Punk Prayer” protest and subsequent incarceration in a remote, Siberian penal colony. A video projection with footage of the protest, courtroom drawings, and images from the penal colony played in the background, along with English subtitles to translate the dialogue on stage. Meanwhile, Nastia and Max played a live noise-punk soundtrack with drums, saxophone, and electronics.\u003c/p>\n\u003cp>It’s worth noting that director Yury Muravitsky wasn’t in attendance because, said Alyokhina, he was denied a travel visa into the United States. The reasons for the denial are unclear, but with the work’s subversive content — and the parallels between its critiques of Putin and anti-Trump rhetoric, along with the current debate over Trump’s travel ban — that news was enough to cause murmurs in the audience.\u003c/p>\n\u003cp>The performance was scrappy, but the DIY feel gave it plenty of charm. The actors actually had to restart the show after a few minutes because they had discovered that the subtitles weren’t showing up. But the audience only cheered louder the second time they declared “What about the revolution?” in the prologue. It’s also worth remembering, of course, Pussy Riot started out as a loose, informal collective of liberal arts students who staged guerrilla actions in public places and put videos of them on YouTube.\u003c/p>\n\u003cfigure id=\"attachment_12895731\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/revolution-glen-casebeer.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12895731\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/revolution-glen-casebeer-800x480.jpg\" alt=\"'Revolution': Nastia from Asian Women on the Telephone, left, and Maria Alyokhina. \" width=\"800\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/revolution-glen-casebeer-800x480.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/revolution-glen-casebeer-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/revolution-glen-casebeer-768x461.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/revolution-glen-casebeer-1020x612.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/revolution-glen-casebeer.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/revolution-glen-casebeer-1180x708.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/revolution-glen-casebeer-960x576.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/revolution-glen-casebeer-240x144.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/revolution-glen-casebeer-375x225.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/revolution-glen-casebeer-520x312.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Revolution’: Nastia from Asian Women on the Telephone, left, and Maria Alyokhina. \u003ccite>(Glen Casebeer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Revolution\u003c/em> was also a bit of a sensory overload, between Alyokhina’s motor-mouth monologues, the footage, and the experimental soundtrack vying for the viewers’ attention at once. She and the other actor would often break into song: he danced around like the frontman of a punk band as she recited her lines with an intense rigidity befitting her interpretations of Russian legal jargon and political rhetoric. The jumble of stimuli on stage created a Kafka-esque sense of confusion that conveyed, on an emotional level, the counterintuitive belief systems and Orwellian double-think required to sustain an authoritarian state.\u003c/p>\n\u003cp>A particularly emotive moment came as Alyokhina described being driven to the remote Siberian penal colony in an autozak (a Russian vehicle whose name is literally an acronym for “automobile for transporting the incarcerated”). “Next time you’re passing an autozak on the freeway, look closely. You might notice the eyes of an incarcerated person looking at you,” she said in Russian.\u003c/p>\n\u003cfigure id=\"attachment_12899708\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/maria232way-1cb4a674a14949623b004a9da2895a3d8306f07c-s800-c85.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12899708\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/maria232way-1cb4a674a14949623b004a9da2895a3d8306f07c-s800-c85-800x599.jpg\" alt=\"Maria Alyokhina, after her release from prison on Monday in Nizhny Novgorod, Russia.\" width=\"800\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/maria232way-1cb4a674a14949623b004a9da2895a3d8306f07c-s800-c85.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/maria232way-1cb4a674a14949623b004a9da2895a3d8306f07c-s800-c85-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/maria232way-1cb4a674a14949623b004a9da2895a3d8306f07c-s800-c85-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/maria232way-1cb4a674a14949623b004a9da2895a3d8306f07c-s800-c85-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/maria232way-1cb4a674a14949623b004a9da2895a3d8306f07c-s800-c85-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/maria232way-1cb4a674a14949623b004a9da2895a3d8306f07c-s800-c85-520x389.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Maria Alyokhina, after her release from prison on Monday in Nizhny Novgorod, Russia. \u003ccite>(Sergei Karpukhin via NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the years since Pussy Riot’s infamous arrest, Putin’s approval ratings have grown to 83 percent. There was a resistance movement, the so-called Snow Revolution of 2011, but over time, people grew complacent. Russia doesn’t have a viable opposition party; Putin’s outspoken critics, such as the former deputy prime minister Boris Nemtsov, mysteriously wind up dead; and public protests require permits from the state. Needless to say, it should be extremely alarming that the extent of Russia’s ties to the Trump administration are not yet known.\u003c/p>\n\u003cp>Alyokhina’s ultimate goal is to bring \u003cem>Revolution\u003c/em> to Russia — yes, her theater production, but also an actual revolution. Despite the traumatizing experiences she’s been through, she’s still fighting. That’s a powerful lesson for her American audience: that the fight for freedom is a slow, messy one; that one Women’s March isn’t enough to challenge the authoritarianism creeping into American politics; and that even though it’s hard, one needs to keep resisting.\u003c/p>\n\u003cp>Or, as Alyokhina said during the Q&A portion of the event: “The most dangerous prison is that which you can build inside your head.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Happy International Clash Day, San Francisco",
"headTitle": "Happy International Clash Day, San Francisco | KQED",
"content": "\u003cp>As we here at KQED Arts shine a spotlight on the ways\u003ca href=\"https://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\" target=\"_blank\" rel=\"noopener\"> artists are responding to the Trump administration\u003c/a>, it’s only fitting that we acknowledge a holiday honoring one of the most influential bands in the history of rock ‘n’ roll — and a band whose unambiguous use of music as a platform to speak out against racism, global inequality, and militarism sometimes goes overlooked.\u003c/p>\n\u003cp>Yes, Feb. 7, 2017, is International Clash Day, thanks to an enterprising morning show host at \u003ca href=\"http://kexp.org/\" target=\"_blank\" rel=\"noopener\">Seattle’s KEXP\u003c/a>. John Richards held the first Clash Day celebration there in 2013 — basically just by deciding to play Clash songs all day — and five years later, San Francisco is one of seven American cities that currently recognize it as an official holiday. Mayor Ed Lee even signed a proclamation to make it so.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/clashproc_sf_500.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12735832 aligncenter\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/clashproc_sf_500.jpg\" alt=\"clashproc_sf_500\" width=\"500\" height=\"732\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/clashproc_sf_500.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/clashproc_sf_500-160x234.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/clashproc_sf_500-240x351.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/clashproc_sf_500-375x549.jpg 375w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003c/p>\n\u003cp>It reads:\u003c/p>\n\u003cblockquote>\u003cp>Whereas, the City and County of San Francisco reocognizes the achievements of notable musical and artistic culture, the legendary UK band, The Clash, through its music, has given the world a socially conscious sound that represents progressive values of diversity, tolerance and multiculturalism as well as a bit of rock and roll rebellion; and\u003c/p>\n\u003cp>Whereas, the City of San Francisco has long been recognized as playing a vital role in the musical and artistic culture of the United States and beyond; and\u003c/p>\n\u003cp>Whereas, on February 8th, 1979, The Clash chose the City of San Francisco for their second show in the United States and returned to perform in San Francisco a total of eight different times in their career as a band; and\u003c/p>\n\u003cp>Whereas, the City of San Francisco adheres to the belief, said in the immortal words of Joe Strummer, “People can change anything they want to, and that means everything in the world;” and,\u003c/p>\n\u003cp>Whereas, the globally minded City of San Francisco wishes to join with other like-minded cities across the globe in celebrating the 5th Annual International Clash Day; now\u003c/p>\n\u003cp>Therefore be it resolved I, Edwin M. Lee, Mayor of the City and County of San Francisco in recognition of their and [sic] artistic achievements and socially conscious music do hereby proclaim February 7, 2017 as…\u003c/p>\n\u003cp>International Clash Day in San Francisco!\u003c/p>\u003c/blockquote>\n\u003cp>To celebrate, \u003ca href=\"http://kexp.org/\" target=\"_blank\" rel=\"noopener\">KEXP is playing a full 24 hours of The Clash\u003c/a>, along with Clash covers and tracks by artists who were clearly influenced by the British rockers’ sound, politics, or both. Since noon, we’ve heard Woody Guthrie, MIA, Pearl Jam, Lily Allen (Joe Strummer’s goddaughter, natch) Billy Bragg, and more.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Even better — in between tunes, musicians and music historians are chiming in with phone calls or pre-recorded bits to share what The Clash meant to them, and how their legacy lives on. To paraphrase, as we just heard Dave Grohl share over the airwaves: “In Donald Trump’s America, we need The Clash more than ever.”\u003c/p>\n\u003cp>Tune into\u003ca href=\"http://blog.kexp.org/clashday2017/\" target=\"_blank\" rel=\"noopener\"> KEXP right here\u003c/a>; read this NPR story about \u003ca href=\"http://www.npr.org/2012/12/20/167651279/joe-strummers-life-after-death\" target=\"_blank\" rel=\"noopener\">Joe Strummer’s\u003c/a> \u003ca href=\"http://www.npr.org/2012/12/20/167651279/joe-strummers-life-after-death\" target=\"_blank\" rel=\"noopener\">long-lasting influence\u003c/a>; or listen to a few of my personal favorites below.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=IvG3is7Bm1w\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FuYzsrYSQx4\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zyUsJWO-7jM\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jZOrkPIZ1JU\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=u-qcy0-7ngw\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qsrEAWcAvRg\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FUNXA3srhYI\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"excerpt": "In the midst of a discussion about art's role in a protest movement, there's no better time to celebrate the legacy of The Clash. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As we here at KQED Arts shine a spotlight on the ways\u003ca href=\"https://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\" target=\"_blank\" rel=\"noopener\"> artists are responding to the Trump administration\u003c/a>, it’s only fitting that we acknowledge a holiday honoring one of the most influential bands in the history of rock ‘n’ roll — and a band whose unambiguous use of music as a platform to speak out against racism, global inequality, and militarism sometimes goes overlooked.\u003c/p>\n\u003cp>Yes, Feb. 7, 2017, is International Clash Day, thanks to an enterprising morning show host at \u003ca href=\"http://kexp.org/\" target=\"_blank\" rel=\"noopener\">Seattle’s KEXP\u003c/a>. John Richards held the first Clash Day celebration there in 2013 — basically just by deciding to play Clash songs all day — and five years later, San Francisco is one of seven American cities that currently recognize it as an official holiday. Mayor Ed Lee even signed a proclamation to make it so.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/clashproc_sf_500.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12735832 aligncenter\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/clashproc_sf_500.jpg\" alt=\"clashproc_sf_500\" width=\"500\" height=\"732\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/clashproc_sf_500.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/clashproc_sf_500-160x234.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/clashproc_sf_500-240x351.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/clashproc_sf_500-375x549.jpg 375w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003c/p>\n\u003cp>It reads:\u003c/p>\n\u003cblockquote>\u003cp>Whereas, the City and County of San Francisco reocognizes the achievements of notable musical and artistic culture, the legendary UK band, The Clash, through its music, has given the world a socially conscious sound that represents progressive values of diversity, tolerance and multiculturalism as well as a bit of rock and roll rebellion; and\u003c/p>\n\u003cp>Whereas, the City of San Francisco has long been recognized as playing a vital role in the musical and artistic culture of the United States and beyond; and\u003c/p>\n\u003cp>Whereas, on February 8th, 1979, The Clash chose the City of San Francisco for their second show in the United States and returned to perform in San Francisco a total of eight different times in their career as a band; and\u003c/p>\n\u003cp>Whereas, the City of San Francisco adheres to the belief, said in the immortal words of Joe Strummer, “People can change anything they want to, and that means everything in the world;” and,\u003c/p>\n\u003cp>Whereas, the globally minded City of San Francisco wishes to join with other like-minded cities across the globe in celebrating the 5th Annual International Clash Day; now\u003c/p>\n\u003cp>Therefore be it resolved I, Edwin M. Lee, Mayor of the City and County of San Francisco in recognition of their and [sic] artistic achievements and socially conscious music do hereby proclaim February 7, 2017 as…\u003c/p>\n\u003cp>International Clash Day in San Francisco!\u003c/p>\u003c/blockquote>\n\u003cp>To celebrate, \u003ca href=\"http://kexp.org/\" target=\"_blank\" rel=\"noopener\">KEXP is playing a full 24 hours of The Clash\u003c/a>, along with Clash covers and tracks by artists who were clearly influenced by the British rockers’ sound, politics, or both. Since noon, we’ve heard Woody Guthrie, MIA, Pearl Jam, Lily Allen (Joe Strummer’s goddaughter, natch) Billy Bragg, and more.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Even better — in between tunes, musicians and music historians are chiming in with phone calls or pre-recorded bits to share what The Clash meant to them, and how their legacy lives on. To paraphrase, as we just heard Dave Grohl share over the airwaves: “In Donald Trump’s America, we need The Clash more than ever.”\u003c/p>\n\u003cp>Tune into\u003ca href=\"http://blog.kexp.org/clashday2017/\" target=\"_blank\" rel=\"noopener\"> KEXP right here\u003c/a>; read this NPR story about \u003ca href=\"http://www.npr.org/2012/12/20/167651279/joe-strummers-life-after-death\" target=\"_blank\" rel=\"noopener\">Joe Strummer’s\u003c/a> \u003ca href=\"http://www.npr.org/2012/12/20/167651279/joe-strummers-life-after-death\" target=\"_blank\" rel=\"noopener\">long-lasting influence\u003c/a>; or listen to a few of my personal favorites below.\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/IvG3is7Bm1w'\n title='//www.youtube.com/embed/IvG3is7Bm1w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>https://www.youtube.com/watch?v=FuYzsrYSQx4\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/zyUsJWO-7jM'\n title='//www.youtube.com/embed/zyUsJWO-7jM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>https://www.youtube.com/watch?v=jZOrkPIZ1JU\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/u-qcy0-7ngw'\n title='//www.youtube.com/embed/u-qcy0-7ngw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>https://www.youtube.com/watch?v=qsrEAWcAvRg\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/FUNXA3srhYI'\n title='//www.youtube.com/embed/FUNXA3srhYI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Bob Mould On Hüsker Dü's Cover Of 'The Mary Tyler Moore Show' Theme",
"headTitle": "Bob Mould On Hüsker Dü’s Cover Of ‘The Mary Tyler Moore Show’ Theme | KQED",
"content": "\u003cp>“It was freezing cold,” Mary Tyler Moore, who \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/01/25/461947952/she-turned-the-world-on-with-her-smile-mary-tyler-moore-dies-at-80\">died yesterday\u003c/a> at the age of 80, \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=1108624\" target=\"_blank\" rel=\"noopener\">once told\u003c/a> WHYY’s \u003cem>Fresh Air \u003c/em>of filming the iconic opening sequence to her beloved\u003cem> Mary Tyler Moore Show\u003c/em>. “It was in Minneapolis in January, I think.”\u003c/p>\n\u003cp>Harrowing words to those who know the feeling, the frozen skin, of Minneapolis in January — those like Bob Mould, guitarist and singer of the seminal and equally (to some) looming Hüsker Dü.\u003c/p>\n\u003cp>Mould, drummer Grant Hart and bassist Greg Norton covered “Love Is All Around,” the \u003cem>The Mary Tyler Moore Show\u003c/em>‘s opening song — originally written and recorded by former Buddy Holly collaborator Sonny Curtis — in their singular, serrated and foundationally “alternative” sound.\u003c/p>\n\u003cp>“The original version was recorded in earnest,” Bob Mould wrote to NPR Music in the wake of Moore’s death. “It’s a great song, and it was a nice tribute to the band’s home town.” Mould says the song now serves him well as an “uplifting” encore during solo sets. “People always respond well when I play it.”\u003c/p>\n\u003cp>Hüsker Dü also spoofed the opening sequence itself, trying “to mimic the shots as best we could,” vamping along the Nicollet Mall, where a statue of Moore throwing her cap in the air, with liberating abandon — the sequence’s closing shot — was placed for many years. (It \u003ca href=\"http://www.startribune.com/mary-tyler-moore-statue-taking-a-station-break-from-nicollet-mall-in-minneapolis/330537191/\">was removed\u003c/a>, temporarily, in 2015.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The band formed in the Minneapolis-St. Paul area in 1979; Mould, who’s helmed Sugar and issued plenty of solo work since the band’s breakup a decade later, has lived in San Francisco since 2009.\u003c/p>\n\u003cp>A rep for Merge Records, Mould’s current label home, says he performed the song this past November in North Carolina just after the presidential election — and immediately following an expletive-filled, Reagan-themed lament of significant emotional verve.\u003c/p>\n\u003cp>Hüsker Dü’s clip, much like Moore’s character in her show and the population of Minneapolis more generally, is scrappy, charming and progressive.\u003c/p>\n\u003cp>“All good art is political. Great art is political and entertaining,” writes Mould. “Let’s hope her legacy will live on, especially in these oppressive days.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zFyy3XB_3Y4\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Bob+Mould+On+H%C3%BCsker+D%C3%BC%27s+Cover+Of+%27The+Mary+Tyler+Moore+Show%27+Theme&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“It was freezing cold,” Mary Tyler Moore, who \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/01/25/461947952/she-turned-the-world-on-with-her-smile-mary-tyler-moore-dies-at-80\">died yesterday\u003c/a> at the age of 80, \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=1108624\" target=\"_blank\" rel=\"noopener\">once told\u003c/a> WHYY’s \u003cem>Fresh Air \u003c/em>of filming the iconic opening sequence to her beloved\u003cem> Mary Tyler Moore Show\u003c/em>. “It was in Minneapolis in January, I think.”\u003c/p>\n\u003cp>Harrowing words to those who know the feeling, the frozen skin, of Minneapolis in January — those like Bob Mould, guitarist and singer of the seminal and equally (to some) looming Hüsker Dü.\u003c/p>\n\u003cp>Mould, drummer Grant Hart and bassist Greg Norton covered “Love Is All Around,” the \u003cem>The Mary Tyler Moore Show\u003c/em>‘s opening song — originally written and recorded by former Buddy Holly collaborator Sonny Curtis — in their singular, serrated and foundationally “alternative” sound.\u003c/p>\n\u003cp>“The original version was recorded in earnest,” Bob Mould wrote to NPR Music in the wake of Moore’s death. “It’s a great song, and it was a nice tribute to the band’s home town.” Mould says the song now serves him well as an “uplifting” encore during solo sets. “People always respond well when I play it.”\u003c/p>\n\u003cp>Hüsker Dü also spoofed the opening sequence itself, trying “to mimic the shots as best we could,” vamping along the Nicollet Mall, where a statue of Moore throwing her cap in the air, with liberating abandon — the sequence’s closing shot — was placed for many years. (It \u003ca href=\"http://www.startribune.com/mary-tyler-moore-statue-taking-a-station-break-from-nicollet-mall-in-minneapolis/330537191/\">was removed\u003c/a>, temporarily, in 2015.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The band formed in the Minneapolis-St. Paul area in 1979; Mould, who’s helmed Sugar and issued plenty of solo work since the band’s breakup a decade later, has lived in San Francisco since 2009.\u003c/p>\n\u003cp>A rep for Merge Records, Mould’s current label home, says he performed the song this past November in North Carolina just after the presidential election — and immediately following an expletive-filled, Reagan-themed lament of significant emotional verve.\u003c/p>\n\u003cp>Hüsker Dü’s clip, much like Moore’s character in her show and the population of Minneapolis more generally, is scrappy, charming and progressive.\u003c/p>\n\u003cp>“All good art is political. Great art is political and entertaining,” writes Mould. “Let’s hope her legacy will live on, especially in these oppressive days.”\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/zFyy3XB_3Y4'\n title='//www.youtube.com/embed/zFyy3XB_3Y4'\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=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Bob+Mould+On+H%C3%BCsker+D%C3%BC%27s+Cover+Of+%27The+Mary+Tyler+Moore+Show%27+Theme&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There’s this thing that happens when you’re a fan of punk rock — though it surely afflicts other scenes as well — in which it always seems like you \u003cem>just\u003c/em> missed the party. “Real punk was over by 1984,” is a phrase you might have heard, if you started getting into it in 1985. I grew up blocks from \u003ca href=\"https://ww2.kqed.org/arts/2016/02/17/green-day-dookie-924-gilman/\" target=\"_blank\" rel=\"noopener\">924 Gilman\u003c/a>, but by the time I went to my first show there in 1999, it was apparent that I’d missed the golden age of East Bay punk by five to 15 years, depending on whom I asked.\u003c/p>\n\u003cp>Luckily, there are history books — though I don’t expect the ones being feted this Saturday, Jan. 7 at \u003ca href=\"https://www.berkeleypubliclibrary.org/events/lookout-bookout-bash-north\" target=\"_blank\" rel=\"noopener\">The Lookout! Bookout! Bash\u003c/a> at the Berkeley Public Library’s North Berkeley Branch to appear on standardized high school reading lists anytime soon.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gLp2ECVF4Bg\u003c/p>\n\u003cp>Featuring appearances by Lookout Records founder Larry Livermore, Pansy Division’s Jon Ginoli, Mr. T Experience’s Frank Portman, Jüke’s Nick Wolfinger, and the Smugglers’ Grant Lawrence, this afternoon event is an aptly named celebration of books about Bay Area punk. It also serves as the literary component to \u003ca href=\"https://ww2.kqed.org/arts/2016/10/07/a-celebration-of-lookout-records-weirder-more-obscure-roots/\" target=\"_blank\" rel=\"noopener\">The Lookouting\u003c/a>, a four-day festival celebrating the 30th anniversary of 924 Gilman via a slew of bands affiliated with Lookout Records in the early ’90s.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/61FL4a71KgL.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12580946\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/61FL4a71KgL.jpg\" alt=\"61fl4a71kgl\" width=\"332\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/61FL4a71KgL.jpg 332w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/61FL4a71KgL-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/61FL4a71KgL-240x361.jpg 240w\" sizes=\"(max-width: 332px) 100vw, 332px\">\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>\u003cstrong>[\u003ca href=\"https://ww2.kqed.org/arts/2016/10/07/a-celebration-of-lookout-records-weirder-more-obscure-roots/\" target=\"_blank\" rel=\"noopener\">Read more about The Lookouting, a celebration of Lookout Records, here.\u003c/a>]\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>One benefit of waiting 30-odd years to wax poetic on a scene is, apparently, that several of its central figures have actually authored books — and in at least one case, have gone on to legit literary careers. MTX’s Portman, or Dr. Frank, has made a second name for himself as a novelist, with his well-received\u003cem> King Dork\u003c/em> series.\u003c/p>\n\u003cp>And hey, nothing like the best of both worlds: If an afternoon at the library leaves you feeling a little tame, both he and Ginoli (whose memoir \u003cem>Deflowered: My Life in Pansy Division \u003c/em>chronicles his experiences with the groundbreaking queer punk band) will also perform later in the evening, with full bands, at Gilman — the all-ages club where, despite what nostalgia might tell you, the party is absolutely still going strong.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.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\u003cp>\u003c/p>\n\u003cp>\u003cem>The Lookout! Bookout! Bash takes place from 12:30 to 2pm on Saturday, Jan. 7 at the North branch of the Berkeley Public Library. Free; \u003ca href=\"https://www.berkeleypubliclibrary.org/events/lookout-bookout-bash-north\" target=\"_blank\" rel=\"noopener\">more info here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s this thing that happens when you’re a fan of punk rock — though it surely afflicts other scenes as well — in which it always seems like you \u003cem>just\u003c/em> missed the party. “Real punk was over by 1984,” is a phrase you might have heard, if you started getting into it in 1985. I grew up blocks from \u003ca href=\"https://ww2.kqed.org/arts/2016/02/17/green-day-dookie-924-gilman/\" target=\"_blank\" rel=\"noopener\">924 Gilman\u003c/a>, but by the time I went to my first show there in 1999, it was apparent that I’d missed the golden age of East Bay punk by five to 15 years, depending on whom I asked.\u003c/p>\n\u003cp>Luckily, there are history books — though I don’t expect the ones being feted this Saturday, Jan. 7 at \u003ca href=\"https://www.berkeleypubliclibrary.org/events/lookout-bookout-bash-north\" target=\"_blank\" rel=\"noopener\">The Lookout! Bookout! Bash\u003c/a> at the Berkeley Public Library’s North Berkeley Branch to appear on standardized high school reading lists anytime soon.\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/gLp2ECVF4Bg'\n title='//www.youtube.com/embed/gLp2ECVF4Bg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Featuring appearances by Lookout Records founder Larry Livermore, Pansy Division’s Jon Ginoli, Mr. T Experience’s Frank Portman, Jüke’s Nick Wolfinger, and the Smugglers’ Grant Lawrence, this afternoon event is an aptly named celebration of books about Bay Area punk. It also serves as the literary component to \u003ca href=\"https://ww2.kqed.org/arts/2016/10/07/a-celebration-of-lookout-records-weirder-more-obscure-roots/\" target=\"_blank\" rel=\"noopener\">The Lookouting\u003c/a>, a four-day festival celebrating the 30th anniversary of 924 Gilman via a slew of bands affiliated with Lookout Records in the early ’90s.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/61FL4a71KgL.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12580946\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/61FL4a71KgL.jpg\" alt=\"61fl4a71kgl\" width=\"332\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/61FL4a71KgL.jpg 332w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/61FL4a71KgL-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/61FL4a71KgL-240x361.jpg 240w\" sizes=\"(max-width: 332px) 100vw, 332px\">\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>[\u003ca href=\"https://ww2.kqed.org/arts/2016/10/07/a-celebration-of-lookout-records-weirder-more-obscure-roots/\" target=\"_blank\" rel=\"noopener\">Read more about The Lookouting, a celebration of Lookout Records, here.\u003c/a>]\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>One benefit of waiting 30-odd years to wax poetic on a scene is, apparently, that several of its central figures have actually authored books — and in at least one case, have gone on to legit literary careers. MTX’s Portman, or Dr. Frank, has made a second name for himself as a novelist, with his well-received\u003cem> King Dork\u003c/em> series.\u003c/p>\n\u003cp>And hey, nothing like the best of both worlds: If an afternoon at the library leaves you feeling a little tame, both he and Ginoli (whose memoir \u003cem>Deflowered: My Life in Pansy Division \u003c/em>chronicles his experiences with the groundbreaking queer punk band) will also perform later in the evening, with full bands, at Gilman — the all-ages club where, despite what nostalgia might tell you, the party is absolutely still going strong.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.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\u003cp>\u003c/p>\n\u003cp>\u003cem>The Lookout! Bookout! Bash takes place from 12:30 to 2pm on Saturday, Jan. 7 at the North branch of the Berkeley Public Library. Free; \u003ca href=\"https://www.berkeleypubliclibrary.org/events/lookout-bookout-bash-north\" target=\"_blank\" rel=\"noopener\">more info here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Facing Gentrification, 924 Gilman's Stability Boosted by Green Day Tribute",
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"content": "\u003cp>Billie Joe Armstrong still has the date memorized: Sept. 6, 1993.\u003c/p>\n\u003cp>That’s the last time Green Day was allowed to play at 924 Gilman before signing to a major label — and consequently seeing their faces plastered on \u003cem>Rolling Stone\u003c/em>, their videos on MTV and their Warner Bros. debut \u003cem>Dookie\u003c/em> eventually sell a staggering 20 million copies worldwide.\u003c/p>\n\u003cp>Here in the Bay Area, \u003cem>Dookie\u003c/em> marked the point at which the band no longer belonged to us. Green Day swiftly belonged to the world, and the split was not wholly amicable: the punk scene around 924 Gilman, which already bred contempt for Green Day’s melodic music and “normal” fan base, was particularly damning. Branded sellouts, Armstrong, bassist Mike Dirnt and drummer Tré Cool were famously banned from playing the stringently anti-major-label collective that they once called home.\u003c/p>\n\u003cfigure id=\"attachment_10669565\" class=\"wp-caption alignright\" style=\"max-width: 1400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/GreenDayMain.jpg\" alt=\"Green Day returning to 924 Gilman, May 17, 2015.\" width=\"1400\" height=\"788\" class=\"size-full wp-image-10669565\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/GreenDayMain.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/GreenDayMain-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/GreenDayMain-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/GreenDayMain-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/GreenDayMain-960x540.jpg 960w\" sizes=\"(max-width: 1400px) 100vw, 1400px\">\u003cfigcaption class=\"wp-caption-text\">Green Day returning to 924 Gilman, May 17, 2015. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the last few years have seen a slowly shifting reconciliation. First, Armstrong’s other band Pinhead Gunpowder returned to play \u003ca href=\"http://citysound.bohemian.com/2008/02/11/pinhead-gunpowder-at-gilman-street/\" target=\"_blank\" rel=\"noopener\">a pair of shows\u003c/a> at Gilman. Then a new sound system showed up at the club, \u003ca href=\"https://www.punknews.org/article/28003/pinhead-gunpowder-green-day-buys-924-gilman-new-sound-system\" target=\"_blank\" rel=\"noopener\">paid for\u003c/a> by members of the band. Finally, last year, the unthinkable happened: Green Day was \u003ca href=\"http://ww2.kqed.org/arts/2015/05/18/live-review-green-day-plays-924-gilman-for-the-first-time-in-21-years/\" target=\"_blank\" rel=\"noopener\">welcomed back to play a show\u003c/a> at Gilman — and in the wake of being inducted into the Rock ‘n’ Roll Hall of Fame, at that.\u003c/p>\n\u003cp>This week, the reunion continues when \u003cem>Dookie\u003c/em> is paid tribute by 15 different Bay Area bands in an epic tribute produced by UnderCover Presents at the Fox Theater in Oakland. Along with diverse acts like the Jazz Mafia, La Plebe, MC Rai and Goodnight, Texas, some not-so-secret special guests have been teased as headliners on social media.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The entire show is a benefit for — you guessed it — 924 Gilman, to help the collective buy their modest little building in a Berkeley neighborhood that’s gentrifying faster than the rapid-fire drum fill that kicks off \u003cem>Dookie\u003c/em>’s first track “Burnout.”\u003c/p>\n\u003cfigure id=\"attachment_11336196\" class=\"wp-caption alignright\" style=\"max-width: 900px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Ghoul.jpg\" alt=\"Ghoul perform at 924 Gilman in 2015. \" width=\"900\" height=\"600\" class=\"size-full wp-image-11336196\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Ghoul.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Ghoul-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Ghoul-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Ghoul-768x512.jpg 768w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003cfigcaption class=\"wp-caption-text\">Ghoul perform at 924 Gilman in 2015. \u003ccite>(Taylor Keahey/Flickr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Some Call it Slums, Some Call it Nice\u003c/h3>\n\u003cp>“At this point, 30 years on, Gilman is accepted as a revered Berkeley institution, a cultural landmark,” says Jesse Townley, a longtime Gilman volunteer, as well as a musician, the general manager of record label Alternative Tentacles, and a member of Berkeley’s rent stabilization board. “Which is bizarre, considering at one point I watched a member of the [Berkeley] zoning board call us a festering sore.”\u003c/p>\n\u003cp>Of all the challenges faced by the club in its 30 years in existence — struggles to make rent, skepticism and worse from neighbors and police, the inevitable personnel turnover and inefficiencies that come with any all-volunteer, collectively-run enterprise –the biggest threat to 924 Gilman’s continued existence has been the land it sits on. Or, rather, its potential value to developers.\u003c/p>\n\u003cp>The building’s landlord Jim Widess, who runs the adjacent Caning Shop, has always been above-and-beyond welcoming to the club, says Kamala Lyn Parks — a longtime volunteer who, alongside Townley, is steering much of Gilman’s current fundraising efforts. (Both organizers are adamant that they do not represent the collective; they’re merely longtime friends of the club working to help stabilize it financially.) Widess’ hospitable attitude toward the club is the only thing that allowed Parks and her co-founders, Victor Hayden and \u003cem>Maximumrocknroll\u003c/em>’s Tim Yohannan, to establish 924 Gilman there in the first place, in 1986.\u003c/p>\n\u003cfigure id=\"attachment_11336198\" class=\"wp-caption alignright\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Blatz.jpg\" alt=\"Jesse Townley (at left), fronting the band Blatz at 924 Gilman in the early 1990s.\" width=\"960\" height=\"782\" class=\"size-full wp-image-11336198\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Blatz.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Blatz-400x326.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Blatz-737x600.jpg 737w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Blatz-768x626.jpg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Jesse Townley (at left), fronting the band Blatz at 924 Gilman in the early 1990s. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the nicest landlord in the world can’t stem the tide of what organizers see as an inevitable tide of gentrification in West Berkeley, one of the last traditionally industrial areas in the city.\u003c/p>\n\u003cp>First it was the Pyramid Alehouse that proved the street’s viability as a commercial corridor. In 2013, a plan was drawn up to modify the zoning for all of Gilman from 6th Street to San Pablo Avenue as retail, according to Townley — a move that would have sent the rent per square foot at 924 Gilman skyrocketing.\u003c/p>\n\u003cp>“So I took two then-current collective members with me to talk to the mayor, to talk to city council members, and we said ‘If you do this, you’re going to be pricing out this iconic cultural resource. Don’t do this,'” says Townley, who’s become heavily involved in local politics over the course of his years advocating for 924 Gilman. “[Local government officials] know me by now; they know me as someone who came out of Gilman Street. And the proposal that moved forward to City Council excluded Gilman’s side of the street from 8th down to 6th Street. Just because we showed up to talk about it.”\u003c/p>\n\u003cp>In the wake of the rezoning, characterized by Townley as “a wake-up call,” a Philz Coffee and Whole Foods opened just blocks from the club.\u003c/p>\n\u003cfigure id=\"attachment_11336197\" class=\"wp-caption alignright\" style=\"max-width: 478px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/gilmanrules.jpg\" alt=\"The rules posted at the entry to 924 Gilman.\" width=\"478\" height=\"640\" class=\"size-full wp-image-11336197\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/gilmanrules.jpg 478w, 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-448x600.jpg 448w\" sizes=\"(max-width: 478px) 100vw, 478px\">\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>Because of the neighborhood’s rapid changes, together with the club’s 30th anniversary this year and its newfound nonprofit status, 2016 seemed like a good year to launch efforts to buy the club. The ultimate goal, says Parks, is to raise $1 million, but if they manage $600,000 or $700,000, organizers will feel good about making Widess an offer.\u003c/p>\n\u003cp>One thing working in the club’s favor that certainly wasn’t the case 30 years ago: Rarely does anyone call it a “festering sore” anymore. After three decades of building relationships with neighbors, 924 Gilman has a widespread legacy of being, well, exactly what its founders proclaimed it to be: a safe, all-ages space that actively bans drugs, alcohol, and violence. A venue for young, outspoken bands who wouldn’t be welcomed at more traditional rock clubs. And as a community center for kids who might not feel they belong elsewhere, it’s more than proven its worth.\u003c/p>\n\u003cp>“There are generations that have passed through here,” says Parks. That “alumni” base means parent-teen teams doing volunteer shifts together; it also means, since launching the fundraiser, that Parks is hearing from former Gilman-goers as far off as New Zealand. “People are donating money, writing in to say ‘I moved away years ago, but…it’s still such a special place to me.'”\u003c/p>\n\u003cfigure id=\"attachment_11338819\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/GD.Singalong.jpg\" alt=\"A fan sings along with Billie Joe Armstrong at 924 Gilman in the early 1990s.\" width=\"800\" height=\"1020\" class=\"size-full wp-image-11338819\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/GD.Singalong.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/GD.Singalong-400x510.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/GD.Singalong-471x600.jpg 471w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/GD.Singalong-768x979.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A fan sings along with Billie Joe Armstrong at 924 Gilman in the early 1990s. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And then, of course, it’s impossible to ignore the part of Gilman’s legacy that comes from having been the breeding ground for Green Day, who parlayed their popularity in the underground scene into widespread commercial success on a major label — a decision that the band made, Parks notes, while wholly understanding its consequences. Whether or not you find it ironic that \u003cem>Dookie\u003c/em>, the record that launched a thousand accusations of “sellout!”, would be the album around which the biggest 924 Gilman fundraiser ever would coalesce — well, that probably depends on your age.\u003c/p>\n\u003cp>Parks is diplomatic in acknowledging the tension; she says organizers plan to touch on it during the live show. The record remains divisive after all these years, and she understands why some longtime Gilman people might be upset. And yet.\u003c/p>\n\u003cp>“Another real big thing that’s different now is a number of current Gilman volunteers got into punk \u003cem>through\u003c/em> Green Day,” she says. “You’re talking about a whole new generation.”\u003c/p>\n\u003ch3>Grasping to Control: Reinterpreting a Classic\u003c/h3>\n\u003cfigure id=\"attachment_11336200\" class=\"wp-caption alignright\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Dookiecover.jpg\" alt=\"Upon its release, 'Dookie,' and the multinational corporation which released it, were scorned by many Gilman regulars.\" width=\"1920\" height=\"1409\" class=\"size-full wp-image-11336200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Dookiecover.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Dookiecover-400x294.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Dookiecover-800x587.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Dookiecover-768x564.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Dookiecover-1180x866.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Dookiecover-960x705.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Upon its release, ‘Dookie,’ and the multinational corporation which released it, were scorned by many Gilman regulars. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That very new generation speaks to a plain truth: Whatever the album originally meant to the scene around Gilman, out in the wild \u003cem>Dookie\u003c/em> resonated with teenagers everywhere.\u003c/p>\n\u003cp>Brian Adam McCune was one of those teenagers, growing up on the East Coast in a household that played “either ultra-Christian music, or salsa-merengue-cumbia dance music.” After he came across the \u003ca href=\"https://www.youtube.com/watch?v=NUTGr5t3MoY\" target=\"_blank\" rel=\"noopener\">video for “Basket Case”\u003c/a> on MTV, \u003cem>Dookie\u003c/em> became the first CD that McCune ever went out and bought, lured by its themes of alienation, bisexuality, weed, boredom — essentially a laundry list of a teenage boy’s mind. “It was finally something that spoke to me at the verge of adolescence,” he says.\u003c/p>\n\u003cp>McCune is the guest musical director for this week’s \u003cem>Dookie\u003c/em> tribute, and at a time when note-for-note cover bands and in-its-entirety album tours are rampant with nostalgia for the ’90s on full blast, he’s done something very refreshing. Rather than validating fans’ teenage years by recreating \u003cem>Dookie\u003c/em>’s style, he’s urged the bands involved to drastically reinterpret the album’s songs.\u003c/p>\n\u003cdiv id=\"fb-root\">\u003c/div>\n\u003cp>\u003cscript>(function(d, s, id) { var js, fjs = d.getElementsByTagName(s)[0]; if (d.getElementById(id)) return; js = d.createElement(s); js.id = id; js.src = \"//connect.facebook.net/en_US/sdk.js#xfbml=1&version=v2.3\"; fjs.parentNode.insertBefore(js, fjs);}(document, 'script', 'facebook-jssdk'));\u003c/script>\u003c/p>\n\u003cdiv class=\"fb-video\" data-allowfullscreen=\"1\" data-href=\"/UnderCoverPresents/videos/vb.115819335144911/1030259520367550/?type=3\" width=\"670\" style=\"padding-left:200px;\">\n\u003cdiv class=\"fb-xfbml-parse-ignore\" align=\"center\">\n\u003cblockquote cite=\"https://www.facebook.com/UnderCoverPresents/videos/1030259520367550/\">\u003cp>\u003ca href=\"https://www.facebook.com/UnderCoverPresents/videos/1030259520367550/\">\u003c/a>\u003c/p>\n\u003cp>Awesöme Orchestra Collective rehearsing F.O.D. with Tilt and Bill Collins. See it live on Friday, February 19th at The Fox! #Dookie2016\u003c/p>\n\u003cp>Posted by \u003ca href=\"https://www.facebook.com/UnderCoverPresents/\">UnderCover\u003c/a> on Sunday, February 14, 2016\u003c/p>\u003c/blockquote>\n\u003c/div>\n\u003c/div>\n\u003cp>\u003c/p>\n\u003cp>“I’m not interested in re-recording it,” McCune says. “They already did it right.”\u003c/p>\n\u003cp>Hence, “She” becomes a barren minor-key desert ballad in the hands of Goodnight, Texas. “Longview” gets a completely dazzling, intricate \u003ca href=\"https://www.facebook.com/UnderCoverPresents/videos/966075010119335/\" target=\"_blank\" rel=\"noopener\">choral arrangement by the Jazz Mafia’s Choral Syndicate\u003c/a>. “Chump” is a gospel-funk burner by Sal’s Greenhouse and “Welcome to Paradise” is a prog-rock fantasy by Moetar.\u003c/p>\n\u003cp>“Part of why I picked this album,” explains McCune, “is that the pop-punk idiom, by the nature of its deceptive simplicity, is a really strong springboard to jump off in any direction.” So while \u003ca href=\"https://www.facebook.com/UnderCoverPresents/videos/1030259520367550/\" target=\"_blank\" rel=\"noopener\">“F.O.D.” by Tilt with the Awesöme Orchestra\u003c/a> hews closer to Green Day’s original version, there’s also an “Arabic Urban Rai Fusion” version of “Sassafras Roots,” as well as the Fuxedos’ demented comedic reworking of “Basket Case.”\u003c/p>\n\u003cdiv id=\"fb-root\">\u003c/div>\n\u003cp>\u003cscript>(function(d, s, id) { var js, fjs = d.getElementsByTagName(s)[0]; if (d.getElementById(id)) return; js = d.createElement(s); js.id = id; js.src = \"//connect.facebook.net/en_US/sdk.js#xfbml=1&version=v2.3\"; fjs.parentNode.insertBefore(js, fjs);}(document, 'script', 'facebook-jssdk'));\u003c/script>\u003c/p>\n\u003cdiv class=\"fb-video\" data-allowfullscreen=\"1\" data-href=\"/UnderCoverPresents/videos/vb.115819335144911/966075010119335/?type=3\" width=\"670\" style=\"padding-left:200px;\">\n\u003cdiv class=\"fb-xfbml-parse-ignore\">\n\u003cblockquote cite=\"https://www.facebook.com/UnderCoverPresents/videos/966075010119335/\">\u003cp>\u003ca href=\"https://www.facebook.com/UnderCoverPresents/videos/966075010119335/\">\u003c/a>\u003c/p>\n\u003cp>\"Longview\" recording session at Fantasy Recording Studios with Jazz Mafia. Many thanks to Larceny Bourbon for keeping this choir loose. #Dookie2016\u003c/p>\n\u003cp>Posted by \u003ca href=\"https://www.facebook.com/UnderCoverPresents/\">UnderCover\u003c/a> on Thursday, October 8, 2015\u003c/p>\u003c/blockquote>\n\u003c/div>\n\u003c/div>\n\u003cp>\u003c/p>\n\u003cp>It’s reassuring, too, that La Plebe and Love Songs, bands who have been house favorites at Gilman for over 10 years, are part of the action. McCune says that until taking on this tribute, he was unaware that \u003cem>Dookie\u003c/em> caused such fury at Gilman upon its release — and is glad to see some long-ago burned bridges being rebuilt.\u003c/p>\n\u003cp>“It has been really heartwarming to see how much people are making amends with the past, and are forgiving, and coming together to do something good,” McCune says. “That’s what music should do, right?”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>UnderCover Presents ‘A Tribute to Dookie’ on Friday, Feb. 19, at the Fox Theater in Oakland; \u003ca href=\"http://www.undercoverpresents.com/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>. Ongoing support for 924 Gilman can be accessed \u003ca href=\"http://www.helpgilman.org/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "As Berkeley's famous all-ages club raises funds to buy its building, an album by its best-known alumni is paid tribute by 15 different local bands.",
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"title": "Facing Gentrification, 924 Gilman's Stability Boosted by Green Day Tribute | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Billie Joe Armstrong still has the date memorized: Sept. 6, 1993.\u003c/p>\n\u003cp>That’s the last time Green Day was allowed to play at 924 Gilman before signing to a major label — and consequently seeing their faces plastered on \u003cem>Rolling Stone\u003c/em>, their videos on MTV and their Warner Bros. debut \u003cem>Dookie\u003c/em> eventually sell a staggering 20 million copies worldwide.\u003c/p>\n\u003cp>Here in the Bay Area, \u003cem>Dookie\u003c/em> marked the point at which the band no longer belonged to us. Green Day swiftly belonged to the world, and the split was not wholly amicable: the punk scene around 924 Gilman, which already bred contempt for Green Day’s melodic music and “normal” fan base, was particularly damning. Branded sellouts, Armstrong, bassist Mike Dirnt and drummer Tré Cool were famously banned from playing the stringently anti-major-label collective that they once called home.\u003c/p>\n\u003cfigure id=\"attachment_10669565\" class=\"wp-caption alignright\" style=\"max-width: 1400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/GreenDayMain.jpg\" alt=\"Green Day returning to 924 Gilman, May 17, 2015.\" width=\"1400\" height=\"788\" class=\"size-full wp-image-10669565\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/GreenDayMain.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/GreenDayMain-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/GreenDayMain-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/GreenDayMain-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/GreenDayMain-960x540.jpg 960w\" sizes=\"(max-width: 1400px) 100vw, 1400px\">\u003cfigcaption class=\"wp-caption-text\">Green Day returning to 924 Gilman, May 17, 2015. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the last few years have seen a slowly shifting reconciliation. First, Armstrong’s other band Pinhead Gunpowder returned to play \u003ca href=\"http://citysound.bohemian.com/2008/02/11/pinhead-gunpowder-at-gilman-street/\" target=\"_blank\" rel=\"noopener\">a pair of shows\u003c/a> at Gilman. Then a new sound system showed up at the club, \u003ca href=\"https://www.punknews.org/article/28003/pinhead-gunpowder-green-day-buys-924-gilman-new-sound-system\" target=\"_blank\" rel=\"noopener\">paid for\u003c/a> by members of the band. Finally, last year, the unthinkable happened: Green Day was \u003ca href=\"http://ww2.kqed.org/arts/2015/05/18/live-review-green-day-plays-924-gilman-for-the-first-time-in-21-years/\" target=\"_blank\" rel=\"noopener\">welcomed back to play a show\u003c/a> at Gilman — and in the wake of being inducted into the Rock ‘n’ Roll Hall of Fame, at that.\u003c/p>\n\u003cp>This week, the reunion continues when \u003cem>Dookie\u003c/em> is paid tribute by 15 different Bay Area bands in an epic tribute produced by UnderCover Presents at the Fox Theater in Oakland. Along with diverse acts like the Jazz Mafia, La Plebe, MC Rai and Goodnight, Texas, some not-so-secret special guests have been teased as headliners on social media.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The entire show is a benefit for — you guessed it — 924 Gilman, to help the collective buy their modest little building in a Berkeley neighborhood that’s gentrifying faster than the rapid-fire drum fill that kicks off \u003cem>Dookie\u003c/em>’s first track “Burnout.”\u003c/p>\n\u003cfigure id=\"attachment_11336196\" class=\"wp-caption alignright\" style=\"max-width: 900px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Ghoul.jpg\" alt=\"Ghoul perform at 924 Gilman in 2015. \" width=\"900\" height=\"600\" class=\"size-full wp-image-11336196\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Ghoul.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Ghoul-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Ghoul-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Ghoul-768x512.jpg 768w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003cfigcaption class=\"wp-caption-text\">Ghoul perform at 924 Gilman in 2015. \u003ccite>(Taylor Keahey/Flickr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Some Call it Slums, Some Call it Nice\u003c/h3>\n\u003cp>“At this point, 30 years on, Gilman is accepted as a revered Berkeley institution, a cultural landmark,” says Jesse Townley, a longtime Gilman volunteer, as well as a musician, the general manager of record label Alternative Tentacles, and a member of Berkeley’s rent stabilization board. “Which is bizarre, considering at one point I watched a member of the [Berkeley] zoning board call us a festering sore.”\u003c/p>\n\u003cp>Of all the challenges faced by the club in its 30 years in existence — struggles to make rent, skepticism and worse from neighbors and police, the inevitable personnel turnover and inefficiencies that come with any all-volunteer, collectively-run enterprise –the biggest threat to 924 Gilman’s continued existence has been the land it sits on. Or, rather, its potential value to developers.\u003c/p>\n\u003cp>The building’s landlord Jim Widess, who runs the adjacent Caning Shop, has always been above-and-beyond welcoming to the club, says Kamala Lyn Parks — a longtime volunteer who, alongside Townley, is steering much of Gilman’s current fundraising efforts. (Both organizers are adamant that they do not represent the collective; they’re merely longtime friends of the club working to help stabilize it financially.) Widess’ hospitable attitude toward the club is the only thing that allowed Parks and her co-founders, Victor Hayden and \u003cem>Maximumrocknroll\u003c/em>’s Tim Yohannan, to establish 924 Gilman there in the first place, in 1986.\u003c/p>\n\u003cfigure id=\"attachment_11336198\" class=\"wp-caption alignright\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Blatz.jpg\" alt=\"Jesse Townley (at left), fronting the band Blatz at 924 Gilman in the early 1990s.\" width=\"960\" height=\"782\" class=\"size-full wp-image-11336198\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Blatz.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Blatz-400x326.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Blatz-737x600.jpg 737w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Blatz-768x626.jpg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Jesse Townley (at left), fronting the band Blatz at 924 Gilman in the early 1990s. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the nicest landlord in the world can’t stem the tide of what organizers see as an inevitable tide of gentrification in West Berkeley, one of the last traditionally industrial areas in the city.\u003c/p>\n\u003cp>First it was the Pyramid Alehouse that proved the street’s viability as a commercial corridor. In 2013, a plan was drawn up to modify the zoning for all of Gilman from 6th Street to San Pablo Avenue as retail, according to Townley — a move that would have sent the rent per square foot at 924 Gilman skyrocketing.\u003c/p>\n\u003cp>“So I took two then-current collective members with me to talk to the mayor, to talk to city council members, and we said ‘If you do this, you’re going to be pricing out this iconic cultural resource. Don’t do this,'” says Townley, who’s become heavily involved in local politics over the course of his years advocating for 924 Gilman. “[Local government officials] know me by now; they know me as someone who came out of Gilman Street. And the proposal that moved forward to City Council excluded Gilman’s side of the street from 8th down to 6th Street. Just because we showed up to talk about it.”\u003c/p>\n\u003cp>In the wake of the rezoning, characterized by Townley as “a wake-up call,” a Philz Coffee and Whole Foods opened just blocks from the club.\u003c/p>\n\u003cfigure id=\"attachment_11336197\" class=\"wp-caption alignright\" style=\"max-width: 478px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/gilmanrules.jpg\" alt=\"The rules posted at the entry to 924 Gilman.\" width=\"478\" height=\"640\" class=\"size-full wp-image-11336197\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/gilmanrules.jpg 478w, 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-448x600.jpg 448w\" sizes=\"(max-width: 478px) 100vw, 478px\">\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>Because of the neighborhood’s rapid changes, together with the club’s 30th anniversary this year and its newfound nonprofit status, 2016 seemed like a good year to launch efforts to buy the club. The ultimate goal, says Parks, is to raise $1 million, but if they manage $600,000 or $700,000, organizers will feel good about making Widess an offer.\u003c/p>\n\u003cp>One thing working in the club’s favor that certainly wasn’t the case 30 years ago: Rarely does anyone call it a “festering sore” anymore. After three decades of building relationships with neighbors, 924 Gilman has a widespread legacy of being, well, exactly what its founders proclaimed it to be: a safe, all-ages space that actively bans drugs, alcohol, and violence. A venue for young, outspoken bands who wouldn’t be welcomed at more traditional rock clubs. And as a community center for kids who might not feel they belong elsewhere, it’s more than proven its worth.\u003c/p>\n\u003cp>“There are generations that have passed through here,” says Parks. That “alumni” base means parent-teen teams doing volunteer shifts together; it also means, since launching the fundraiser, that Parks is hearing from former Gilman-goers as far off as New Zealand. “People are donating money, writing in to say ‘I moved away years ago, but…it’s still such a special place to me.'”\u003c/p>\n\u003cfigure id=\"attachment_11338819\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/GD.Singalong.jpg\" alt=\"A fan sings along with Billie Joe Armstrong at 924 Gilman in the early 1990s.\" width=\"800\" height=\"1020\" class=\"size-full wp-image-11338819\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/GD.Singalong.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/GD.Singalong-400x510.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/GD.Singalong-471x600.jpg 471w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/GD.Singalong-768x979.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A fan sings along with Billie Joe Armstrong at 924 Gilman in the early 1990s. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And then, of course, it’s impossible to ignore the part of Gilman’s legacy that comes from having been the breeding ground for Green Day, who parlayed their popularity in the underground scene into widespread commercial success on a major label — a decision that the band made, Parks notes, while wholly understanding its consequences. Whether or not you find it ironic that \u003cem>Dookie\u003c/em>, the record that launched a thousand accusations of “sellout!”, would be the album around which the biggest 924 Gilman fundraiser ever would coalesce — well, that probably depends on your age.\u003c/p>\n\u003cp>Parks is diplomatic in acknowledging the tension; she says organizers plan to touch on it during the live show. The record remains divisive after all these years, and she understands why some longtime Gilman people might be upset. And yet.\u003c/p>\n\u003cp>“Another real big thing that’s different now is a number of current Gilman volunteers got into punk \u003cem>through\u003c/em> Green Day,” she says. “You’re talking about a whole new generation.”\u003c/p>\n\u003ch3>Grasping to Control: Reinterpreting a Classic\u003c/h3>\n\u003cfigure id=\"attachment_11336200\" class=\"wp-caption alignright\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Dookiecover.jpg\" alt=\"Upon its release, 'Dookie,' and the multinational corporation which released it, were scorned by many Gilman regulars.\" width=\"1920\" height=\"1409\" class=\"size-full wp-image-11336200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Dookiecover.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Dookiecover-400x294.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Dookiecover-800x587.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Dookiecover-768x564.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Dookiecover-1180x866.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Dookiecover-960x705.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Upon its release, ‘Dookie,’ and the multinational corporation which released it, were scorned by many Gilman regulars. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That very new generation speaks to a plain truth: Whatever the album originally meant to the scene around Gilman, out in the wild \u003cem>Dookie\u003c/em> resonated with teenagers everywhere.\u003c/p>\n\u003cp>Brian Adam McCune was one of those teenagers, growing up on the East Coast in a household that played “either ultra-Christian music, or salsa-merengue-cumbia dance music.” After he came across the \u003ca href=\"https://www.youtube.com/watch?v=NUTGr5t3MoY\" target=\"_blank\" rel=\"noopener\">video for “Basket Case”\u003c/a> on MTV, \u003cem>Dookie\u003c/em> became the first CD that McCune ever went out and bought, lured by its themes of alienation, bisexuality, weed, boredom — essentially a laundry list of a teenage boy’s mind. “It was finally something that spoke to me at the verge of adolescence,” he says.\u003c/p>\n\u003cp>McCune is the guest musical director for this week’s \u003cem>Dookie\u003c/em> tribute, and at a time when note-for-note cover bands and in-its-entirety album tours are rampant with nostalgia for the ’90s on full blast, he’s done something very refreshing. Rather than validating fans’ teenage years by recreating \u003cem>Dookie\u003c/em>’s style, he’s urged the bands involved to drastically reinterpret the album’s songs.\u003c/p>\n\u003cdiv id=\"fb-root\">\u003c/div>\n\u003cp>\u003cscript>(function(d, s, id) { var js, fjs = d.getElementsByTagName(s)[0]; if (d.getElementById(id)) return; js = d.createElement(s); js.id = id; js.src = \"//connect.facebook.net/en_US/sdk.js#xfbml=1&version=v2.3\"; fjs.parentNode.insertBefore(js, fjs);}(document, 'script', 'facebook-jssdk'));\u003c/script>\u003c/p>\n\u003cdiv class=\"fb-video\" data-allowfullscreen=\"1\" data-href=\"/UnderCoverPresents/videos/vb.115819335144911/1030259520367550/?type=3\" width=\"670\" style=\"padding-left:200px;\">\n\u003cdiv class=\"fb-xfbml-parse-ignore\" align=\"center\">\n\u003cblockquote cite=\"https://www.facebook.com/UnderCoverPresents/videos/1030259520367550/\">\u003cp>\u003ca href=\"https://www.facebook.com/UnderCoverPresents/videos/1030259520367550/\">\u003c/a>\u003c/p>\n\u003cp>Awesöme Orchestra Collective rehearsing F.O.D. with Tilt and Bill Collins. See it live on Friday, February 19th at The Fox! #Dookie2016\u003c/p>\n\u003cp>Posted by \u003ca href=\"https://www.facebook.com/UnderCoverPresents/\">UnderCover\u003c/a> on Sunday, February 14, 2016\u003c/p>\u003c/blockquote>\n\u003c/div>\n\u003c/div>\n\u003cp>\u003c/p>\n\u003cp>“I’m not interested in re-recording it,” McCune says. “They already did it right.”\u003c/p>\n\u003cp>Hence, “She” becomes a barren minor-key desert ballad in the hands of Goodnight, Texas. “Longview” gets a completely dazzling, intricate \u003ca href=\"https://www.facebook.com/UnderCoverPresents/videos/966075010119335/\" target=\"_blank\" rel=\"noopener\">choral arrangement by the Jazz Mafia’s Choral Syndicate\u003c/a>. “Chump” is a gospel-funk burner by Sal’s Greenhouse and “Welcome to Paradise” is a prog-rock fantasy by Moetar.\u003c/p>\n\u003cp>“Part of why I picked this album,” explains McCune, “is that the pop-punk idiom, by the nature of its deceptive simplicity, is a really strong springboard to jump off in any direction.” So while \u003ca href=\"https://www.facebook.com/UnderCoverPresents/videos/1030259520367550/\" target=\"_blank\" rel=\"noopener\">“F.O.D.” by Tilt with the Awesöme Orchestra\u003c/a> hews closer to Green Day’s original version, there’s also an “Arabic Urban Rai Fusion” version of “Sassafras Roots,” as well as the Fuxedos’ demented comedic reworking of “Basket Case.”\u003c/p>\n\u003cdiv id=\"fb-root\">\u003c/div>\n\u003cp>\u003cscript>(function(d, s, id) { var js, fjs = d.getElementsByTagName(s)[0]; if (d.getElementById(id)) return; js = d.createElement(s); js.id = id; js.src = \"//connect.facebook.net/en_US/sdk.js#xfbml=1&version=v2.3\"; fjs.parentNode.insertBefore(js, fjs);}(document, 'script', 'facebook-jssdk'));\u003c/script>\u003c/p>\n\u003cdiv class=\"fb-video\" data-allowfullscreen=\"1\" data-href=\"/UnderCoverPresents/videos/vb.115819335144911/966075010119335/?type=3\" width=\"670\" style=\"padding-left:200px;\">\n\u003cdiv class=\"fb-xfbml-parse-ignore\">\n\u003cblockquote cite=\"https://www.facebook.com/UnderCoverPresents/videos/966075010119335/\">\u003cp>\u003ca href=\"https://www.facebook.com/UnderCoverPresents/videos/966075010119335/\">\u003c/a>\u003c/p>\n\u003cp>\"Longview\" recording session at Fantasy Recording Studios with Jazz Mafia. Many thanks to Larceny Bourbon for keeping this choir loose. #Dookie2016\u003c/p>\n\u003cp>Posted by \u003ca href=\"https://www.facebook.com/UnderCoverPresents/\">UnderCover\u003c/a> on Thursday, October 8, 2015\u003c/p>\u003c/blockquote>\n\u003c/div>\n\u003c/div>\n\u003cp>\u003c/p>\n\u003cp>It’s reassuring, too, that La Plebe and Love Songs, bands who have been house favorites at Gilman for over 10 years, are part of the action. McCune says that until taking on this tribute, he was unaware that \u003cem>Dookie\u003c/em> caused such fury at Gilman upon its release — and is glad to see some long-ago burned bridges being rebuilt.\u003c/p>\n\u003cp>“It has been really heartwarming to see how much people are making amends with the past, and are forgiving, and coming together to do something good,” McCune says. “That’s what music should do, right?”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>UnderCover Presents ‘A Tribute to Dookie’ on Friday, Feb. 19, at the Fox Theater in Oakland; \u003ca href=\"http://www.undercoverpresents.com/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>. Ongoing support for 924 Gilman can be accessed \u003ca href=\"http://www.helpgilman.org/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There’s a basic format for the various funny, frank, drug-filled oral histories of punk rock that have come out in the past ten years. It’s a frenetic, easily distracted interpretation of Studs Terkel; a chatty, tightly-edited mash-up of voices piling up to tell a story. \u003cb>Please Kill Me\u003c/b> was first, with an overview of punk’s genesis in the mid-70s, which was mostly centered in London and New York. The LA scene got its due in \u003cb>We Got the Neutron Bomb\u003c/b>. And now the Bay Area takes its much-deserved bow. \u003cb>Gimme Something Better\u003c/b> doesn’t break any new ground style-wise, but it’s a really (really) fun read full of local heroes and anti-heroes.\u003c/p>\n\u003cp>Authors Jack Boulware and Silke Tudor are both former writers at \u003ci>SF Weekly\u003c/i>. Their conversational style of editing makes reading \u003cb>Gimme Something Better\u003c/b> feel a little like eavesdropping as friends remember good times, like that time when \u003ca href=\"http://www.youtube.com/watch?v=1EnZi8C_VYE&feature=related\">Crime played San Quentin prison\u003c/a> dressed in police uniforms, or when Green Day almost got killed by skinheads in Sacramento, or hey, do you remember the one about the mummy baby? And it happened here, on familiar streets, in buildings nearby, in clubs that no longer exist located on alleys you’ve walked down. In fact, a chunk of the book takes place just a few blocks from KQED, in an abandoned brewery known by the people who lived, fought, and had band practice there as the Vats.\u003c/p>\n\u003cp>The book traces the rise, and — for some, the fall — of bands and institutions that have had an impact on music and culture around the world. The Dead Kennedys, Operation Ivy, Green Day, Lookout Records, \u003ci>Maximum RocknRoll\u003c/i>. But it doesn’t skip over the bands and the people who helped shape the Bay Area in their own small or strange ways. Or if not shaped, at least added some humor or drama.\u003c/p>\n\u003cp>The book is already out, but Gilman, a club whose founding is documented in \u003cb>Gimme Something Better\u003c/b>, is having a show to celebrate its release. Like the book, this particular show is not about the current Bay Area scene. Instead it’s bringing a few notable characters and bands together for a slightly off-kilter trip down memory lane. Re-formed hardcore band \u003ca href=\"http://www.myspace.com/socialunrestofficialbandpage\">Social Unrest\u003c/a> is playing, and so is Dr. Frank, lead singer of the East Bay pop-punk band \u003ca href=\"http://www.myspace.com/themrtexperience\">The Mr. T Experience\u003c/a>.\u003c/p>\n\u003cp>But the bands getting top billing, in an almost, but not quite reunion, are \u003ca href=\"http://www.myspace.com/classicsofloveband\">Classics of Love\u003c/a> and \u003ca href=\"http://www.myspace.com/schlong3fingerspread/\">Schlong\u003c/a>, both featuring former members of the seminal punk band \u003ca href=\"http://en.wikipedia.org/wiki/Operation_Ivy_%28band%29\">Operation Ivy\u003c/a>. Classics of Love is a newish band; Operation Ivy lead singer Jesse Michaels is its frontman. And Schlong is another ’80s holdover that has played off and on over the past few years. They’re incredibly skilled musicians, don’t shy away from the weird, or at least, the non-traditional, and have, notably, covered Fleetwood Mac, the Carpenters, and reinterpreted \u003cb>West Side Story\u003c/b> as \u003cb>Punk Side Story\u003c/b>. I’m not sure if the show will be historical in any way, or if it will do justice to the entire history of Bay Area punk, but surely it will be a good time.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Schlong, Classics of Love, and others are playing October 17, 2009 at 924 Gilman in Berkeley. For \u003ca href=\"http://www.924gilman.org/\">information\u003c/a>, visit 924gilman.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s a basic format for the various funny, frank, drug-filled oral histories of punk rock that have come out in the past ten years. It’s a frenetic, easily distracted interpretation of Studs Terkel; a chatty, tightly-edited mash-up of voices piling up to tell a story. \u003cb>Please Kill Me\u003c/b> was first, with an overview of punk’s genesis in the mid-70s, which was mostly centered in London and New York. The LA scene got its due in \u003cb>We Got the Neutron Bomb\u003c/b>. And now the Bay Area takes its much-deserved bow. \u003cb>Gimme Something Better\u003c/b> doesn’t break any new ground style-wise, but it’s a really (really) fun read full of local heroes and anti-heroes.\u003c/p>\n\u003cp>Authors Jack Boulware and Silke Tudor are both former writers at \u003ci>SF Weekly\u003c/i>. Their conversational style of editing makes reading \u003cb>Gimme Something Better\u003c/b> feel a little like eavesdropping as friends remember good times, like that time when \u003ca href=\"http://www.youtube.com/watch?v=1EnZi8C_VYE&feature=related\">Crime played San Quentin prison\u003c/a> dressed in police uniforms, or when Green Day almost got killed by skinheads in Sacramento, or hey, do you remember the one about the mummy baby? And it happened here, on familiar streets, in buildings nearby, in clubs that no longer exist located on alleys you’ve walked down. In fact, a chunk of the book takes place just a few blocks from KQED, in an abandoned brewery known by the people who lived, fought, and had band practice there as the Vats.\u003c/p>\n\u003cp>The book traces the rise, and — for some, the fall — of bands and institutions that have had an impact on music and culture around the world. The Dead Kennedys, Operation Ivy, Green Day, Lookout Records, \u003ci>Maximum RocknRoll\u003c/i>. But it doesn’t skip over the bands and the people who helped shape the Bay Area in their own small or strange ways. Or if not shaped, at least added some humor or drama.\u003c/p>\n\u003cp>The book is already out, but Gilman, a club whose founding is documented in \u003cb>Gimme Something Better\u003c/b>, is having a show to celebrate its release. Like the book, this particular show is not about the current Bay Area scene. Instead it’s bringing a few notable characters and bands together for a slightly off-kilter trip down memory lane. Re-formed hardcore band \u003ca href=\"http://www.myspace.com/socialunrestofficialbandpage\">Social Unrest\u003c/a> is playing, and so is Dr. Frank, lead singer of the East Bay pop-punk band \u003ca href=\"http://www.myspace.com/themrtexperience\">The Mr. T Experience\u003c/a>.\u003c/p>\n\u003cp>But the bands getting top billing, in an almost, but not quite reunion, are \u003ca href=\"http://www.myspace.com/classicsofloveband\">Classics of Love\u003c/a> and \u003ca href=\"http://www.myspace.com/schlong3fingerspread/\">Schlong\u003c/a>, both featuring former members of the seminal punk band \u003ca href=\"http://en.wikipedia.org/wiki/Operation_Ivy_%28band%29\">Operation Ivy\u003c/a>. Classics of Love is a newish band; Operation Ivy lead singer Jesse Michaels is its frontman. And Schlong is another ’80s holdover that has played off and on over the past few years. They’re incredibly skilled musicians, don’t shy away from the weird, or at least, the non-traditional, and have, notably, covered Fleetwood Mac, the Carpenters, and reinterpreted \u003cb>West Side Story\u003c/b> as \u003cb>Punk Side Story\u003c/b>. I’m not sure if the show will be historical in any way, or if it will do justice to the entire history of Bay Area punk, but surely it will be a good time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
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},
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"id": "baycurious",
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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},
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
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"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
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"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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"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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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
},
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"meta": {
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"source": "WNYC"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
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