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"content": "\u003cp>In \u003ca href=\"https://www.kqed.org/bayareahiphop\">hip-hop\u003c/a>, there’s a polarizing debate between rappers who do live performances over raw instrumentals and those who rap over tracks that include their prerecorded vocals.\u003c/p>\n\u003cp>The subtext to the argument is whether or not an artist has the talent to rock a whole live show without the support of those prerecorded bars.\u003c/p>\n\u003cp>Deeper than that is the understanding that “true lyricism” is always relevant. Trends come and go. Music, especially hip-hop, is ever changing. But the ability to move a crowd by clearly and cleverly delivering dope lyrics over a saucy beat? That’s eternal.\u003c/p>\n\u003cp>So when legendary Sacramento rapper \u003ca href=\"https://www.instagram.com/therealmarvaless/?hl=en\">Marvaless\u003c/a> was asked what people should expect during her performance this Saturday at an event titled “\u003ca href=\"https://www.eventbrite.com/e/sellassie-presents-real-emcees-dont-rap-over-their-lyrics-tickets-1755407052749?aff=oddtdtcreator\">Real Emcees Don’t Rap Over Their Lyrics\u003c/a>” at Bissap Baobab in San Francisco, her response was straightforward:\u003c/p>\n\u003cp>“They should expect bars, you know what I’m saying?”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=WxOSjdPonr4\u003c/p>\n\u003cp>During a phone call, the rapper — who dropped her classic debut album \u003ca href=\"https://www.youtube.com/playlist?list=PLn7qZ70jqTZGKYyiBpVkHiCp8HGwkPNvp\">\u003cem>Ghetto Blues\u003c/em>\u003c/a> in 1994 and has worked with the likes of Tupac, Mac Dre and The Jacka — explains that the debate about performing over raw instrumentals or a recording isn’t always about talent. Sometimes it’s about accessibility.\u003c/p>\n\u003cp>“I actually had to go back,” she says, explaining that she doesn’t have the original instrumentals of some of her more well-known songs. “I had to go and get that engineer, and take them words out of there.” After removing the vocals from her songs and leaving only the instrumentation, she now plans on delivering a performance this weekend that’s “straight from the gut.”\u003c/p>\n\u003cp>“You’re gonna get 52 year-old Marv, still barred up.”\u003c/p>\n\u003cfigure id=\"attachment_13982881\" class=\"wp-caption aligncenter\" style=\"max-width: 1276px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982881\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Mavaless-scaled.jpg\" alt=\"A woman in red poses for a photo.\" width=\"1276\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Mavaless-scaled.jpg 1276w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Mavaless-160x321.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Mavaless-768x1540.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Mavaless-766x1536.jpg 766w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Mavaless-1021x2048.jpg 1021w\" sizes=\"auto, (max-width: 1276px) 100vw, 1276px\">\u003cfigcaption class=\"wp-caption-text\">Marvaless, an acclaimed lyricist, author and mother, says her daughter keeps her in touch with the latest wave of talent coming out of Northern California. \u003ccite>(Courtesy of Marvaless)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The event, which also features performances by \u003ca href=\"https://www.instagram.com/gennessee1/?hl=en\">Gennessee Lewis,\u003c/a> \u003ca href=\"https://www.instagram.com/versoulmusic/?hl=en\">Versoul\u003c/a> and \u003ca href=\"https://www.instagram.com/peplava/?hl=en\">Hieroglyphics’ Pep Love\u003c/a>, is presented by \u003ca href=\"https://www.instagram.com/iamsellassie/\">Sellassie Blackwell\u003c/a>, the hip-hop artist and activist who was part of \u003ca href=\"https://www.kqed.org/arts/11571883/the-frisco-five-protest-moves-bay-area-artists-to-action\">The Frisco Five\u003c/a> hunger strike.\u003c/p>\n\u003cp>Heading into this weekend’s show, Marvaless is in the midst of a resurgence of sorts. Earlier this year, while in conversation with \u003ca href=\"https://www.youtube.com/watch?v=wjufpEuQ31Y\">Dregs One on the History of The Bay podcast\u003c/a>, the veteran MC shed light on how she entered the rap game by way of\u003ca href=\"https://www.instagram.com/cbomobfather/?hl=en\"> C-Bo’s\u003c/a> guidance, spent time in the studio working with Mac Dre, and has a longstanding deep appreciation for Messy Marv, who she dropped a project with in 2003 called \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=hG_3QJUhPUc\">Bonnie & Clyde\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>She also shared a moving story about the letter she penned to a then-incarcerated Tupac Shakur, which led to them recording the track “\u003ca href=\"https://www.youtube.com/watch?v=IzjkPXzuXQE\">Never Be Peace\u003c/a>.” She ended the interview by noting there’s more music to come.\u003c/p>\n\u003cp>This year she’s done a number of shows and has been featured on a handful of singles, including X-Raided’s “\u003ca href=\"https://www.youtube.com/watch?v=N7rDc7riyu4\">What’s My Name\u003c/a>” and a track with DZ and C-Bo titled “\u003ca href=\"https://www.youtube.com/watch?v=niOzwQvdBhM\">Same Thang\u003c/a>.”\u003c/p>\n\u003cp>Founder of \u003ca href=\"https://www.instagram.com/themarvalessfoundation/?hl=am-et\">The Marvaless Foundation\u003c/a> nonprofit and author of the book \u003ca href=\"https://www.amazon.com/Quotes-Queen-Book-Marva-Jean-ebook/dp/B076DTTX27\">\u003cem>Quotes From the Queen\u003c/em>,\u003c/a> Marvaless is currently finishing up a new solo album called \u003cem>Queen Caliphia\u003c/em> and a duo album called \u003cem>Like Mother, Like Daughter\u003c/em> with her child, \u003ca href=\"https://music.apple.com/us/album/daughter-of-a-legend/1422924567\">Lil Marvaless\u003c/a>.\u003c/p>\n\u003cp>Crediting her daughter for keeping her ear tuned into the latest movements in the region, Marvaless says she’s proud of the current Northern Californian hip-hop scene.\u003c/p>\n\u003cp>“It’s dope that it’s still going,” she says. “And a lot of the pioneers from back then are still rocking and going strong, I love that aspect of it.”\u003c/p>\n\u003cp>Even as time passes and music changes, Marvaless says she has nothing but love for the the younger artists who are coming out and representing for our area.\u003c/p>\n\u003cp>And, at the same time, it’s clear that the fire inside the former battle rapper hasn’t faded. “I’m glad that I’m still here,” she says, “I’m still rocking stages, and I’m still barred up.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>On Saturday, Oct. 25, the \u003ca href=\"https://www.eventbrite.com/e/sellassie-presents-real-emcees-dont-rap-over-their-lyrics-tickets-1755407052749?aff=oddtdtcreator\">Real Emcees Don’t Rap Over Their Lyrics event\u003c/a> goes from 8 p.m. until midnight at Bissap Baobab (2243 Mission St., San Francisco, CA).\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In \u003ca href=\"https://www.kqed.org/bayareahiphop\">hip-hop\u003c/a>, there’s a polarizing debate between rappers who do live performances over raw instrumentals and those who rap over tracks that include their prerecorded vocals.\u003c/p>\n\u003cp>The subtext to the argument is whether or not an artist has the talent to rock a whole live show without the support of those prerecorded bars.\u003c/p>\n\u003cp>Deeper than that is the understanding that “true lyricism” is always relevant. Trends come and go. Music, especially hip-hop, is ever changing. But the ability to move a crowd by clearly and cleverly delivering dope lyrics over a saucy beat? That’s eternal.\u003c/p>\n\u003cp>So when legendary Sacramento rapper \u003ca href=\"https://www.instagram.com/therealmarvaless/?hl=en\">Marvaless\u003c/a> was asked what people should expect during her performance this Saturday at an event titled “\u003ca href=\"https://www.eventbrite.com/e/sellassie-presents-real-emcees-dont-rap-over-their-lyrics-tickets-1755407052749?aff=oddtdtcreator\">Real Emcees Don’t Rap Over Their Lyrics\u003c/a>” at Bissap Baobab in San Francisco, her response was straightforward:\u003c/p>\n\u003cp>“They should expect bars, you know what I’m saying?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\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/WxOSjdPonr4'\n title='//www.youtube.com/embed/WxOSjdPonr4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>During a phone call, the rapper — who dropped her classic debut album \u003ca href=\"https://www.youtube.com/playlist?list=PLn7qZ70jqTZGKYyiBpVkHiCp8HGwkPNvp\">\u003cem>Ghetto Blues\u003c/em>\u003c/a> in 1994 and has worked with the likes of Tupac, Mac Dre and The Jacka — explains that the debate about performing over raw instrumentals or a recording isn’t always about talent. Sometimes it’s about accessibility.\u003c/p>\n\u003cp>“I actually had to go back,” she says, explaining that she doesn’t have the original instrumentals of some of her more well-known songs. “I had to go and get that engineer, and take them words out of there.” After removing the vocals from her songs and leaving only the instrumentation, she now plans on delivering a performance this weekend that’s “straight from the gut.”\u003c/p>\n\u003cp>“You’re gonna get 52 year-old Marv, still barred up.”\u003c/p>\n\u003cfigure id=\"attachment_13982881\" class=\"wp-caption aligncenter\" style=\"max-width: 1276px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982881\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Mavaless-scaled.jpg\" alt=\"A woman in red poses for a photo.\" width=\"1276\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Mavaless-scaled.jpg 1276w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Mavaless-160x321.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Mavaless-768x1540.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Mavaless-766x1536.jpg 766w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/Mavaless-1021x2048.jpg 1021w\" sizes=\"auto, (max-width: 1276px) 100vw, 1276px\">\u003cfigcaption class=\"wp-caption-text\">Marvaless, an acclaimed lyricist, author and mother, says her daughter keeps her in touch with the latest wave of talent coming out of Northern California. \u003ccite>(Courtesy of Marvaless)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The event, which also features performances by \u003ca href=\"https://www.instagram.com/gennessee1/?hl=en\">Gennessee Lewis,\u003c/a> \u003ca href=\"https://www.instagram.com/versoulmusic/?hl=en\">Versoul\u003c/a> and \u003ca href=\"https://www.instagram.com/peplava/?hl=en\">Hieroglyphics’ Pep Love\u003c/a>, is presented by \u003ca href=\"https://www.instagram.com/iamsellassie/\">Sellassie Blackwell\u003c/a>, the hip-hop artist and activist who was part of \u003ca href=\"https://www.kqed.org/arts/11571883/the-frisco-five-protest-moves-bay-area-artists-to-action\">The Frisco Five\u003c/a> hunger strike.\u003c/p>\n\u003cp>Heading into this weekend’s show, Marvaless is in the midst of a resurgence of sorts. Earlier this year, while in conversation with \u003ca href=\"https://www.youtube.com/watch?v=wjufpEuQ31Y\">Dregs One on the History of The Bay podcast\u003c/a>, the veteran MC shed light on how she entered the rap game by way of\u003ca href=\"https://www.instagram.com/cbomobfather/?hl=en\"> C-Bo’s\u003c/a> guidance, spent time in the studio working with Mac Dre, and has a longstanding deep appreciation for Messy Marv, who she dropped a project with in 2003 called \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=hG_3QJUhPUc\">Bonnie & Clyde\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>She also shared a moving story about the letter she penned to a then-incarcerated Tupac Shakur, which led to them recording the track “\u003ca href=\"https://www.youtube.com/watch?v=IzjkPXzuXQE\">Never Be Peace\u003c/a>.” She ended the interview by noting there’s more music to come.\u003c/p>\n\u003cp>This year she’s done a number of shows and has been featured on a handful of singles, including X-Raided’s “\u003ca href=\"https://www.youtube.com/watch?v=N7rDc7riyu4\">What’s My Name\u003c/a>” and a track with DZ and C-Bo titled “\u003ca href=\"https://www.youtube.com/watch?v=niOzwQvdBhM\">Same Thang\u003c/a>.”\u003c/p>\n\u003cp>Founder of \u003ca href=\"https://www.instagram.com/themarvalessfoundation/?hl=am-et\">The Marvaless Foundation\u003c/a> nonprofit and author of the book \u003ca href=\"https://www.amazon.com/Quotes-Queen-Book-Marva-Jean-ebook/dp/B076DTTX27\">\u003cem>Quotes From the Queen\u003c/em>,\u003c/a> Marvaless is currently finishing up a new solo album called \u003cem>Queen Caliphia\u003c/em> and a duo album called \u003cem>Like Mother, Like Daughter\u003c/em> with her child, \u003ca href=\"https://music.apple.com/us/album/daughter-of-a-legend/1422924567\">Lil Marvaless\u003c/a>.\u003c/p>\n\u003cp>Crediting her daughter for keeping her ear tuned into the latest movements in the region, Marvaless says she’s proud of the current Northern Californian hip-hop scene.\u003c/p>\n\u003cp>“It’s dope that it’s still going,” she says. “And a lot of the pioneers from back then are still rocking and going strong, I love that aspect of it.”\u003c/p>\n\u003cp>Even as time passes and music changes, Marvaless says she has nothing but love for the the younger artists who are coming out and representing for our area.\u003c/p>\n\u003cp>And, at the same time, it’s clear that the fire inside the former battle rapper hasn’t faded. “I’m glad that I’m still here,” she says, “I’m still rocking stages, and I’m still barred up.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>On Saturday, Oct. 25, the \u003ca href=\"https://www.eventbrite.com/e/sellassie-presents-real-emcees-dont-rap-over-their-lyrics-tickets-1755407052749?aff=oddtdtcreator\">Real Emcees Don’t Rap Over Their Lyrics event\u003c/a> goes from 8 p.m. until midnight at Bissap Baobab (2243 Mission St., San Francisco, CA).\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "DB.Boutabag Is More Than Just Sacramento’s Best Smack Talker",
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"headTitle": "DB.Boutabag Is More Than Just Sacramento’s Best Smack Talker | KQED",
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"content": "\u003cfigure id=\"attachment_13981493\" class=\"wp-caption aligncenter\" style=\"max-width: 1999px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981493\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250805_DB.-Boutabag_GH-3_qed.jpg\" alt=\"\" width=\"1999\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250805_DB.-Boutabag_GH-3_qed.jpg 1999w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250805_DB.-Boutabag_GH-3_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250805_DB.-Boutabag_GH-3_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250805_DB.-Boutabag_GH-3_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1999px) 100vw, 1999px\">\u003cfigcaption class=\"wp-caption-text\">DB.Boutabag, 25, a rapper from Sacramento, Calif., poses for a portrait in Berkeley, Calif., on Aug. 5, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When it comes to roasting rivals, \u003ca href=\"https://www.instagram.com/db.boutabag/\">DB.Boutabag\u003c/a> wears his reputation as a badge of honor.\u003c/p>\n\u003cp>Just look at his jewelry. When we meet for our interview at a Berkeley rooftop bar on a recent afternoon, the Sacramento \u003ca href=\"https://www.kqed.org/arts/tag/hip-hop\">rapper\u003c/a> rolls up wearing a half dozen chains with heavy, gem-encrusted pendants. One features a 3D, cartoon version of himself perched on a toilet, an homage to one of his best-known bars: “I’m not rappin’ / I just shit talk.”\u003c/p>\n\u003cp>[aside postID='arts_13920746']Fans have yelled that line back to DB at sold-out clubs from his hometown of Sacramento to Reno to Phoenix. Now the 25-year-old lyricist wants to prove that he can do more than casually eviscerate opponents over thunderclaps of bass.\u003c/p>\n\u003cp>The cover of DB’s latest album, \u003cem>The \u003c/em>\u003ci>Real Boutabag II\u003c/i>, independently released in July, features him holding his infant son. Between offhanded flexes about sexual conquests and fast cars, he lets listeners into the vulnerabilities that come with young fatherhood — both the pride and the pressure.\u003c/p>\n\u003cp>https://youtu.be/xSiu3k-Rd68?si=qJODSiUVOv2_eQNE\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On “Slight Vent PT3,” a standout track with a melancholy saxophone sample, DB raps about grappling with the career and personal sacrifices he must accept in order to be a good dad. “That shit hurt / When you gotta kill your ego,” he admits on the beat.\u003c/p>\n\u003cp>“I had to … put a lot of things to the side so I could make sure I’m in [my son’s] life and I could pour into him, you feel me,” he reflects when we talk, “and [so] I can receive the blessing that God gave me.”\u003c/p>\n\u003cp>An active Twitch streamer, DB’s social media savvy has propelled his career from the beginning. He started getting traction during pandemic shutdowns, when he’d regularly join Instagram Live freestyle sessions from \u003ca href=\"https://www.instagram.com/thethizzler/?hl=en\">Thizzler\u003c/a>, the Northern California rap platform. That eventually led to a distribution deal with Thizzler and regional hits like “Fettuccine.” At Thizzler, DB connected with his now-manager Russell North, who also works with rising Oakland rapper \u003ca href=\"https://www.kqed.org/arts/13904319/rightnowish-capolow\">Capolow\u003c/a>.\u003c/p>\n\u003cp>https://youtu.be/OcK67UqNufg?si=pJBQYPMQIWfu5kv1\u003c/p>\n\u003cp>When North heard DB’s searing 2021 diss track “1st Off,” he knew DB had something special. “Your head’s bobbing, you wanna fucking go 100 miles per hour on the freeway,” North says. “It was just this crazy energy. … I’m like, ‘Bro, every DJ I know needs this record.’”\u003c/p>\n\u003cp>In the years since, DB has stayed consistent with releases, worked with the Sacramento Kings and collaborated with some of his heroes, including underground rap giants 03 Greedo and the late Drakeo the Ruler. Drakeo, whose one-of-a-kind flow evoked haunted whispers from the underworld, invited DB to his city to film a music video for their song together, “\u003ca href=\"https://youtu.be/r3TZTr5ER4E?si=j-PUqwH-nN-fCMMf\">Top Rapper\u003c/a>.”\u003c/p>\n\u003cp>“We rented a blue Lamborghini, fuckin’ had hella whips,” DB remembers. “It was a crazy ass experience. That was the best night of my life.”\u003c/p>\n\u003cp>https://youtu.be/r3TZTr5ER4E?si=j-PUqwH-nN-fCMMf\u003c/p>\n\u003cp>Yet amid the Instagram-worthy moments, DB has always made space in his music to be real. He started sharing more of his obstacles and anxieties in 2020 with the release of “\u003ca href=\"https://www.youtube.com/watch?v=uw9jd09cans\">Slight Vent\u003c/a>,” where he airs out money stress and trust issues. He almost didn’t put it out. He thought people would call him soft. But the risk paid off. “I got a whole new fan base off of that,” he says. “Like, a chakra opened.”\u003c/p>\n\u003cp>A former high school hooper with dreams of playing in college, DB.Boutabag has the work ethic to turn his viral moments into something lasting. He learned discipline both through athletics and his mom, who raised him as a single parent in South Sacramento, and who instilled a belief in self that motivates him to this day.\u003c/p>\n\u003cfigure id=\"attachment_13979586\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979586\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250805_DB.-BOUTABAG_GH-9-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250805_DB.-BOUTABAG_GH-9-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250805_DB.-BOUTABAG_GH-9-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250805_DB.-BOUTABAG_GH-9-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250805_DB.-BOUTABAG_GH-9-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">DB.Boutabag (center) with his childhood friends, Tommy Almanza (left) and Kamari Woodie (right), in Berkeley on Aug. 5, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“She used to tell me, like, people stereotype us because of our hair, our color, our dreads … and how we present ourselves from our culture,” he says. “And she always just told me, like, you could still be a winner, a businessman with a briefcase, whatever you want to be. You could be the motherfucking president wearing your gold grill.”\u003c/p>\n\u003cp>DB wants to be that positive role model for his own son. I ask him if there’s anything he wants to give his child that he himself didn’t have growing up.\u003c/p>\n\u003cp>DB wastes no time answering. “Everything, bruh. He not gon’ realize it ’cause he gon’ have it.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.eventbrite.com/e/daboii-dbboutabag-tickets-1607430541019\">DB.Boutabag co-headlines the Phoenix Theater\u003c/a> in Petaluma with DaBoii on Saturday, Oct. 18.\u003c/em>\u003c/p>\n\n",
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"excerpt": "On his new album ‘The Real Boutabag II,’ the 25-year-old rising rapper gets vulnerable about new fatherhood.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13981493\" class=\"wp-caption aligncenter\" style=\"max-width: 1999px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981493\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250805_DB.-Boutabag_GH-3_qed.jpg\" alt=\"\" width=\"1999\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250805_DB.-Boutabag_GH-3_qed.jpg 1999w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250805_DB.-Boutabag_GH-3_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250805_DB.-Boutabag_GH-3_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250805_DB.-Boutabag_GH-3_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1999px) 100vw, 1999px\">\u003cfigcaption class=\"wp-caption-text\">DB.Boutabag, 25, a rapper from Sacramento, Calif., poses for a portrait in Berkeley, Calif., on Aug. 5, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When it comes to roasting rivals, \u003ca href=\"https://www.instagram.com/db.boutabag/\">DB.Boutabag\u003c/a> wears his reputation as a badge of honor.\u003c/p>\n\u003cp>Just look at his jewelry. When we meet for our interview at a Berkeley rooftop bar on a recent afternoon, the Sacramento \u003ca href=\"https://www.kqed.org/arts/tag/hip-hop\">rapper\u003c/a> rolls up wearing a half dozen chains with heavy, gem-encrusted pendants. One features a 3D, cartoon version of himself perched on a toilet, an homage to one of his best-known bars: “I’m not rappin’ / I just shit talk.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Fans have yelled that line back to DB at sold-out clubs from his hometown of Sacramento to Reno to Phoenix. Now the 25-year-old lyricist wants to prove that he can do more than casually eviscerate opponents over thunderclaps of bass.\u003c/p>\n\u003cp>The cover of DB’s latest album, \u003cem>The \u003c/em>\u003ci>Real Boutabag II\u003c/i>, independently released in July, features him holding his infant son. Between offhanded flexes about sexual conquests and fast cars, he lets listeners into the vulnerabilities that come with young fatherhood — both the pride and the pressure.\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/xSiu3k-Rd68'\n title='//www.youtube.com/embed/xSiu3k-Rd68'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On “Slight Vent PT3,” a standout track with a melancholy saxophone sample, DB raps about grappling with the career and personal sacrifices he must accept in order to be a good dad. “That shit hurt / When you gotta kill your ego,” he admits on the beat.\u003c/p>\n\u003cp>“I had to … put a lot of things to the side so I could make sure I’m in [my son’s] life and I could pour into him, you feel me,” he reflects when we talk, “and [so] I can receive the blessing that God gave me.”\u003c/p>\n\u003cp>An active Twitch streamer, DB’s social media savvy has propelled his career from the beginning. He started getting traction during pandemic shutdowns, when he’d regularly join Instagram Live freestyle sessions from \u003ca href=\"https://www.instagram.com/thethizzler/?hl=en\">Thizzler\u003c/a>, the Northern California rap platform. That eventually led to a distribution deal with Thizzler and regional hits like “Fettuccine.” At Thizzler, DB connected with his now-manager Russell North, who also works with rising Oakland rapper \u003ca href=\"https://www.kqed.org/arts/13904319/rightnowish-capolow\">Capolow\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/OcK67UqNufg'\n title='//www.youtube.com/embed/OcK67UqNufg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>When North heard DB’s searing 2021 diss track “1st Off,” he knew DB had something special. “Your head’s bobbing, you wanna fucking go 100 miles per hour on the freeway,” North says. “It was just this crazy energy. … I’m like, ‘Bro, every DJ I know needs this record.’”\u003c/p>\n\u003cp>In the years since, DB has stayed consistent with releases, worked with the Sacramento Kings and collaborated with some of his heroes, including underground rap giants 03 Greedo and the late Drakeo the Ruler. Drakeo, whose one-of-a-kind flow evoked haunted whispers from the underworld, invited DB to his city to film a music video for their song together, “\u003ca href=\"https://youtu.be/r3TZTr5ER4E?si=j-PUqwH-nN-fCMMf\">Top Rapper\u003c/a>.”\u003c/p>\n\u003cp>“We rented a blue Lamborghini, fuckin’ had hella whips,” DB remembers. “It was a crazy ass experience. That was the best night of my life.”\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/r3TZTr5ER4E'\n title='//www.youtube.com/embed/r3TZTr5ER4E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Yet amid the Instagram-worthy moments, DB has always made space in his music to be real. He started sharing more of his obstacles and anxieties in 2020 with the release of “\u003ca href=\"https://www.youtube.com/watch?v=uw9jd09cans\">Slight Vent\u003c/a>,” where he airs out money stress and trust issues. He almost didn’t put it out. He thought people would call him soft. But the risk paid off. “I got a whole new fan base off of that,” he says. “Like, a chakra opened.”\u003c/p>\n\u003cp>A former high school hooper with dreams of playing in college, DB.Boutabag has the work ethic to turn his viral moments into something lasting. He learned discipline both through athletics and his mom, who raised him as a single parent in South Sacramento, and who instilled a belief in self that motivates him to this day.\u003c/p>\n\u003cfigure id=\"attachment_13979586\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979586\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250805_DB.-BOUTABAG_GH-9-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250805_DB.-BOUTABAG_GH-9-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250805_DB.-BOUTABAG_GH-9-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250805_DB.-BOUTABAG_GH-9-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/250805_DB.-BOUTABAG_GH-9-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">DB.Boutabag (center) with his childhood friends, Tommy Almanza (left) and Kamari Woodie (right), in Berkeley on Aug. 5, 2025. \u003ccite>(Gustavo Hernandez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“She used to tell me, like, people stereotype us because of our hair, our color, our dreads … and how we present ourselves from our culture,” he says. “And she always just told me, like, you could still be a winner, a businessman with a briefcase, whatever you want to be. You could be the motherfucking president wearing your gold grill.”\u003c/p>\n\u003cp>DB wants to be that positive role model for his own son. I ask him if there’s anything he wants to give his child that he himself didn’t have growing up.\u003c/p>\n\u003cp>DB wastes no time answering. “Everything, bruh. He not gon’ realize it ’cause he gon’ have it.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.eventbrite.com/e/daboii-dbboutabag-tickets-1607430541019\">DB.Boutabag co-headlines the Phoenix Theater\u003c/a> in Petaluma with DaBoii on Saturday, Oct. 18.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "sacramento-music-archive-shayne-stacy-punk-metal-cassettes-vhs-demos-concerts",
"title": "He’s Saving 20,000 Tapes of Underground Music and Making it Free to All",
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"content": "\u003cfigure id=\"attachment_13979219\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979219\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-10-KQED.jpg\" alt=\"A man in his 50s wearing a polo shirt and beige shorts sits at a cluttered desk, his arm leaned upon a vintage analog tape machine\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-10-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-10-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-10-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-10-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shayne Stacy, founder of the Sacramento Music Archive, works among his collection of analog recordings of concert videos and cassettes in Orangevale, Calif. on July 24, 2025. Stacy has spent years digitizing underground music from Sacramento, the Bay Area and across Northern California, making rare recordings freely accessible online. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a suburban backyard outside of \u003ca href=\"https://www.kqed.org/arts/tag/sacramento\">Sacramento\u003c/a>, I open the door to a giant shed, step inside and get smacked in the face by floor-to-ceiling shelves of music history.\u003c/p>\n\u003cp>VHS tapes. Cassette tapes. Reel-to-reels. DATs. Other formats I don’t recognize, and can’t pronounce. Nearly 20,000 of them, all filled with live shows, demo recordings and concert footage.\u003c/p>\n\u003cp>Down a narrow path through this obsolete physical media, I turn a corner to find Shayne Stacy, 57, sitting at a desk with three monitors and occasionally fiddling with a nearby U-matic machine, an out-of-date piece of video hardware used by TV stations. On the screen, viewed for the first time in 40 years, is a 1980s new wave band performing on a long-lost cable access show from the Central Valley.\u003c/p>\n\u003cp>On any given day, this is where you’ll find Stacy, the founder of the nonprofit \u003ca href=\"https://sacramentomusicarchive.com/\">Sacramento Music Archive\u003c/a>. Just a half-hour’s drive from Sutter’s Mill and its famous California discovery, Stacy tends methodically to his own goldmine: a mass of underground music from Sacramento, the Bay Area and beyond that he’s gradually digitizing and sharing with the world, including rare \u003ca href=\"https://sacramentomusicarchive.com/1990/02/12/nirvana-cattle-club-sacramento-ca-02-12-1990-2-cam-mix/\">early footage of Nirvana\u003c/a>, \u003ca href=\"https://sacramentomusicarchive.com/1994/07/23/metallica-cal-expo-amphitheatre-sacramento-ca-7-23-94-xfer-from-master-tape-enhanced-live/\">Metallica\u003c/a> and \u003ca href=\"https://sacramentomusicarchive.com/1991/10/03/green-day-berkeley-square-10-3-91-xfer-from-master-vhs-tape-complete-show-enhanced/\">Green Day\u003c/a>.\u003c/p>\n\u003cp>“You’d think it’s like this big rock and roll party in here. It’s like this. It’s very quiet, with me working at a keyboard,” Stacy says with a laugh.\u003c/p>\n\u003cfigure id=\"attachment_13979226\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979226\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SacramentoMusicArchive-18_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SacramentoMusicArchive-18_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SacramentoMusicArchive-18_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SacramentoMusicArchive-18_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SacramentoMusicArchive-18_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Sacramento Music Archive began with Shayne Stacy’s own concert recordings of Nirvana, Yo La Tengo, Green Day, Christ on Parade and more, as pictured in Orangevale, Calif. on July 24, 2025. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I first became aware of Stacy’s work during the pandemic, when I noticed people posting video footage of punk shows held 30 years ago that I’d attended, or, even more irresistible, that I’d heard about but been too young to see. I soon found that for those of a certain age and musical bent, scrolling the Sacramento Music Archive was like watching one’s life flash before their eyes: a young \u003ca href=\"https://sacramentomusicarchive.com/1993/05/28/rancid-berkeley-square-berkeley-ca-5-28-93-xfer-from-vhs-c-master-punk-partial-set/\">Rancid finding their footing at Berkeley Square\u003c/a>, \u003ca href=\"https://youtu.be/NxQGByCjPdI?feature=shared&t=484\">Mr. Bungle covering Top 40 radio hits from 1989\u003c/a> in Guerneville, or \u003cem>Maximum Rocknroll\u003c/em> founder \u003ca href=\"https://youtu.be/Pb5X2LrTpjs?feature=shared&t=385\">Tim Yohannon throwing pies at Screeching Weasel\u003c/a> at 924 Gilman.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As for shows that had been uploaded before, like \u003ca href=\"https://sacramentomusicarchive.com/1989/05/28/operation-ivy-924-gilman-berkeley-ca-5-28-89-multicam-w-sony-d6-audio/\">Operation Ivy’s final show\u003c/a>? Stacy consistently seemed to have the best sources, and sometimes from multiple camera angles, too. What’s more, he had over 5,000 shows from all over Northern California from the past 50 years, by punk, metal, modern rock, funk, thrash and indie bands — famous names and obscure footnotes alike. And, remarkably, it was evident he still went out to shows, and filmed new bands.\u003c/p>\n\u003cp>Who was this one-man Library of Congress for West Coast Gen Xers? I had to find out.\u003c/p>\n\u003ch2>Preserving punk history\u003c/h2>\n\u003cp>Born in Auburn in 1967, Stacy had a typical 1970s childhood of watching \u003cem>Scooby Doo\u003c/em> and collecting sports cards. When he was 15, he went by himself to see Iron Maiden and the Scorpions at the Sacramento Memorial Stadium, in 1982, and he still remembers its impact. “As soon as I felt that sound pressure hitting my chest, I’m like, ‘This is the best thing I’ve ever seen,’” he says.\u003c/p>\n\u003cfigure id=\"attachment_13979223\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979223\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-24-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-24-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-24-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-24-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-24-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The boxes of VHS tapes, reel-to-reels and cassettes at the Sacramento Music Archive may seem haphazardly organized, but Shayne Stacy keeps a reliable mental inventory of each tapes’ location. Particularly valuable masters are kept in a 1,000-lb. fire-resistant safe. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Bay Area was a cradle of \u003ca href=\"https://www.kqed.org/arts/10834160/five-of-the-bay-areas-raddest-metal-bands-from-the-80s\">thrash metal\u003c/a> at the time, with bands like Exodus, Possessed and Metallica just starting out. Soon, Stacy was bringing cheap tape recorders to shows, and sharing the results with other fans who traded tapes through the classifieds in the backs of fan magazines. In 1987, after witnessing the El Sobrante punk band Isocracy, who routinely threw heaps of garbage all over the crowd, Stacy had an epiphany.\u003c/p>\n\u003cp>“There’s paper all over the floor, and it’s just a chaotic environment, and I said to myself, ‘I have to buy a video camera to document this stuff,’” Stacy remembers. “I stopped all of my excess expenditures, making five bucks an hour, and saved for four months to buy my own video camera.”\u003c/p>\n\u003cp>Between 1988 and 1992, Stacy estimates, he filmed 240 shows, driving to venues in Sacramento or the Bay Area every weekend. Trading with others through the mail, he amassed even more tapes. But there was a downside: he began seeing his own footage, of shows by \u003ca href=\"https://sacramentomusicarchive.com/1989/08/26/primus-cattle-club-sacramento-ca-8-26-89-xfer-from-8mm-master-live-enhanced/\">Primus\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=KVvJQfgRl7o\">Nirvana\u003c/a> playing at the Cattle Club in Sacramento, bootlegged and sold by others for profit.\u003c/p>\n\u003cp>“It was like, no fun anymore,” Stacy says. “This was supposed to be a hobby I enjoyed, and it turned into this point of frustration. And so I quit. I quit for 10 years.”\u003c/p>\n\u003cfigure id=\"attachment_13979222\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979222\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-22-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-22-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-22-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-22-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-22-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shayne Stacy started out recording metal bands, and once lost a valuable tape of him and a friend hanging out with Slayer backstage in 1988 at The Stone in San Francisco. Miraculously, thanks to the tape-trading circuit, he \u003ca href=\"https://sacramentomusicarchive.com/1988/08/12/slayer-backstage-the-stone-san-francisco-ca-8-12-88/\">got his hands on a copy of it again\u003c/a>. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>YouTube brought him back. Stacy says it “liberated” everything: the fans didn’t have to pay $30 for a grainy VHS tape anymore, the copyright holders got paid — not enough, but something — and he got to enjoy his hobby again. He rushed out and bought the best cassette decks and VCRs he could find, and got to work.\u003c/p>\n\u003cp>One person who noticed the quality of Stacy’s work early on is Wayne Vanderkuil. “I work at Stanford in visual preservation, reformatting, and he had similar equipment to what we have here,” Vanderkuil says. “I was incredibly impressed.”\u003c/p>\n\u003cp>During the tape-trading days, Vanderkuil amassed his own collection of metal bands playing at Ruthie’s Inn, Wolfgang’s or the On Broadway. They sat in storage for 25 years, untouched, he says. “I thought, ‘No one’s ever gonna hear these. I’ll drop dead tomorrow, and there goes history.’”\u003c/p>\n\u003cp>Instead, he donated his tapes to Stacy. Vanderkuil is now president of the board of the Sacramento Music Archive, newly incorporated as a nonprofit, which will allow Stacy — who worked at Intel for 27 years and recently accepted an “incredibly generous” buyout offer — to \u003ca href=\"https://www.patreon.com/c/sacramentomusicarchive/membership\">take donations\u003c/a> and apply for grants. Most importantly, it’ll set up his life’s work to continue into the future. As it stands, only about 5% of the tapes in the archive have been preserved digitally so far.\u003c/p>\n\u003cp>“This is clearly becoming a bigger project than I’ve got time left,” says Stacy.\u003c/p>\n\u003cfigure id=\"attachment_13979220\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979220\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-11-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-11-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-11-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-11-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-11-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shayne Stacy, founder of the Sacramento Music Archive, futzes with a vintage U-matic player in order to get a stubborn TV station cartridge of a Sacramento band to play correctly. ‘Sometimes you get to see me fight with this thing and curse a lot,’ he jokes. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘He really is the go-to’\u003c/h2>\n\u003cp>Publicity and word-of-mouth creates another problem: the piles are growing. Everyone, it seems, has old tapes they want to donate. Waiting to be digitized in the archive are 500 cassettes of free jazz, reel-to-reels of D.R.I. rehearsals at \u003ca href=\"https://www.sfgate.com/sf-culture/article/strangest-200-dollar-apartments-sf-history-20381556.php\">The Vats\u003c/a> and hundreds of videos and soundboard recordings from 924 Gilman. Stacy now has \u003ca href=\"https://sacramentomusicarchive.com/collections/\">over 25 different collections\u003c/a> from DJs, sound engineers, record store owners, zine editors, promoters, cable access hosts and fans.\u003c/p>\n\u003cp>One of them is Arica Pelino, who recently traveled from three states away to Stacy’s archive with a suitcase full of tapes. Pelino toured with Green Day in 1991, and filmed many of their early shows, along with dozens of other bands from the East Bay like Econochrist and Lungbutter. Her tapes sat in storage for more than 20 years, unseen.\u003c/p>\n\u003cp>“If I didn’t meet Shayne, it would still be sitting in boxes,” she says.\u003c/p>\n\u003cp>[aside postID=arts_13968840 hero='https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_03.jpg']She and Stacy spent two days going through her collection, including 22 early Green Day shows that no one had ever seen before, she says, along with \u003ca href=\"https://sacramentomusicarchive.com/1991/09/28/green-day-phoenix-theater-petaluma-ca-9-28-91-uncirculated-preshow-clip-xfer-f-vhs-master-enhanced/\">backstage footage\u003c/a> and \u003ca href=\"https://sacramentomusicarchive.com/1990/01/01/sweet-children-green-day-billie-joes-tape-to-arica-demo-and-7-sessions-tape-complete/\">early demos\u003c/a>.\u003c/p>\n\u003cp>“Shayne really is the owner and the keeper for all of us,” Pelino says. “There’s no one I’d rather do it with. He does a great job, he’s extremely detail-oriented and he puts his all into cleaning up the audio and video. He really is the go-to archive for Northern California, and has captured a significant part of the music scene.”\u003c/p>\n\u003cp>Another donor, Rick Sylvain, who in his 12 years working at Berkeley radio station KALX helped start the long-running \u003cem>KALX Live!\u003c/em> show, with bands playing in the cramped studio.\u003c/p>\n\u003cp>“It was kind of stinky sometimes — they spilled a lot of beer in there — but it was fun, and I taped everything,” he says. “Some of these little bands, it was their one big moment in the sun, and I wanted them to feel like they were stars.”\u003c/p>\n\u003cp>One little band that fulfilled that promise of stardom was AFI, who would go on to headline arenas. Thanks to the Sacramento Music Archive, Sylvain’s cassette of \u003ca href=\"https://sacramentomusicarchive.com/1994/10/07/afi-kalx-live-in-studio-berkeley-ca-10-7-94-xfer-from-pre-fm-master-cassette-a-fire-inside-a-f-i/\">AFI’s 1994 visit to KALX\u003c/a> is now the band’s earliest live recording on YouTube.\u003c/p>\n\u003cfigure id=\"attachment_13979224\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979224\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-28-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-28-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-28-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-28-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-28-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shayne Stacy uploads videos twice a day from his growing collection in a cluttered, air-conditioned shed. ‘I promised my wife that I would digitize this stuff and then get rid of the tapes,’ he says, ‘and I’m having trouble doing that, to be quite frank.’ \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Large companies and record labels have taken notice, and Stacy’s provided them with material for a Nirvana box set, a Pavement film, and various documentaries. He talks just as enthusiastically, however, about forgotten bands like \u003ca href=\"https://sacramentomusicarchive.com/2000/04/12/donner-party-slims-sf-4-12-00-sam-coomes-from-quasis-early-band/\">The Donner Party\u003c/a> or the \u003ca href=\"https://sacramentomusicarchive.com/1987/04/11/slambodians-sproul-plaza-berkeley-ca-4-11-87-xfer-from-master-vhs-tape-east-bay-punk/\">Slambodians\u003c/a>. He’s especially excited about a recent estate sale find of reel-to-reels from a member of Red Asphalt, the early punk band, who lived in Sacramento.\u003c/p>\n\u003cp>And that brings him back to the original purpose of the archive, one it’s clearly outgrown: to legitimize and honor Sacramento as its own distinct music scene. He accepts that “Sacramento Music Archive” is a bit of a misnomer for a massive collection covering the the Bay Area and Northern California.\u003c/p>\n\u003cp>But he likes the name.\u003c/p>\n\u003cp>“I’ve always felt like Sacramento has always been the red-headed stepchild of California,” he says. “The Lakers make fun of the Kings, Southern California makes fun of Sacramento. It’s a cow town, right? So having something that’s culturally enriching, that has the Sacramento label on it, I’m fine with it.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The Sacramento Music Archive can be found at its \u003ca href=\"https://sacramentomusicarchive.com/\">official website\u003c/a> and \u003ca href=\"https://www.youtube.com/@sacramentomusicarchive/videos\">YouTube channel\u003c/a>. Subscribers can \u003ca href=\"https://www.patreon.com/SacramentoMusicArchive\">join the archive’s Patreon\u003c/a> to vote which shows in the archive will get digitized or posted next, or to arrange filming a concert from scratch. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13979219\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979219\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-10-KQED.jpg\" alt=\"A man in his 50s wearing a polo shirt and beige shorts sits at a cluttered desk, his arm leaned upon a vintage analog tape machine\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-10-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-10-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-10-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-10-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shayne Stacy, founder of the Sacramento Music Archive, works among his collection of analog recordings of concert videos and cassettes in Orangevale, Calif. on July 24, 2025. Stacy has spent years digitizing underground music from Sacramento, the Bay Area and across Northern California, making rare recordings freely accessible online. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a suburban backyard outside of \u003ca href=\"https://www.kqed.org/arts/tag/sacramento\">Sacramento\u003c/a>, I open the door to a giant shed, step inside and get smacked in the face by floor-to-ceiling shelves of music history.\u003c/p>\n\u003cp>VHS tapes. Cassette tapes. Reel-to-reels. DATs. Other formats I don’t recognize, and can’t pronounce. Nearly 20,000 of them, all filled with live shows, demo recordings and concert footage.\u003c/p>\n\u003cp>Down a narrow path through this obsolete physical media, I turn a corner to find Shayne Stacy, 57, sitting at a desk with three monitors and occasionally fiddling with a nearby U-matic machine, an out-of-date piece of video hardware used by TV stations. On the screen, viewed for the first time in 40 years, is a 1980s new wave band performing on a long-lost cable access show from the Central Valley.\u003c/p>\n\u003cp>On any given day, this is where you’ll find Stacy, the founder of the nonprofit \u003ca href=\"https://sacramentomusicarchive.com/\">Sacramento Music Archive\u003c/a>. Just a half-hour’s drive from Sutter’s Mill and its famous California discovery, Stacy tends methodically to his own goldmine: a mass of underground music from Sacramento, the Bay Area and beyond that he’s gradually digitizing and sharing with the world, including rare \u003ca href=\"https://sacramentomusicarchive.com/1990/02/12/nirvana-cattle-club-sacramento-ca-02-12-1990-2-cam-mix/\">early footage of Nirvana\u003c/a>, \u003ca href=\"https://sacramentomusicarchive.com/1994/07/23/metallica-cal-expo-amphitheatre-sacramento-ca-7-23-94-xfer-from-master-tape-enhanced-live/\">Metallica\u003c/a> and \u003ca href=\"https://sacramentomusicarchive.com/1991/10/03/green-day-berkeley-square-10-3-91-xfer-from-master-vhs-tape-complete-show-enhanced/\">Green Day\u003c/a>.\u003c/p>\n\u003cp>“You’d think it’s like this big rock and roll party in here. It’s like this. It’s very quiet, with me working at a keyboard,” Stacy says with a laugh.\u003c/p>\n\u003cfigure id=\"attachment_13979226\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979226\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SacramentoMusicArchive-18_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SacramentoMusicArchive-18_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SacramentoMusicArchive-18_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SacramentoMusicArchive-18_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SacramentoMusicArchive-18_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Sacramento Music Archive began with Shayne Stacy’s own concert recordings of Nirvana, Yo La Tengo, Green Day, Christ on Parade and more, as pictured in Orangevale, Calif. on July 24, 2025. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I first became aware of Stacy’s work during the pandemic, when I noticed people posting video footage of punk shows held 30 years ago that I’d attended, or, even more irresistible, that I’d heard about but been too young to see. I soon found that for those of a certain age and musical bent, scrolling the Sacramento Music Archive was like watching one’s life flash before their eyes: a young \u003ca href=\"https://sacramentomusicarchive.com/1993/05/28/rancid-berkeley-square-berkeley-ca-5-28-93-xfer-from-vhs-c-master-punk-partial-set/\">Rancid finding their footing at Berkeley Square\u003c/a>, \u003ca href=\"https://youtu.be/NxQGByCjPdI?feature=shared&t=484\">Mr. Bungle covering Top 40 radio hits from 1989\u003c/a> in Guerneville, or \u003cem>Maximum Rocknroll\u003c/em> founder \u003ca href=\"https://youtu.be/Pb5X2LrTpjs?feature=shared&t=385\">Tim Yohannon throwing pies at Screeching Weasel\u003c/a> at 924 Gilman.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As for shows that had been uploaded before, like \u003ca href=\"https://sacramentomusicarchive.com/1989/05/28/operation-ivy-924-gilman-berkeley-ca-5-28-89-multicam-w-sony-d6-audio/\">Operation Ivy’s final show\u003c/a>? Stacy consistently seemed to have the best sources, and sometimes from multiple camera angles, too. What’s more, he had over 5,000 shows from all over Northern California from the past 50 years, by punk, metal, modern rock, funk, thrash and indie bands — famous names and obscure footnotes alike. And, remarkably, it was evident he still went out to shows, and filmed new bands.\u003c/p>\n\u003cp>Who was this one-man Library of Congress for West Coast Gen Xers? I had to find out.\u003c/p>\n\u003ch2>Preserving punk history\u003c/h2>\n\u003cp>Born in Auburn in 1967, Stacy had a typical 1970s childhood of watching \u003cem>Scooby Doo\u003c/em> and collecting sports cards. When he was 15, he went by himself to see Iron Maiden and the Scorpions at the Sacramento Memorial Stadium, in 1982, and he still remembers its impact. “As soon as I felt that sound pressure hitting my chest, I’m like, ‘This is the best thing I’ve ever seen,’” he says.\u003c/p>\n\u003cfigure id=\"attachment_13979223\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979223\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-24-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-24-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-24-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-24-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-24-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The boxes of VHS tapes, reel-to-reels and cassettes at the Sacramento Music Archive may seem haphazardly organized, but Shayne Stacy keeps a reliable mental inventory of each tapes’ location. Particularly valuable masters are kept in a 1,000-lb. fire-resistant safe. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Bay Area was a cradle of \u003ca href=\"https://www.kqed.org/arts/10834160/five-of-the-bay-areas-raddest-metal-bands-from-the-80s\">thrash metal\u003c/a> at the time, with bands like Exodus, Possessed and Metallica just starting out. Soon, Stacy was bringing cheap tape recorders to shows, and sharing the results with other fans who traded tapes through the classifieds in the backs of fan magazines. In 1987, after witnessing the El Sobrante punk band Isocracy, who routinely threw heaps of garbage all over the crowd, Stacy had an epiphany.\u003c/p>\n\u003cp>“There’s paper all over the floor, and it’s just a chaotic environment, and I said to myself, ‘I have to buy a video camera to document this stuff,’” Stacy remembers. “I stopped all of my excess expenditures, making five bucks an hour, and saved for four months to buy my own video camera.”\u003c/p>\n\u003cp>Between 1988 and 1992, Stacy estimates, he filmed 240 shows, driving to venues in Sacramento or the Bay Area every weekend. Trading with others through the mail, he amassed even more tapes. But there was a downside: he began seeing his own footage, of shows by \u003ca href=\"https://sacramentomusicarchive.com/1989/08/26/primus-cattle-club-sacramento-ca-8-26-89-xfer-from-8mm-master-live-enhanced/\">Primus\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=KVvJQfgRl7o\">Nirvana\u003c/a> playing at the Cattle Club in Sacramento, bootlegged and sold by others for profit.\u003c/p>\n\u003cp>“It was like, no fun anymore,” Stacy says. “This was supposed to be a hobby I enjoyed, and it turned into this point of frustration. And so I quit. I quit for 10 years.”\u003c/p>\n\u003cfigure id=\"attachment_13979222\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979222\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-22-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-22-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-22-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-22-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-22-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shayne Stacy started out recording metal bands, and once lost a valuable tape of him and a friend hanging out with Slayer backstage in 1988 at The Stone in San Francisco. Miraculously, thanks to the tape-trading circuit, he \u003ca href=\"https://sacramentomusicarchive.com/1988/08/12/slayer-backstage-the-stone-san-francisco-ca-8-12-88/\">got his hands on a copy of it again\u003c/a>. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>YouTube brought him back. Stacy says it “liberated” everything: the fans didn’t have to pay $30 for a grainy VHS tape anymore, the copyright holders got paid — not enough, but something — and he got to enjoy his hobby again. He rushed out and bought the best cassette decks and VCRs he could find, and got to work.\u003c/p>\n\u003cp>One person who noticed the quality of Stacy’s work early on is Wayne Vanderkuil. “I work at Stanford in visual preservation, reformatting, and he had similar equipment to what we have here,” Vanderkuil says. “I was incredibly impressed.”\u003c/p>\n\u003cp>During the tape-trading days, Vanderkuil amassed his own collection of metal bands playing at Ruthie’s Inn, Wolfgang’s or the On Broadway. They sat in storage for 25 years, untouched, he says. “I thought, ‘No one’s ever gonna hear these. I’ll drop dead tomorrow, and there goes history.’”\u003c/p>\n\u003cp>Instead, he donated his tapes to Stacy. Vanderkuil is now president of the board of the Sacramento Music Archive, newly incorporated as a nonprofit, which will allow Stacy — who worked at Intel for 27 years and recently accepted an “incredibly generous” buyout offer — to \u003ca href=\"https://www.patreon.com/c/sacramentomusicarchive/membership\">take donations\u003c/a> and apply for grants. Most importantly, it’ll set up his life’s work to continue into the future. As it stands, only about 5% of the tapes in the archive have been preserved digitally so far.\u003c/p>\n\u003cp>“This is clearly becoming a bigger project than I’ve got time left,” says Stacy.\u003c/p>\n\u003cfigure id=\"attachment_13979220\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979220\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-11-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-11-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-11-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-11-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-11-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shayne Stacy, founder of the Sacramento Music Archive, futzes with a vintage U-matic player in order to get a stubborn TV station cartridge of a Sacramento band to play correctly. ‘Sometimes you get to see me fight with this thing and curse a lot,’ he jokes. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘He really is the go-to’\u003c/h2>\n\u003cp>Publicity and word-of-mouth creates another problem: the piles are growing. Everyone, it seems, has old tapes they want to donate. Waiting to be digitized in the archive are 500 cassettes of free jazz, reel-to-reels of D.R.I. rehearsals at \u003ca href=\"https://www.sfgate.com/sf-culture/article/strangest-200-dollar-apartments-sf-history-20381556.php\">The Vats\u003c/a> and hundreds of videos and soundboard recordings from 924 Gilman. Stacy now has \u003ca href=\"https://sacramentomusicarchive.com/collections/\">over 25 different collections\u003c/a> from DJs, sound engineers, record store owners, zine editors, promoters, cable access hosts and fans.\u003c/p>\n\u003cp>One of them is Arica Pelino, who recently traveled from three states away to Stacy’s archive with a suitcase full of tapes. Pelino toured with Green Day in 1991, and filmed many of their early shows, along with dozens of other bands from the East Bay like Econochrist and Lungbutter. Her tapes sat in storage for more than 20 years, unseen.\u003c/p>\n\u003cp>“If I didn’t meet Shayne, it would still be sitting in boxes,” she says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>She and Stacy spent two days going through her collection, including 22 early Green Day shows that no one had ever seen before, she says, along with \u003ca href=\"https://sacramentomusicarchive.com/1991/09/28/green-day-phoenix-theater-petaluma-ca-9-28-91-uncirculated-preshow-clip-xfer-f-vhs-master-enhanced/\">backstage footage\u003c/a> and \u003ca href=\"https://sacramentomusicarchive.com/1990/01/01/sweet-children-green-day-billie-joes-tape-to-arica-demo-and-7-sessions-tape-complete/\">early demos\u003c/a>.\u003c/p>\n\u003cp>“Shayne really is the owner and the keeper for all of us,” Pelino says. “There’s no one I’d rather do it with. He does a great job, he’s extremely detail-oriented and he puts his all into cleaning up the audio and video. He really is the go-to archive for Northern California, and has captured a significant part of the music scene.”\u003c/p>\n\u003cp>Another donor, Rick Sylvain, who in his 12 years working at Berkeley radio station KALX helped start the long-running \u003cem>KALX Live!\u003c/em> show, with bands playing in the cramped studio.\u003c/p>\n\u003cp>“It was kind of stinky sometimes — they spilled a lot of beer in there — but it was fun, and I taped everything,” he says. “Some of these little bands, it was their one big moment in the sun, and I wanted them to feel like they were stars.”\u003c/p>\n\u003cp>One little band that fulfilled that promise of stardom was AFI, who would go on to headline arenas. Thanks to the Sacramento Music Archive, Sylvain’s cassette of \u003ca href=\"https://sacramentomusicarchive.com/1994/10/07/afi-kalx-live-in-studio-berkeley-ca-10-7-94-xfer-from-pre-fm-master-cassette-a-fire-inside-a-f-i/\">AFI’s 1994 visit to KALX\u003c/a> is now the band’s earliest live recording on YouTube.\u003c/p>\n\u003cfigure id=\"attachment_13979224\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979224\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-28-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-28-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-28-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-28-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-28-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shayne Stacy uploads videos twice a day from his growing collection in a cluttered, air-conditioned shed. ‘I promised my wife that I would digitize this stuff and then get rid of the tapes,’ he says, ‘and I’m having trouble doing that, to be quite frank.’ \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Large companies and record labels have taken notice, and Stacy’s provided them with material for a Nirvana box set, a Pavement film, and various documentaries. He talks just as enthusiastically, however, about forgotten bands like \u003ca href=\"https://sacramentomusicarchive.com/2000/04/12/donner-party-slims-sf-4-12-00-sam-coomes-from-quasis-early-band/\">The Donner Party\u003c/a> or the \u003ca href=\"https://sacramentomusicarchive.com/1987/04/11/slambodians-sproul-plaza-berkeley-ca-4-11-87-xfer-from-master-vhs-tape-east-bay-punk/\">Slambodians\u003c/a>. He’s especially excited about a recent estate sale find of reel-to-reels from a member of Red Asphalt, the early punk band, who lived in Sacramento.\u003c/p>\n\u003cp>And that brings him back to the original purpose of the archive, one it’s clearly outgrown: to legitimize and honor Sacramento as its own distinct music scene. He accepts that “Sacramento Music Archive” is a bit of a misnomer for a massive collection covering the the Bay Area and Northern California.\u003c/p>\n\u003cp>But he likes the name.\u003c/p>\n\u003cp>“I’ve always felt like Sacramento has always been the red-headed stepchild of California,” he says. “The Lakers make fun of the Kings, Southern California makes fun of Sacramento. It’s a cow town, right? So having something that’s culturally enriching, that has the Sacramento label on it, I’m fine with it.”\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>The Sacramento Music Archive can be found at its \u003ca href=\"https://sacramentomusicarchive.com/\">official website\u003c/a> and \u003ca href=\"https://www.youtube.com/@sacramentomusicarchive/videos\">YouTube channel\u003c/a>. Subscribers can \u003ca href=\"https://www.patreon.com/SacramentoMusicArchive\">join the archive’s Patreon\u003c/a> to vote which shows in the archive will get digitized or posted next, or to arrange filming a concert from scratch. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "election-day-2024-sacramento-state-capitol-civic-engagement-commentary",
"title": "It's An Exercise: Civic Engagement Beyond Election Day",
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"headTitle": "It’s An Exercise: Civic Engagement Beyond Election Day | KQED",
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"content": "\u003cp>[dropcap]T[/dropcap]he nagging pain in my left leg and lower back won’t go away if I don’t get up, stretch and get some exercise, every day.\u003c/p>\n\u003cp>I’ve told a doctor and a chiropractor about it, and they’re still not sure where it came from. It could be the hours of commuting and then sitting while writing, or maybe the years of jogging on concrete, hooping on blacktop and bike riding as a lifestyle. Whatever. All I know is: Without exercise, the pain makes it difficult to move forward. So I have to get up, stretch and exercise daily. \u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>The cold weather compounds the issue, but the autumn leaves on the eastern lawn of California’s State Capitol building provide a sight for a sore back as the morning sun rises on Sacramento. It’s Election Day 2024.\u003c/p>\n\u003cp>Dog walkers in jackets stroll past sipping hot beverages, as maintenance workers in safety vests prune rose bushes. In the distance, behind a chainlink fence, metal clangs as construction workers focus on the \u003ca href=\"https://annex.assembly.ca.gov/\" target=\"_blank\" rel=\"noopener\">State Capitol Annex Project\u003c/a>. With the goal of remodeling the eastern portion of the Capitol building, bringing it up to code and adding an underground parking structure, the project \u003ca href=\"https://www.sacbee.com/news/california/article277261833.html\" target=\"_blank\" rel=\"noopener\">has had some setbacks\u003c/a> since it started in the summer of 2023.\u003c/p>\n\u003cp>I read about it on my phone while pausing to stretch on a bench. Surrounded by a diversity of plant life — southern magnolias and Japanese bonsai trees — I consider the shared truth between this construction job, my nagging injury and the future of this country: Change needs to happen because the current state of things isn’t working. Progress is slow, and it will have setbacks. But nothing comes without constant exercise.\u003c/p>\n\u003cfigure id=\"attachment_13967762\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967762\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Tourist-at-the-state-capitol-1.jpg\" alt=\"A tourist takes a photo from the the steps of the California State Capitol building.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Tourist-at-the-state-capitol-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Tourist-at-the-state-capitol-1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Tourist-at-the-state-capitol-1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Tourist-at-the-state-capitol-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Tourist-at-the-state-capitol-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Tourist-at-the-state-capitol-1-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Tourist-at-the-state-capitol-1-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A tourist takes a photo of the California State Capitol building on Election Day 2024. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s a monumental election happening right now. Voters’ concerns range from reproductive rights to war overseas, prison reform to the future of local leadership. Making America “great again” by re-electing former President Donald Trump or ushering in the first woman as President of the United States, current Vice President Kamala Harris.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Polls indicate that this country is divided, and as I type, results are trickling in that will cement those predictions.\u003c/p>\n\u003cp>Many are glued to devices watching results. Others are numb to it. Months of paid ads, spam calls and news reports have become white noise for large swaths of Americans. But I’m here to remind people that removing yourself from the process is a distraction, but it doesn’t heal the pain. It’s akin to not exercising.\u003c/p>\n\u003cp>But I feel for folks who want to get away from this political construct.\u003c/p>\n\u003cp>It takes a certain commitment to democracy to stand out in the cold and work at the election booths — a different layer of skin to be able to sit through this current news cycle. And given what we’ve seen in our lifetime, on all levels of government, I can understand being uninterested in the electoral process as a whole.\u003c/p>\n\u003cfigure id=\"attachment_13967766\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967766\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/sacramento-flower-scaled.jpg\" alt=\"A closeup photo of a beautiful red flower hanging down from a tree.\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/sacramento-flower-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/sacramento-flower-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/sacramento-flower-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/sacramento-flower-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/sacramento-flower-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/sacramento-flower-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/sacramento-flower-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A redvein flowering maple in bloom at a garden near the State Capitol building. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But as they say in sports, when it’s late in the season and the pain from injuries is starting to accumulate, “This time of year, we’re all a little banged up.”\u003c/p>\n\u003cp>So yes, I get it. We’re all a bit over it. And at the same time, voting is important. But here’s my point: So is the broader idea of exercising.\u003c/p>\n\u003cp>Move your body in whatever way you can. If possible and you’re willing, cast your ballot. And after that, pick up some trash or wave to a neighbor. Volunteer at a community center or support an online initiative. Civic engagement is the deeper call of this moment.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">[aside postID='arts_13967625,arts_13966304,arts_13962624']\u003c/span>\u003c/span>What’s more, we have to collectively understand that this exercise alone will not eradicate the pain. The issues won’t just up and vanish, the problems won’t dissipate. Nope, it just becomes a part of the process of playing the game.\u003c/p>\n\u003cp>To drive this sports metaphor home, look no further than last night’s scoreboard.\u003c/p>\n\u003cp>On Monday Night Football, Kansas City Chiefs superstar quarterback \u003ca href=\"https://apnews.com/article/buccaneers-chiefs-score-5efb3014555b148e2a07af73a057102a\" target=\"_blank\" rel=\"noopener\">Patrick Mahomes\u003c/a> led a slow march down the field to an overtime victory after injuring his leg earlier in the game. Meanwhile in Paris, star \u003ca href=\"https://sports.yahoo.com/uscs-juju-watkins-drops-27-points-in-thrilling-opening-day-win-against-ole-miss-in-paris-192507556.html\" target=\"_blank\" rel=\"noopener\">USC basketball player JuJu Watkins\u003c/a> opened the NCAA season by dropping 27 points in a victory, looking fully healed from last season’s setbacks, which included an ankle injury in the spring. And a person all too familiar with ankle injuries, Golden State Warriors star \u003ca href=\"https://www.nbcsportsbayarea.com/nba/golden-state-warriors/steph-curry-draymond-green-jordan-poole-wizards/1800922/\" target=\"_blank\" rel=\"noopener\">Steph Curry,\u003c/a> returned to the lineup from his most recent ankle-related stint on the injured reserve to drop 24 points in a win against the Washington Wizards.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The athletes remind us that injuries and setbacks are part of the game. For voters, it’s the issues, candidate choices and lack of progress that are also part of the proverbial game. And just like injuries, they can be difficult to deal with — defeating, even. But if you don’t get up, stretch and continue to put work in, progress will never come.\u003c/p>\n\n",
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"title": "It's An Exercise: Civic Engagement Beyond Election Day | KQED",
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"headline": "It's An Exercise: Civic Engagement Beyond Election Day",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">T\u003c/span>\u003c/p>\u003cp>he nagging pain in my left leg and lower back won’t go away if I don’t get up, stretch and get some exercise, every day.\u003c/p>\n\u003cp>I’ve told a doctor and a chiropractor about it, and they’re still not sure where it came from. It could be the hours of commuting and then sitting while writing, or maybe the years of jogging on concrete, hooping on blacktop and bike riding as a lifestyle. Whatever. All I know is: Without exercise, the pain makes it difficult to move forward. So I have to get up, stretch and exercise daily. \u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>The cold weather compounds the issue, but the autumn leaves on the eastern lawn of California’s State Capitol building provide a sight for a sore back as the morning sun rises on Sacramento. It’s Election Day 2024.\u003c/p>\n\u003cp>Dog walkers in jackets stroll past sipping hot beverages, as maintenance workers in safety vests prune rose bushes. In the distance, behind a chainlink fence, metal clangs as construction workers focus on the \u003ca href=\"https://annex.assembly.ca.gov/\" target=\"_blank\" rel=\"noopener\">State Capitol Annex Project\u003c/a>. With the goal of remodeling the eastern portion of the Capitol building, bringing it up to code and adding an underground parking structure, the project \u003ca href=\"https://www.sacbee.com/news/california/article277261833.html\" target=\"_blank\" rel=\"noopener\">has had some setbacks\u003c/a> since it started in the summer of 2023.\u003c/p>\n\u003cp>I read about it on my phone while pausing to stretch on a bench. Surrounded by a diversity of plant life — southern magnolias and Japanese bonsai trees — I consider the shared truth between this construction job, my nagging injury and the future of this country: Change needs to happen because the current state of things isn’t working. Progress is slow, and it will have setbacks. But nothing comes without constant exercise.\u003c/p>\n\u003cfigure id=\"attachment_13967762\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967762\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Tourist-at-the-state-capitol-1.jpg\" alt=\"A tourist takes a photo from the the steps of the California State Capitol building.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Tourist-at-the-state-capitol-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Tourist-at-the-state-capitol-1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Tourist-at-the-state-capitol-1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Tourist-at-the-state-capitol-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Tourist-at-the-state-capitol-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Tourist-at-the-state-capitol-1-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Tourist-at-the-state-capitol-1-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A tourist takes a photo of the California State Capitol building on Election Day 2024. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s a monumental election happening right now. Voters’ concerns range from reproductive rights to war overseas, prison reform to the future of local leadership. Making America “great again” by re-electing former President Donald Trump or ushering in the first woman as President of the United States, current Vice President Kamala Harris.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Polls indicate that this country is divided, and as I type, results are trickling in that will cement those predictions.\u003c/p>\n\u003cp>Many are glued to devices watching results. Others are numb to it. Months of paid ads, spam calls and news reports have become white noise for large swaths of Americans. But I’m here to remind people that removing yourself from the process is a distraction, but it doesn’t heal the pain. It’s akin to not exercising.\u003c/p>\n\u003cp>But I feel for folks who want to get away from this political construct.\u003c/p>\n\u003cp>It takes a certain commitment to democracy to stand out in the cold and work at the election booths — a different layer of skin to be able to sit through this current news cycle. And given what we’ve seen in our lifetime, on all levels of government, I can understand being uninterested in the electoral process as a whole.\u003c/p>\n\u003cfigure id=\"attachment_13967766\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967766\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/sacramento-flower-scaled.jpg\" alt=\"A closeup photo of a beautiful red flower hanging down from a tree.\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/sacramento-flower-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/sacramento-flower-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/sacramento-flower-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/sacramento-flower-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/sacramento-flower-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/sacramento-flower-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/sacramento-flower-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A redvein flowering maple in bloom at a garden near the State Capitol building. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But as they say in sports, when it’s late in the season and the pain from injuries is starting to accumulate, “This time of year, we’re all a little banged up.”\u003c/p>\n\u003cp>So yes, I get it. We’re all a bit over it. And at the same time, voting is important. But here’s my point: So is the broader idea of exercising.\u003c/p>\n\u003cp>Move your body in whatever way you can. If possible and you’re willing, cast your ballot. And after that, pick up some trash or wave to a neighbor. Volunteer at a community center or support an online initiative. Civic engagement is the deeper call of this moment.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/span>What’s more, we have to collectively understand that this exercise alone will not eradicate the pain. The issues won’t just up and vanish, the problems won’t dissipate. Nope, it just becomes a part of the process of playing the game.\u003c/p>\n\u003cp>To drive this sports metaphor home, look no further than last night’s scoreboard.\u003c/p>\n\u003cp>On Monday Night Football, Kansas City Chiefs superstar quarterback \u003ca href=\"https://apnews.com/article/buccaneers-chiefs-score-5efb3014555b148e2a07af73a057102a\" target=\"_blank\" rel=\"noopener\">Patrick Mahomes\u003c/a> led a slow march down the field to an overtime victory after injuring his leg earlier in the game. Meanwhile in Paris, star \u003ca href=\"https://sports.yahoo.com/uscs-juju-watkins-drops-27-points-in-thrilling-opening-day-win-against-ole-miss-in-paris-192507556.html\" target=\"_blank\" rel=\"noopener\">USC basketball player JuJu Watkins\u003c/a> opened the NCAA season by dropping 27 points in a victory, looking fully healed from last season’s setbacks, which included an ankle injury in the spring. And a person all too familiar with ankle injuries, Golden State Warriors star \u003ca href=\"https://www.nbcsportsbayarea.com/nba/golden-state-warriors/steph-curry-draymond-green-jordan-poole-wizards/1800922/\" target=\"_blank\" rel=\"noopener\">Steph Curry,\u003c/a> returned to the lineup from his most recent ankle-related stint on the injured reserve to drop 24 points in a win against the Washington Wizards.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The athletes remind us that injuries and setbacks are part of the game. For voters, it’s the issues, candidate choices and lack of progress that are also part of the proverbial game. And just like injuries, they can be difficult to deal with — defeating, even. But if you don’t get up, stretch and continue to put work in, progress will never come.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "hemorage-metal-band-guerrilla-shows-aftershock",
"title": "Metal Band Hemorage Usually Crashes the Party — Now They’re Invited Guests",
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"headTitle": "Metal Band Hemorage Usually Crashes the Party — Now They’re Invited Guests | KQED",
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"content": "\u003cp>If it weren’t for a small black-and-white band sticker slapped on the door of the faded, peach colored building, you’d completely miss the entrance to the Bayview headquarters of San Francisco metal band Hemorage. \u003c/p>\n\u003cp>“This is like our training facility,” Orc tells me as we wind through the warehouse. “We actually throw shows for other bands here too, but it’s mainly a practice space.” \u003c/p>\n\u003cp>Clothing hangers, tools, alcohol, cleaning supplies and plastic tubs full of merch line the walls along the path to the rehearsal space. Inside, the back wall is painted black with “HEMORAGE” painted across it in white. Felt squares in a tricolor blend of black, orange and turquoise dot the walls and ceiling for makeshift soundproofing, while Polaroids from the band’s shows sit in a pile off to the side, along with a few mismatched chairs, which Orc grabs for us to sit on. \u003c/p>\n\u003cfigure id=\"attachment_13966403\" class=\"wp-caption aligncenter\" style=\"max-width: 1956px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HemorageinSF_GC-26_qed.jpg\" alt=\"\" width=\"1956\" height=\"1333\" class=\"size-full wp-image-13966403\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HemorageinSF_GC-26_qed.jpg 1956w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HemorageinSF_GC-26_qed-800x545.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HemorageinSF_GC-26_qed-1020x695.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HemorageinSF_GC-26_qed-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HemorageinSF_GC-26_qed-768x523.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HemorageinSF_GC-26_qed-1536x1047.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HemorageinSF_GC-26_qed-1920x1308.jpg 1920w\" sizes=\"(max-width: 1956px) 100vw, 1956px\">\u003cfigcaption class=\"wp-caption-text\">Hemorage guitarist and vocalist Jon Orc practices in a warehouse in San Francisco on October 8, 2024.\u003c/figcaption>\u003c/figure>\n\u003cp>Hemorage has spent years establishing themselves in the metal scene with a unique DIY ethos. Tired of dealing with music venues and promoters, the band, which also consists of vocalist and guitarist Bona “Toby” Pak and drummer Ron Roussell, began taking matters into their own hands with pop-up, guerrilla-style shows out of the back of their bus.\u003c/p>\n\u003cp>Hemorage has made these aftershow appearances for Bay Area crowds leaving concerts for bands like Hatebreed and Metallica, and proudly crashed music festivals like Riot Fest. Last year, they even pulled up unannounced for an impromptu concert on the street outside of Outside Lands.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But this year, their hard work and years of surprise shows are paying off. After a multi-state tour that kicked off last month in Petaluma, they’ll finish the tour with a dream stop: Aftershock Festival in Sacramento. Having played guerrilla-style in the parking lot outside Aftershock for the past two years, Hemorage will make their debut on Friday as an official artist on the festival’s Soundwave stage. \u003c/p>\n\u003cfigure id=\"attachment_13966367\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-11-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13966367\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-11-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-11-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-11-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-11-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-11-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-11-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-11-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Metal rock band Hemorage practice in a warehouse in San Francisco on October 8, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s pretty exciting,” Orc tells me. “They actually reached out to us and I couldn’t believe it. I thought it was a lie until I looked [him] up on LinkedIn and there was like, a legit guy!”\u003c/p>\n\u003cp>I ask Orc if Aftershock knew they’d played in their parking lot before. “I think they’ve been aware,” he said. “But we didn’t realize how many people [had] actually heard of us.” \u003c/p>\n\u003cp>After years of performing guerrilla shows, it’s clear that the band has the attention of the local punk and thrash scene. Hemorage has made a point to seek out crowds for bands they also admire, like Exodus and Slayer, and perform pop-up shows for them. \u003c/p>\n\u003cp>“We’re chasing the big crowd because the more people we play in front of, the more people hear about us,” says Orc. “It’s a snowball effect kind of thing, you know?” \u003c/p>\n\u003cfigure id=\"attachment_13966366\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-7-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13966366\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-7-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-7-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-7-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-7-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-7-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-7-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-7-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Hemorage guitarist and vocalist Bona Pak practices in a warehouse in San Francisco on October 8, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I ask if any bands have ever gotten mad at them for crashing their shows, and Orc laughs. Without naming names, “there was one band member from a big band that didn’t like us,” he tells me. “But we just ignored it and kept going.” \u003c/p>\n\u003cp>Police, on the other hand, can’t always be ignored. \u003c/p>\n\u003cp>“We don’t get in trouble that often,” Orc tells me. “Sometimes the cops shut us down, but sometimes they let us finish.” \u003c/p>\n\u003cp>In the end, it doesn’t really matter if the cops or headlining bands don’t like Hemorage’s approach, because the fans certainly do. “The craziest ones [guerrilla shows] are like when there’s so many people around us — people jumping on things, people climbing on things,” Orc says. He estimates they’ve done over 500 of these types of shows throughout the band’s history, which spans more than a decade. \u003c/p>\n\u003cfigure id=\"attachment_13966404\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HemorageinSF_GC-23_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13966404\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HemorageinSF_GC-23_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HemorageinSF_GC-23_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HemorageinSF_GC-23_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HemorageinSF_GC-23_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HemorageinSF_GC-23_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HemorageinSF_GC-23_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HemorageinSF_GC-23_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Hemorage drummer Ron Russell practices in a warehouse in San Francisco on October 8, 2024.\u003c/figcaption>\u003c/figure>\n\u003cp>Their drive to keep playing stems from one of Hemorage’s biggest goals: to put Bay Area punk and metal artists back on the map. “That’s the reason we’re still here [in San Francisco],” Orc tells me. “A lot of people write off the Bay Area. People don’t expect anything cool that’s coming out of San Francisco anymore. We just want to thrive here, and then we can carry that flag and maybe inspire the next generation of musicians.” \u003c/p>\n\u003cp>Soon, Pak and Roussell arrive for practice, and they show me the new matte black guitars the band has decided to start using. After some chit-chat, the three fall seamlessly into practice mode, playing just as loud as you’d imagine for a thrash metal band. \u003c/p>\n\u003cfigure id=\"attachment_13966368\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-13-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13966368\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-13-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-13-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-13-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-13-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-13-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-13-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-13-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Hemorage guitarist and vocalist Jon Orc practices in a warehouse in San Francisco on October 8, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before leaving, I ask Orc how being part of the official Aftershock lineup feels compared to playing in the parking lot.\u003c/p>\n\u003cp>“We’ve never gotten a shot at playing a big show or opening for a bigger artist here in the Bay Area,” Orc says. “It feels really good.”\u003c/p>\n\u003cp>I also ask if there’s any chance fans will be able to catch a parking lot show after their set on Friday, when Aftershock gets out. Orc tells me he can’t confirm or deny anything, because of course, they’re obligated to the contract they signed.\u003c/p>\n\u003cp>“But we might,” he says, laughing. “We might just do it.” \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Hemorage performs Friday, Oct. 11, on the Soundwave stage at the Aftershock festival in Sacramento’s Discovery Park. \u003ca href=\"https://aftershockfestival.com/\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If it weren’t for a small black-and-white band sticker slapped on the door of the faded, peach colored building, you’d completely miss the entrance to the Bayview headquarters of San Francisco metal band Hemorage. \u003c/p>\n\u003cp>“This is like our training facility,” Orc tells me as we wind through the warehouse. “We actually throw shows for other bands here too, but it’s mainly a practice space.” \u003c/p>\n\u003cp>Clothing hangers, tools, alcohol, cleaning supplies and plastic tubs full of merch line the walls along the path to the rehearsal space. Inside, the back wall is painted black with “HEMORAGE” painted across it in white. Felt squares in a tricolor blend of black, orange and turquoise dot the walls and ceiling for makeshift soundproofing, while Polaroids from the band’s shows sit in a pile off to the side, along with a few mismatched chairs, which Orc grabs for us to sit on. \u003c/p>\n\u003cfigure id=\"attachment_13966403\" class=\"wp-caption aligncenter\" style=\"max-width: 1956px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HemorageinSF_GC-26_qed.jpg\" alt=\"\" width=\"1956\" height=\"1333\" class=\"size-full wp-image-13966403\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HemorageinSF_GC-26_qed.jpg 1956w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HemorageinSF_GC-26_qed-800x545.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HemorageinSF_GC-26_qed-1020x695.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HemorageinSF_GC-26_qed-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HemorageinSF_GC-26_qed-768x523.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HemorageinSF_GC-26_qed-1536x1047.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HemorageinSF_GC-26_qed-1920x1308.jpg 1920w\" sizes=\"(max-width: 1956px) 100vw, 1956px\">\u003cfigcaption class=\"wp-caption-text\">Hemorage guitarist and vocalist Jon Orc practices in a warehouse in San Francisco on October 8, 2024.\u003c/figcaption>\u003c/figure>\n\u003cp>Hemorage has spent years establishing themselves in the metal scene with a unique DIY ethos. Tired of dealing with music venues and promoters, the band, which also consists of vocalist and guitarist Bona “Toby” Pak and drummer Ron Roussell, began taking matters into their own hands with pop-up, guerrilla-style shows out of the back of their bus.\u003c/p>\n\u003cp>Hemorage has made these aftershow appearances for Bay Area crowds leaving concerts for bands like Hatebreed and Metallica, and proudly crashed music festivals like Riot Fest. Last year, they even pulled up unannounced for an impromptu concert on the street outside of Outside Lands.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But this year, their hard work and years of surprise shows are paying off. After a multi-state tour that kicked off last month in Petaluma, they’ll finish the tour with a dream stop: Aftershock Festival in Sacramento. Having played guerrilla-style in the parking lot outside Aftershock for the past two years, Hemorage will make their debut on Friday as an official artist on the festival’s Soundwave stage. \u003c/p>\n\u003cfigure id=\"attachment_13966367\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-11-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13966367\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-11-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-11-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-11-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-11-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-11-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-11-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-11-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Metal rock band Hemorage practice in a warehouse in San Francisco on October 8, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s pretty exciting,” Orc tells me. “They actually reached out to us and I couldn’t believe it. I thought it was a lie until I looked [him] up on LinkedIn and there was like, a legit guy!”\u003c/p>\n\u003cp>I ask Orc if Aftershock knew they’d played in their parking lot before. “I think they’ve been aware,” he said. “But we didn’t realize how many people [had] actually heard of us.” \u003c/p>\n\u003cp>After years of performing guerrilla shows, it’s clear that the band has the attention of the local punk and thrash scene. Hemorage has made a point to seek out crowds for bands they also admire, like Exodus and Slayer, and perform pop-up shows for them. \u003c/p>\n\u003cp>“We’re chasing the big crowd because the more people we play in front of, the more people hear about us,” says Orc. “It’s a snowball effect kind of thing, you know?” \u003c/p>\n\u003cfigure id=\"attachment_13966366\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-7-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13966366\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-7-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-7-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-7-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-7-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-7-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-7-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-7-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Hemorage guitarist and vocalist Bona Pak practices in a warehouse in San Francisco on October 8, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I ask if any bands have ever gotten mad at them for crashing their shows, and Orc laughs. Without naming names, “there was one band member from a big band that didn’t like us,” he tells me. “But we just ignored it and kept going.” \u003c/p>\n\u003cp>Police, on the other hand, can’t always be ignored. \u003c/p>\n\u003cp>“We don’t get in trouble that often,” Orc tells me. “Sometimes the cops shut us down, but sometimes they let us finish.” \u003c/p>\n\u003cp>In the end, it doesn’t really matter if the cops or headlining bands don’t like Hemorage’s approach, because the fans certainly do. “The craziest ones [guerrilla shows] are like when there’s so many people around us — people jumping on things, people climbing on things,” Orc says. He estimates they’ve done over 500 of these types of shows throughout the band’s history, which spans more than a decade. \u003c/p>\n\u003cfigure id=\"attachment_13966404\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HemorageinSF_GC-23_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13966404\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HemorageinSF_GC-23_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HemorageinSF_GC-23_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HemorageinSF_GC-23_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HemorageinSF_GC-23_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HemorageinSF_GC-23_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HemorageinSF_GC-23_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HemorageinSF_GC-23_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Hemorage drummer Ron Russell practices in a warehouse in San Francisco on October 8, 2024.\u003c/figcaption>\u003c/figure>\n\u003cp>Their drive to keep playing stems from one of Hemorage’s biggest goals: to put Bay Area punk and metal artists back on the map. “That’s the reason we’re still here [in San Francisco],” Orc tells me. “A lot of people write off the Bay Area. People don’t expect anything cool that’s coming out of San Francisco anymore. We just want to thrive here, and then we can carry that flag and maybe inspire the next generation of musicians.” \u003c/p>\n\u003cp>Soon, Pak and Roussell arrive for practice, and they show me the new matte black guitars the band has decided to start using. After some chit-chat, the three fall seamlessly into practice mode, playing just as loud as you’d imagine for a thrash metal band. \u003c/p>\n\u003cfigure id=\"attachment_13966368\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-13-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13966368\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-13-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-13-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-13-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-13-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-13-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-13-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-13-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Hemorage guitarist and vocalist Jon Orc practices in a warehouse in San Francisco on October 8, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before leaving, I ask Orc how being part of the official Aftershock lineup feels compared to playing in the parking lot.\u003c/p>\n\u003cp>“We’ve never gotten a shot at playing a big show or opening for a bigger artist here in the Bay Area,” Orc says. “It feels really good.”\u003c/p>\n\u003cp>I also ask if there’s any chance fans will be able to catch a parking lot show after their set on Friday, when Aftershock gets out. Orc tells me he can’t confirm or deny anything, because of course, they’re obligated to the contract they signed.\u003c/p>\n\u003cp>“But we might,” he says, laughing. “We might just do it.” \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Hemorage performs Friday, Oct. 11, on the Soundwave stage at the Aftershock festival in Sacramento’s Discovery Park. \u003ca href=\"https://aftershockfestival.com/\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Meet the 2024 Tiny Desk Contest Winner",
"headTitle": "Meet the 2024 Tiny Desk Contest Winner | KQED",
"content": "\u003cp>https://www.youtube.com/watch?v=crgaJEmFPBI\u003c/p>\n\u003cp>Nearly 7,000 independent artists entered this year’s Tiny Desk Contest, NPR Music’s annual search for the next great undiscovered artist. Earlier today, \u003ca href=\"https://www.npr.org/2024/05/15/1251378746/tiny-desk-contest-2024-winner-announcement\">\u003cem>Morning Edition revealed the winner\u003c/em>\u003c/a>: a Sacramento producer, singer, rapper and multi-instrumentalist who performs as The Philharmonik. As he soaks in his big win and prepares to travel to NPR’s headquarters in Washington, D.C., to perform a Tiny Desk concert, songwriter Christian Gates joins Juana Summers to share the story behind his winning entry.\u003c/p>\n\u003cp>One of the requirements when submitting to the Tiny Desk Contest is that each video must feature a desk. (It shows the judges that artists are prepared to play behind the real Tiny Desk; plus, it’s fun.) Gates says that desks usually make him feel as if he’s deviating from his own path by working for someone else. Eventually, he decided he needed to work at his \u003cem>own\u003c/em> desk. \u003c/p>\n\u003cp>In a YouTube comment on his video, Gates shouts out the Sacramento community, which helped him see this vision through when he said he didn’t have a single penny to his name.\u003c/p>\n\u003cp>Gates expands on this comment in his \u003cem>All Things Considered\u003c/em> interview, sharing with Summers that he went through a dark and humbling time last year. While driving for Uber in order to make ends meet, he got into a bad car accident and could no longer work. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I was really scrounging up money for change, to even do shows,” he says. “I had these big visions for shows where I wanted nine people playing with me — but I couldn’t afford it. And as the months went by it got progressively worse. And my other bills started to fall behind, too.”\u003c/p>\n\u003cp>Then, when the Tiny Desk Contest opened, he asked his community for a favor. \u003c/p>\n\u003cp>“I said, hey, I think we could do good in this Contest if we execute this vision — but I really need your guys’ help with this,” Gates explains. “And everybody, absolutely everybody, came through to help me with no hesitation.” \u003c/p>\n\u003cp>Gates says that since winning the Contest, it feels like his life has changed overnight. \u003c/p>\n\u003cp>“I’m glad that I went through the struggle, because [now] this win feels so honest to me, to what I believe in. It’s a reflection of what I’ve worked for,” he shares. “So I’m eternally grateful for everything that I’ve gone through, good and bad.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>This summer, Gates and his eight-piece band will headline the 10-city Tiny Desk Contest On The Road tour, including \u003ca href=\"https://www.eventbrite.com/e/npr-music-presents-tiny-desk-contest-on-the-road-lagunitas-petaluma-tickets-884534605817\">a Bay Area stop at Lagunitas Brewing Co. in Petaluma on June 13, with openers Combo Tezeta\u003c/a>. You can get tickets to see The Philharmonik, plus other local Contest entrants, at \u003ca href=\"http://npr.org/tinydeskcontest\">npr.org/tinydeskcontest\u003c/a>. \u003c/p>\n\u003cdiv class=\"npr-transcript\">\n\u003cp>\u003cstrong>Transcript:\u003c/strong>\u003c/p>\n\u003cp>JUANA SUMMERS, HOST: \u003c/p>\n\u003cp>\u003c/p>\u003cp> We have a winner.\u003c/p>\n\u003cp>\u003c/p>\u003cp>(SOUNDBITE OF MUSIC)\u003c/p>\n\u003cp>\u003c/p>\u003cp>SUMMERS: Every year, thousands of musicians enter NPR’s Tiny Desk Contest, and this year’s winner was announced today, an artist called The Philharmonik with a song called “What’s It All Mean?”\u003c/p>\n\u003cp>\u003c/p>\u003cp>(SOUNDBITE OF SONG, “WHAT’S IT ALL MEAN?”)\u003c/p>\n\u003cp>\u003c/p>\u003cp>THE PHILHARMONIK: (Singing) I was told I could be anything that I wanted to be. Work hard so you can make money and fulfill your dreams.\u003c/p>\n\u003cp>\u003c/p>\u003cp>SUMMERS: And here with me now is Christian Gates, the artist behind The Philharmonik. Welcome to ALL THINGS CONSIDERED, and congratulations.\u003c/p>\n\u003cp>\u003c/p>\u003cp>CHRISTIAN GATES: Thank you so much for having me on the show.\u003c/p>\n\u003cp>\u003c/p>\u003cp>SUMMERS: Thanks for being here. OK. This is a pretty big day for you, I imagine. How are you feeling?\u003c/p>\n\u003cp>\u003c/p>\u003cp>GATES: I am elated. I’m overwhelmed with joy, just soaking it all in.\u003c/p>\n\u003cp>\u003c/p>\u003cp>SUMMERS: Any big plans to celebrate?\u003c/p>\n\u003cp>\u003c/p>\u003cp>GATES: Yeah. Just making sure the team is ready for us to go to Washington, D.C., and of course, we’re all taking it in. We’re all giving each other high-fives and jumping up in the air. We’re doing a lot. So, you know, we’re just, you know, appreciating the feeling overall.\u003c/p>\n\u003cp>\u003c/p>\u003cp>(SOUNDBITE OF SONG, “WHAT’S IT ALL MEAN?”)\u003c/p>\n\u003cp>\u003c/p>\u003cp>THE PHILHARMONIK: (Singing) What’s it all mean? What’s it all mean? What’s it all mean? What’s it all mean? What’s it all mean? What’s it all mean?\u003c/p>\n\u003cp>\u003c/p>\u003cp>SUMMERS: First of all, I should say that all of us here in D.C. at NPR are very excited to get to see you all perform. And I just want to say, I love the song. I’ve listened to it about a dozen times at this point, but I want to ask you something about the video that you submitted because it’s also pretty amazing. You and the other musicians are in shirts and ties. You’re in what looks like an office-like setting, and you’re sitting at desks like you’re at work. Talk us through the idea behind the video.\u003c/p>\n\u003cp>\u003c/p>\u003cp>GATES: So originally, it came to me back when I released my album in July of 2023, called “Kironic.” “What’s It All Mean?” was the opening track. And my team and I were discussing a lot of ideas about this character, and this office idea came through, and I realized that was it. This character who’s in the suit, which is me, it’s really just a symbolism for, the work always continues, no matter what you’re doing in life.\u003c/p>\n\u003cp>\u003c/p>\u003cp>(SOUNDBITE OF SONG, “WHAT’S IT ALL MEAN?”)\u003c/p>\n\u003cp>\u003c/p>\u003cp>THE PHILHARMONIK: (Singing) Get up. Go to work. Go to sleep, then repeat. You can’t seem to meet needs working hard like machines. Broken hearts torn apart, making sure you’re closed off and avoid getting hurt to preserve your self-worth. What’s it all mean? What’s it all mean? What’s it all mean?\u003c/p>\n\u003cp>\u003c/p>\u003cp>GATES: The desk was also, like, a huge symbolism. It’s the place of innovation. It’s the place of reflection. It’s also the place of monotony, but either way, the symbolism has a big role in our lives, no matter where we put its significance.\u003c/p>\n\u003cp>\u003c/p>\u003cp>SUMMERS: You know, I’ve got to ask you, was there a time at work when you were sitting there at a desk or doing something else and just asking yourself, what’s it all mean?\u003c/p>\n\u003cp>\u003c/p>\u003cp>GATES: Yeah. So I think that’s the nicer way of putting it. I think – (laughter) – there were most times I was sitting at a desk where I felt like I was deviating from my path, where I just said, I don’t think I should be here. This is not the right desk. I need my own desk.\u003c/p>\n\u003cp>\u003c/p>\u003cp>SUMMERS: You wrote a comment that shouts out the Sacramento community, and you say that that’s a community that literally lifted you up to see this vision through when, as you put it, you had not a single penny to your name. Can you say more about that?\u003c/p>\n\u003cp>\u003c/p>\u003cp>GATES: Oh, yeah. During (laughter) that time, yes, it was a very humbling experience. It was a very dark moment. I was recently, last year, in a total loss car accident, and I was doing Uber and, you know, doing OK to make my ends meet. But once I got into that crash, I could no longer do Uber. So I was really scrounging up money for change and to even do the shows. I had these big visions for shows where I wanted to put nine people playing for me, but I couldn’t afford it.\u003c/p>\n\u003cp>\u003c/p>\u003cp>So as the months went by, it got progressively worse and worse and worse and worse. And my other bills started to fall behind, too. And so I asked for a very, very big favor and said, hey, I think we could do good in this contest if we execute this vision, but I really need your guys’ help for this. And everybody, absolutely everybody, was no hesitation, came through to help me. And I’m eternally grateful for it.\u003c/p>\n\u003cp>\u003c/p>\u003cp>SUMMERS: I mean, that’s such an incredible story. You came from having this car accident to trying to figure out how to put this together. And now you’ve won the Tiny Desk Contest, and you’re coming here to NPR to play at the actual Tiny Desk. How does that feel?\u003c/p>\n\u003cp>\u003c/p>\u003cp>GATES: It feels like it’s overnight, like how my life has changed, but I also know there was a lot of things that I had to go through to get to this point. And I hold it deeply, and I hold it with reverence. And I’m glad that I went through the struggle because this win feels – it feels so honest to me. It feels so honest to what I believe in. It’s a reflection of everything I’ve worked for. And so I’m just eternally grateful for everything that I’ve gone through, good and bad.\u003c/p>\n\u003cp>\u003c/p>\u003cp>SUMMERS: That’s Christian Gates, aka The Philharmonik, the winner of this year’s NPR Tiny Desk Contest. And if you are looking up his music, that is Philharmonik, spelled with a K. You can see the winning video for his song, “What’s It All Mean?” at npr.org. Christian, thank you, and congratulations again.\u003c/p>\n\u003cp>\u003c/p>\u003cp>GATES: Thank you for having me on. It’s a pleasure.\u003c/p>\n\u003cp>\u003c/p>\u003cp>(SOUNDBITE OF SONG, “WHAT’S IT ALL MEAN?”)\u003c/p>\n\u003cp>\u003c/p>\u003cp>THE PHILHARMONIK: (Singing) What goes up must come down. What goes around comes around. Around the sun…\u003c/p>\n\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/crgaJEmFPBI'\n title='//www.youtube.com/embed/crgaJEmFPBI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Nearly 7,000 independent artists entered this year’s Tiny Desk Contest, NPR Music’s annual search for the next great undiscovered artist. Earlier today, \u003ca href=\"https://www.npr.org/2024/05/15/1251378746/tiny-desk-contest-2024-winner-announcement\">\u003cem>Morning Edition revealed the winner\u003c/em>\u003c/a>: a Sacramento producer, singer, rapper and multi-instrumentalist who performs as The Philharmonik. As he soaks in his big win and prepares to travel to NPR’s headquarters in Washington, D.C., to perform a Tiny Desk concert, songwriter Christian Gates joins Juana Summers to share the story behind his winning entry.\u003c/p>\n\u003cp>One of the requirements when submitting to the Tiny Desk Contest is that each video must feature a desk. (It shows the judges that artists are prepared to play behind the real Tiny Desk; plus, it’s fun.) Gates says that desks usually make him feel as if he’s deviating from his own path by working for someone else. Eventually, he decided he needed to work at his \u003cem>own\u003c/em> desk. \u003c/p>\n\u003cp>In a YouTube comment on his video, Gates shouts out the Sacramento community, which helped him see this vision through when he said he didn’t have a single penny to his name.\u003c/p>\n\u003cp>Gates expands on this comment in his \u003cem>All Things Considered\u003c/em> interview, sharing with Summers that he went through a dark and humbling time last year. While driving for Uber in order to make ends meet, he got into a bad car accident and could no longer work. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I was really scrounging up money for change, to even do shows,” he says. “I had these big visions for shows where I wanted nine people playing with me — but I couldn’t afford it. And as the months went by it got progressively worse. And my other bills started to fall behind, too.”\u003c/p>\n\u003cp>Then, when the Tiny Desk Contest opened, he asked his community for a favor. \u003c/p>\n\u003cp>“I said, hey, I think we could do good in this Contest if we execute this vision — but I really need your guys’ help with this,” Gates explains. “And everybody, absolutely everybody, came through to help me with no hesitation.” \u003c/p>\n\u003cp>Gates says that since winning the Contest, it feels like his life has changed overnight. \u003c/p>\n\u003cp>“I’m glad that I went through the struggle, because [now] this win feels so honest to me, to what I believe in. It’s a reflection of what I’ve worked for,” he shares. “So I’m eternally grateful for everything that I’ve gone through, good and bad.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This summer, Gates and his eight-piece band will headline the 10-city Tiny Desk Contest On The Road tour, including \u003ca href=\"https://www.eventbrite.com/e/npr-music-presents-tiny-desk-contest-on-the-road-lagunitas-petaluma-tickets-884534605817\">a Bay Area stop at Lagunitas Brewing Co. in Petaluma on June 13, with openers Combo Tezeta\u003c/a>. You can get tickets to see The Philharmonik, plus other local Contest entrants, at \u003ca href=\"http://npr.org/tinydeskcontest\">npr.org/tinydeskcontest\u003c/a>. \u003c/p>\n\u003cdiv class=\"npr-transcript\">\n\u003cp>\u003cstrong>Transcript:\u003c/strong>\u003c/p>\n\u003cp>JUANA SUMMERS, HOST: \u003c/p>\n\u003cp>\u003c/p>\u003cp> We have a winner.\u003c/p>\n\u003cp>\u003c/p>\u003cp>(SOUNDBITE OF MUSIC)\u003c/p>\n\u003cp>\u003c/p>\u003cp>SUMMERS: Every year, thousands of musicians enter NPR’s Tiny Desk Contest, and this year’s winner was announced today, an artist called The Philharmonik with a song called “What’s It All Mean?”\u003c/p>\n\u003cp>\u003c/p>\u003cp>(SOUNDBITE OF SONG, “WHAT’S IT ALL MEAN?”)\u003c/p>\n\u003cp>\u003c/p>\u003cp>THE PHILHARMONIK: (Singing) I was told I could be anything that I wanted to be. Work hard so you can make money and fulfill your dreams.\u003c/p>\n\u003cp>\u003c/p>\u003cp>SUMMERS: And here with me now is Christian Gates, the artist behind The Philharmonik. Welcome to ALL THINGS CONSIDERED, and congratulations.\u003c/p>\n\u003cp>\u003c/p>\u003cp>CHRISTIAN GATES: Thank you so much for having me on the show.\u003c/p>\n\u003cp>\u003c/p>\u003cp>SUMMERS: Thanks for being here. OK. This is a pretty big day for you, I imagine. How are you feeling?\u003c/p>\n\u003cp>\u003c/p>\u003cp>GATES: I am elated. I’m overwhelmed with joy, just soaking it all in.\u003c/p>\n\u003cp>\u003c/p>\u003cp>SUMMERS: Any big plans to celebrate?\u003c/p>\n\u003cp>\u003c/p>\u003cp>GATES: Yeah. Just making sure the team is ready for us to go to Washington, D.C., and of course, we’re all taking it in. We’re all giving each other high-fives and jumping up in the air. We’re doing a lot. So, you know, we’re just, you know, appreciating the feeling overall.\u003c/p>\n\u003cp>\u003c/p>\u003cp>(SOUNDBITE OF SONG, “WHAT’S IT ALL MEAN?”)\u003c/p>\n\u003cp>\u003c/p>\u003cp>THE PHILHARMONIK: (Singing) What’s it all mean? What’s it all mean? What’s it all mean? What’s it all mean? What’s it all mean? What’s it all mean?\u003c/p>\n\u003cp>\u003c/p>\u003cp>SUMMERS: First of all, I should say that all of us here in D.C. at NPR are very excited to get to see you all perform. And I just want to say, I love the song. I’ve listened to it about a dozen times at this point, but I want to ask you something about the video that you submitted because it’s also pretty amazing. You and the other musicians are in shirts and ties. You’re in what looks like an office-like setting, and you’re sitting at desks like you’re at work. Talk us through the idea behind the video.\u003c/p>\n\u003cp>\u003c/p>\u003cp>GATES: So originally, it came to me back when I released my album in July of 2023, called “Kironic.” “What’s It All Mean?” was the opening track. And my team and I were discussing a lot of ideas about this character, and this office idea came through, and I realized that was it. This character who’s in the suit, which is me, it’s really just a symbolism for, the work always continues, no matter what you’re doing in life.\u003c/p>\n\u003cp>\u003c/p>\u003cp>(SOUNDBITE OF SONG, “WHAT’S IT ALL MEAN?”)\u003c/p>\n\u003cp>\u003c/p>\u003cp>THE PHILHARMONIK: (Singing) Get up. Go to work. Go to sleep, then repeat. You can’t seem to meet needs working hard like machines. Broken hearts torn apart, making sure you’re closed off and avoid getting hurt to preserve your self-worth. What’s it all mean? What’s it all mean? What’s it all mean?\u003c/p>\n\u003cp>\u003c/p>\u003cp>GATES: The desk was also, like, a huge symbolism. It’s the place of innovation. It’s the place of reflection. It’s also the place of monotony, but either way, the symbolism has a big role in our lives, no matter where we put its significance.\u003c/p>\n\u003cp>\u003c/p>\u003cp>SUMMERS: You know, I’ve got to ask you, was there a time at work when you were sitting there at a desk or doing something else and just asking yourself, what’s it all mean?\u003c/p>\n\u003cp>\u003c/p>\u003cp>GATES: Yeah. So I think that’s the nicer way of putting it. I think – (laughter) – there were most times I was sitting at a desk where I felt like I was deviating from my path, where I just said, I don’t think I should be here. This is not the right desk. I need my own desk.\u003c/p>\n\u003cp>\u003c/p>\u003cp>SUMMERS: You wrote a comment that shouts out the Sacramento community, and you say that that’s a community that literally lifted you up to see this vision through when, as you put it, you had not a single penny to your name. Can you say more about that?\u003c/p>\n\u003cp>\u003c/p>\u003cp>GATES: Oh, yeah. During (laughter) that time, yes, it was a very humbling experience. It was a very dark moment. I was recently, last year, in a total loss car accident, and I was doing Uber and, you know, doing OK to make my ends meet. But once I got into that crash, I could no longer do Uber. So I was really scrounging up money for change and to even do the shows. I had these big visions for shows where I wanted to put nine people playing for me, but I couldn’t afford it.\u003c/p>\n\u003cp>\u003c/p>\u003cp>So as the months went by, it got progressively worse and worse and worse and worse. And my other bills started to fall behind, too. And so I asked for a very, very big favor and said, hey, I think we could do good in this contest if we execute this vision, but I really need your guys’ help for this. And everybody, absolutely everybody, was no hesitation, came through to help me. And I’m eternally grateful for it.\u003c/p>\n\u003cp>\u003c/p>\u003cp>SUMMERS: I mean, that’s such an incredible story. You came from having this car accident to trying to figure out how to put this together. And now you’ve won the Tiny Desk Contest, and you’re coming here to NPR to play at the actual Tiny Desk. How does that feel?\u003c/p>\n\u003cp>\u003c/p>\u003cp>GATES: It feels like it’s overnight, like how my life has changed, but I also know there was a lot of things that I had to go through to get to this point. And I hold it deeply, and I hold it with reverence. And I’m glad that I went through the struggle because this win feels – it feels so honest to me. It feels so honest to what I believe in. It’s a reflection of everything I’ve worked for. And so I’m just eternally grateful for everything that I’ve gone through, good and bad.\u003c/p>\n\u003cp>\u003c/p>\u003cp>SUMMERS: That’s Christian Gates, aka The Philharmonik, the winner of this year’s NPR Tiny Desk Contest. And if you are looking up his music, that is Philharmonik, spelled with a K. You can see the winning video for his song, “What’s It All Mean?” at npr.org. Christian, thank you, and congratulations again.\u003c/p>\n\u003cp>\u003c/p>\u003cp>GATES: Thank you for having me on. It’s a pleasure.\u003c/p>\n\u003cp>\u003c/p>\u003cp>(SOUNDBITE OF SONG, “WHAT’S IT ALL MEAN?”)\u003c/p>\n\u003cp>\u003c/p>\u003cp>THE PHILHARMONIK: (Singing) What goes up must come down. What goes around comes around. Around the sun…\u003c/p>\n\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "In 1896, a Mysterious UFO Brought Northern California to a Mesmerized Halt",
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"content": "\u003cfigure id=\"attachment_13957590\" class=\"wp-caption aligncenter\" style=\"max-width: 1130px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957590\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-09-at-4.30.03-PM.png\" alt=\"A Victorian illustration of two men watching an airship with wings and spotlights flying near the top of the Capitol building.\" width=\"1130\" height=\"994\">\u003cfigcaption class=\"wp-caption-text\">A rendition of the airship seen in the skies above Sacramento, as illustrated in ‘The San Francisco Call and Post’ on Nov. 29, 1896.\u003c/figcaption>\u003c/figure>\n\u003cp>In the 1890s, Northern California was in flux — living with Victorian sensibilities, but surrounded by remnants of the gold rush. \u003ca href=\"https://www.kqed.org/arts/13912657/gum-girls-midwinter-fair-san-francisco-history-golden-gate-park\">San Francisco’s Midwinter Fair\u003c/a> in 1894 had ushered in an age of electricity-fueled modernity, but \u003ca href=\"https://www.kqed.org/arts/13932525/mother-thompson-san-francisco-tavern-owner-bay-area-history\">sailors were still brawling\u003c/a> it out down on the Embarcadero. New-fangled ways to have fun — like the \u003ca href=\"https://www.kqed.org/arts/13909983/victorian-attractions-san-francisco-chutes-gravity-railroad-woodwards-gardens-bonet-tower-auditorium-skating\">Haight Street Chutes\u003c/a> and home \u003ca href=\"https://www.kqed.org/arts/13924208/uc-santa-barbara-edison-phonograph-audio-cylinder-archive-vaudeville-racism\">phonographs\u003c/a> — were all the rage, but, for most, life revolved around basic necessities.\u003c/p>\n\u003cp>In November 1896, however, the entire region was excited and united by one thing: a mysterious “airship” that was spotted repeatedly in the skies over San Francisco, Oakland and Sacramento. At the time, airships had been invented but they were flown primarily in Europe and had yet to make a West Coast debut. To see an airship over the Bay Area in 1896 wasn’t just unusual, it was entirely unheard of — and yet, suddenly, hundreds of witnesses began reporting just that.\u003c/p>\n\u003cp>[aside postid='arts_13917340']Making these sightings all the more perplexing was the fact that they only happened at night, and the aircraft in question reportedly had wings, making it unlike any airship that existed at the time. Multiple passengers on an Oakland streetcar one November night described the craft hovering over Fruitvale as “resembling a huge bird in its outlines … which seemed to rise and fall in its course.”\u003c/p>\n\u003cp>That night, the streetcar’s conductor said the ship had one powerful headlight and several smaller lights on board. This was a welcome elaboration, as many witnesses around the Bay had reported seeing only bright lights in the sky. The day after the sighting on the streetcar, \u003cem>The San Francisco Call and Post\u003c/em> reported that:\u003c/p>\n\u003cblockquote>\u003cp>[The airship] was high in the heavens and appeared to be of huge size. When first seen, it seemed to be floating over San Leandro. It moved rapidly, going at least twenty miles an hour. It shot across the skies in the northwest, then turned quickly and disappeared in the direction of Hayward.\u003c/p>\u003c/blockquote>\n\u003cp>The newspaper was particularly invested in the story, since its very own advertising manager, Samuel Foltz, had seen the craft from his Parnassus Heights home in San Francisco. He wasn’t the only one. Colonel W. H. Menton of the Southern Pacific Railroad Company saw the airship from the Supreme Court building at Larkin and McAllister. “The light was far brighter than any of the electric lights I saw just below, in and about the park,” he also told \u003cem>The Call\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Another witness cited in the newspaper that day was Mayor Adolph Sutro, who had several employees who’d seen the craft days before newspapers had even begun reporting the sightings. “I certainly think that some shrewd inventor has solved the problem of aerial navigation,” Sutro said, “and that we will hear all about it within a short time.”\u003c/p>\n\u003cp>[aside postid='arts_13919589']Here, then, is where the mystery deepens.\u003c/p>\n\u003cp>No such inventor ever came forward. And no winged airship was ever patented and produced. In fact, the first gas-powered Zeppelin didn’t fly until July 1900, and its maiden voyage was in Germany. Airships weren’t even used by the US Army until 1908. So what were so many people seeing in the skies around the Bay in 1896?\u003c/p>\n\u003cfigure id=\"attachment_13957579\" class=\"wp-caption aligncenter\" style=\"max-width: 1598px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957579\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-09-at-2.01.52-PM.png\" alt=\"A Victorian illustration of a man gazing up at dark skies, astonished to see a clipper ship there.\" width=\"1598\" height=\"1246\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-09-at-2.01.52-PM.png 1598w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-09-at-2.01.52-PM-800x624.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-09-at-2.01.52-PM-1020x795.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-09-at-2.01.52-PM-160x125.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-09-at-2.01.52-PM-768x599.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-09-at-2.01.52-PM-1536x1198.png 1536w\" sizes=\"(max-width: 1598px) 100vw, 1598px\">\u003cfigcaption class=\"wp-caption-text\">This cartoon, referencing renowned ship builder and inventor Irving M. Scott, appeared in ‘The San Francisco Call’ in Nov. 1896, during the peak of the UFO sightings. \u003ccite>(The San Francisco Call and Post/ Newspapers.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the time, newspapers swirled with conjecture about whether or not a patent attorney named George Collins knew who the inventor of the mysterious craft was. Collins publicly spoke of being visited by a man who was seeking a patent for a new airship that he claimed had been spotted over Sacramento. Collins told the man he could not provide a patent without first seeing a model of the aircraft. With that, Collins told reporters, the client was gone, never to be seen again. “I know nothing about the airship,” the attorney said. “I do not know what it is made of, what power propels it, nor where its inventor now is.”\u003c/p>\n\u003cp>Frustrated by Collins’ lack of information, rumors began swirling around San Francisco that the mysterious inventor was a 34-year-old dentist named E. H. Benjamin. Dr. Benjamin had patented a variety of dental equipment through Collins and also acted as his dentist. But when a \u003cem>Call\u003c/em> reporter tracked him down, the dentist simply said: “I only wish I was the inventor. But I am inclined to think I would be afraid to go up in it.”\u003c/p>\n\u003cp>[aside postid='arts_13935838']By the end of 1896, Bay Area airship sightings had stopped altogether. The confounding thing is, they quickly started up in other parts of the country — first Nebraska in Feb. 1897, followed by Illinois, Michigan, Wisconsin, Iowa, Missouri and Kansas. The craft seen in Marshfield, Wisconsin was described as “cone-shaped with glaring headlights,” moving up to 70 mph — very similar to what had been seen in California.\u003c/p>\n\u003cp>Many newspapers of the era described credible sightings, alongside hoax attempts. Fake photos of a flying airship — made using images of a painted canvas on wires — were reported in Rogers Park, Illinois. Groups of men in Omaha, Nebraska and Burlington, Iowa confessed to sending up huge balloons to confuse people actively looking for the airship. And on April 2, 1897, the K\u003cem>ansas City Journal, \u003c/em>mindful that what it was describing may have been an April Fool’s prank, nevertheless reported a:\u003c/p>\n\u003cp>“Flying machine in view for more than an hour … [Witnesses] assert that the floating power seemed to be in a mammoth bag, supposedly filled with gas. To this were attached four light wings of triangular form, two on either side and from the great bag was suspended a cage or car. This car was canoe-shaped and appeared to be from twenty-five to thirty feet long. A few declared that the ship had red lights hung over the edges of the car.”\u003c/p>\n\u003cp>No one was quite sure what to believe, as is evidenced by the following words gingerly printed in Pennsylvania newspaper \u003cem>The York Dispatch\u003c/em> in May 1897:\u003c/p>\n\u003cblockquote>\u003cp>Recently, the newspapers of the whole country have been exploiting stories of airships seen hovering over various towns and country places in districts very far apart. The testimony seems unimpeachable, especially in the face of so many witnesses, but certain details are always lacking to complete the evidence.\u003c/p>\u003c/blockquote>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>In the end, the origins of 1896’s unidentified flying airship were never revealed. Theories posited in the century since have included: a mass media hoax, actual bonafide aliens visiting Earth and delusional witnesses (perhaps inspired by the recent publication of H. G. Wells’ \u003cem>The Time Machine\u003c/em>) confusing the planet Venus for an aircraft. The fact that no one ever took ownership of the aircraft leaves its existence tantalizingly open to interpretation. It all just depends on how much you want to believe.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13957590\" class=\"wp-caption aligncenter\" style=\"max-width: 1130px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957590\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-09-at-4.30.03-PM.png\" alt=\"A Victorian illustration of two men watching an airship with wings and spotlights flying near the top of the Capitol building.\" width=\"1130\" height=\"994\">\u003cfigcaption class=\"wp-caption-text\">A rendition of the airship seen in the skies above Sacramento, as illustrated in ‘The San Francisco Call and Post’ on Nov. 29, 1896.\u003c/figcaption>\u003c/figure>\n\u003cp>In the 1890s, Northern California was in flux — living with Victorian sensibilities, but surrounded by remnants of the gold rush. \u003ca href=\"https://www.kqed.org/arts/13912657/gum-girls-midwinter-fair-san-francisco-history-golden-gate-park\">San Francisco’s Midwinter Fair\u003c/a> in 1894 had ushered in an age of electricity-fueled modernity, but \u003ca href=\"https://www.kqed.org/arts/13932525/mother-thompson-san-francisco-tavern-owner-bay-area-history\">sailors were still brawling\u003c/a> it out down on the Embarcadero. New-fangled ways to have fun — like the \u003ca href=\"https://www.kqed.org/arts/13909983/victorian-attractions-san-francisco-chutes-gravity-railroad-woodwards-gardens-bonet-tower-auditorium-skating\">Haight Street Chutes\u003c/a> and home \u003ca href=\"https://www.kqed.org/arts/13924208/uc-santa-barbara-edison-phonograph-audio-cylinder-archive-vaudeville-racism\">phonographs\u003c/a> — were all the rage, but, for most, life revolved around basic necessities.\u003c/p>\n\u003cp>In November 1896, however, the entire region was excited and united by one thing: a mysterious “airship” that was spotted repeatedly in the skies over San Francisco, Oakland and Sacramento. At the time, airships had been invented but they were flown primarily in Europe and had yet to make a West Coast debut. To see an airship over the Bay Area in 1896 wasn’t just unusual, it was entirely unheard of — and yet, suddenly, hundreds of witnesses began reporting just that.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Making these sightings all the more perplexing was the fact that they only happened at night, and the aircraft in question reportedly had wings, making it unlike any airship that existed at the time. Multiple passengers on an Oakland streetcar one November night described the craft hovering over Fruitvale as “resembling a huge bird in its outlines … which seemed to rise and fall in its course.”\u003c/p>\n\u003cp>That night, the streetcar’s conductor said the ship had one powerful headlight and several smaller lights on board. This was a welcome elaboration, as many witnesses around the Bay had reported seeing only bright lights in the sky. The day after the sighting on the streetcar, \u003cem>The San Francisco Call and Post\u003c/em> reported that:\u003c/p>\n\u003cblockquote>\u003cp>[The airship] was high in the heavens and appeared to be of huge size. When first seen, it seemed to be floating over San Leandro. It moved rapidly, going at least twenty miles an hour. It shot across the skies in the northwest, then turned quickly and disappeared in the direction of Hayward.\u003c/p>\u003c/blockquote>\n\u003cp>The newspaper was particularly invested in the story, since its very own advertising manager, Samuel Foltz, had seen the craft from his Parnassus Heights home in San Francisco. He wasn’t the only one. Colonel W. H. Menton of the Southern Pacific Railroad Company saw the airship from the Supreme Court building at Larkin and McAllister. “The light was far brighter than any of the electric lights I saw just below, in and about the park,” he also told \u003cem>The Call\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Another witness cited in the newspaper that day was Mayor Adolph Sutro, who had several employees who’d seen the craft days before newspapers had even begun reporting the sightings. “I certainly think that some shrewd inventor has solved the problem of aerial navigation,” Sutro said, “and that we will hear all about it within a short time.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Here, then, is where the mystery deepens.\u003c/p>\n\u003cp>No such inventor ever came forward. And no winged airship was ever patented and produced. In fact, the first gas-powered Zeppelin didn’t fly until July 1900, and its maiden voyage was in Germany. Airships weren’t even used by the US Army until 1908. So what were so many people seeing in the skies around the Bay in 1896?\u003c/p>\n\u003cfigure id=\"attachment_13957579\" class=\"wp-caption aligncenter\" style=\"max-width: 1598px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957579\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-09-at-2.01.52-PM.png\" alt=\"A Victorian illustration of a man gazing up at dark skies, astonished to see a clipper ship there.\" width=\"1598\" height=\"1246\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-09-at-2.01.52-PM.png 1598w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-09-at-2.01.52-PM-800x624.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-09-at-2.01.52-PM-1020x795.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-09-at-2.01.52-PM-160x125.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-09-at-2.01.52-PM-768x599.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-09-at-2.01.52-PM-1536x1198.png 1536w\" sizes=\"(max-width: 1598px) 100vw, 1598px\">\u003cfigcaption class=\"wp-caption-text\">This cartoon, referencing renowned ship builder and inventor Irving M. Scott, appeared in ‘The San Francisco Call’ in Nov. 1896, during the peak of the UFO sightings. \u003ccite>(The San Francisco Call and Post/ Newspapers.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the time, newspapers swirled with conjecture about whether or not a patent attorney named George Collins knew who the inventor of the mysterious craft was. Collins publicly spoke of being visited by a man who was seeking a patent for a new airship that he claimed had been spotted over Sacramento. Collins told the man he could not provide a patent without first seeing a model of the aircraft. With that, Collins told reporters, the client was gone, never to be seen again. “I know nothing about the airship,” the attorney said. “I do not know what it is made of, what power propels it, nor where its inventor now is.”\u003c/p>\n\u003cp>Frustrated by Collins’ lack of information, rumors began swirling around San Francisco that the mysterious inventor was a 34-year-old dentist named E. H. Benjamin. Dr. Benjamin had patented a variety of dental equipment through Collins and also acted as his dentist. But when a \u003cem>Call\u003c/em> reporter tracked him down, the dentist simply said: “I only wish I was the inventor. But I am inclined to think I would be afraid to go up in it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>By the end of 1896, Bay Area airship sightings had stopped altogether. The confounding thing is, they quickly started up in other parts of the country — first Nebraska in Feb. 1897, followed by Illinois, Michigan, Wisconsin, Iowa, Missouri and Kansas. The craft seen in Marshfield, Wisconsin was described as “cone-shaped with glaring headlights,” moving up to 70 mph — very similar to what had been seen in California.\u003c/p>\n\u003cp>Many newspapers of the era described credible sightings, alongside hoax attempts. Fake photos of a flying airship — made using images of a painted canvas on wires — were reported in Rogers Park, Illinois. Groups of men in Omaha, Nebraska and Burlington, Iowa confessed to sending up huge balloons to confuse people actively looking for the airship. And on April 2, 1897, the K\u003cem>ansas City Journal, \u003c/em>mindful that what it was describing may have been an April Fool’s prank, nevertheless reported a:\u003c/p>\n\u003cp>“Flying machine in view for more than an hour … [Witnesses] assert that the floating power seemed to be in a mammoth bag, supposedly filled with gas. To this were attached four light wings of triangular form, two on either side and from the great bag was suspended a cage or car. This car was canoe-shaped and appeared to be from twenty-five to thirty feet long. A few declared that the ship had red lights hung over the edges of the car.”\u003c/p>\n\u003cp>No one was quite sure what to believe, as is evidenced by the following words gingerly printed in Pennsylvania newspaper \u003cem>The York Dispatch\u003c/em> in May 1897:\u003c/p>\n\u003cblockquote>\u003cp>Recently, the newspapers of the whole country have been exploiting stories of airships seen hovering over various towns and country places in districts very far apart. The testimony seems unimpeachable, especially in the face of so many witnesses, but certain details are always lacking to complete the evidence.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the end, the origins of 1896’s unidentified flying airship were never revealed. Theories posited in the century since have included: a mass media hoax, actual bonafide aliens visiting Earth and delusional witnesses (perhaps inspired by the recent publication of H. G. Wells’ \u003cem>The Time Machine\u003c/em>) confusing the planet Venus for an aircraft. The fact that no one ever took ownership of the aircraft leaves its existence tantalizingly open to interpretation. It all just depends on how much you want to believe.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Sacramento Singer Nate Curry Goes Where the Love Is",
"headTitle": "Sacramento Singer Nate Curry Goes Where the Love Is | KQED",
"content": "\u003cp>Not many people start their music careers at three years old, but Sacramento artist \u003ca href=\"https://www.instagram.com/natecurry_/?hl=en\">Nate Curry\u003c/a> is one of those few. His father was part of the ’90s rap group \u003ca href=\"https://open.spotify.com/artist/3bjlavnEmvheUS5aWw3cAm?autoplay=true\">The Cuf\u003c/a>, so it didn’t take Curry long to figure out what he wanted to do when he grew up. “I would just do shows with my dad,” Curry says. “I would jump on stage with their group.”\u003c/p>\n\u003cp>Now, 27 years later, he is living his childhood dream. After getting noticed for his 2017 singles “\u003ca href=\"https://youtu.be/-EdA6-W_joY?si=0fnw1ldE0f52jUtQ\">Cold Shoulder\u003c/a>” and “\u003ca href=\"https://youtu.be/0n8cbJ5_LNA?si=KtaWaKYxlKH9B1x-\">Temporary Fix\u003c/a>,” Curry got his first taste of the national spotlight on a 2019 tour with fellow Sacramento artist Hobo Johnson. In 2023, Curry released \u003ca href=\"https://open.spotify.com/album/5QroxHPF8n9MKWNCRC13Dv\">\u003cem>Tight Knit\u003c/em>\u003c/a>, a 12-minute R&B project that compares an intense love connection to the stitches of his signature purple beanie. Curry says he’s arrived at a newfound clarity and mindfulness in creating, which has opened up new opportunities.\u003c/p>\n\u003cp>“I’m just where the love is,” Curry says. “If there happens to be music, then we’re going.”\u003c/p>\n\u003cp>https://youtu.be/0n8cbJ5_LNA?si=KtaWaKYxlKH9B1x-\u003c/p>\n\u003cp>Curry was slated to perform at Sol Blume, one of the West Coast’s biggest R&B festivals. Unfortunately, \u003ca href=\"https://www.kqed.org/arts/13956315/sol-blume-festival-postponed-until-2025\">the event was delayed from May 2024 to August 2025\u003c/a>, but Curry hasn’t lost momentum. On July 19, he’ll take the stage with Kool John at \u003ca href=\"https://www.godowntownsac.com/events/signature-events/concerts-in-the-park/\">Sacramento’s Concerts in the Park series\u003c/a>, which spotlights other local artists including Igwe Aka and DJ Shino Smoke.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Curry’s dad, the producer \u003ca href=\"https://www.instagram.com/sbvce\">SBVCE\u003c/a> (formerly N8 the Gr8), introduced him to the music world and helped his son hone his sound. Curry evolved from rapping like a “real hip-hop head” to singing airy, introspective, 808-heavy R&B that puts a new spin on his traditional roots. This foundation gave him confidence, and eventually, Curry decided to branch out on his own.\u003c/p>\n\u003cp>“I got to a point where I wanted to see what I could do as a man for myself and try some things,” he says.\u003c/p>\n\u003cp>https://youtu.be/wrQTByrJAYE?si=W2aqlh9cxZdUM3or\u003c/p>\n\u003cp>His new track, “Nah G,” is an anthemic single that was made over a FaceTime call. The song pushes the idea of Curry being himself to the fullest, realizing his career is more about the journey than the destination. On the bouncy track, reminiscent of a video game soundtrack, he playfully says “no” to people in 14 different ways.\u003c/p>\n\u003cp>Curry has collaborated extensively with artists from the Bay Area, including Pinole producer and HBK member P-Lo, who appears on “Knock It” from Curry’s 2022 \u003cem>By Design\u003c/em> album. “Through P-Lo, I met so many people. He has been such a great fool,” Curry says. “He’s always recommending me somewhere. He’s always showed full love and put me with the people that lined up with my wave.”\u003c/p>\n\u003cp>https://youtu.be/byYsxBbnhvo?si=XgqOTtBeSyN9zT9W\u003c/p>\n\u003cp>Curry and P-Lo’s collaborations show the unity between Bay Area and Sacramento artists. Sacramento artists regularly venture down I-80 to the Bay Area for inspiration and connections; meanwhile, many Bay Area-raised artists have relocated to Sac for (slightly) more affordable housing. The two regions have a symbiotic relationship that finds its way into the music and beyond.\u003c/p>\n\u003cp>“It’s Northern Cali,” says Curry. “It’s up.”\u003c/p>\n\u003cp>That statewide creative exchange extends to Los Angeles as well. Through P-Lo, Curry met the LA producer \u003ca href=\"https://www.instagram.com/cassiolopes/\">Cassio Lopes\u003c/a>, who produced and shot the video for “Nah G” and worked closely with P-Lo for his album, \u003cem>Stunna\u003c/em>.\u003c/p>\n\u003cp>“The moment I met Nate, it felt like I’ve known him my entire life,” Lopes said.\u003c/p>\n\u003cp>https://youtu.be/H4xkyLiIc48?si=X__QNuKu2TpBfrtD\u003c/p>\n\u003cp>From that initial meeting, Lopes and Curry became fast friends and frequent collaborators. As Curry continues his journey and expands his artistry, he will return to Cesar Chavez Park on July 19 for a full circle moment. This will be the first time Curry and Lopes perform on stage together. Curry hopes it’ll be a “beautiful wave.”\u003c/p>\n\u003cp>“I absolutely can’t wait for that,” he exclaims. “The energy is going to be up.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>More details about \u003ca href=\"https://www.godowntownsac.com/events/signature-events/concerts-in-the-park/\">Sacramento’s Concerts In the Park series are here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Not many people start their music careers at three years old, but Sacramento artist \u003ca href=\"https://www.instagram.com/natecurry_/?hl=en\">Nate Curry\u003c/a> is one of those few. His father was part of the ’90s rap group \u003ca href=\"https://open.spotify.com/artist/3bjlavnEmvheUS5aWw3cAm?autoplay=true\">The Cuf\u003c/a>, so it didn’t take Curry long to figure out what he wanted to do when he grew up. “I would just do shows with my dad,” Curry says. “I would jump on stage with their group.”\u003c/p>\n\u003cp>Now, 27 years later, he is living his childhood dream. After getting noticed for his 2017 singles “\u003ca href=\"https://youtu.be/-EdA6-W_joY?si=0fnw1ldE0f52jUtQ\">Cold Shoulder\u003c/a>” and “\u003ca href=\"https://youtu.be/0n8cbJ5_LNA?si=KtaWaKYxlKH9B1x-\">Temporary Fix\u003c/a>,” Curry got his first taste of the national spotlight on a 2019 tour with fellow Sacramento artist Hobo Johnson. In 2023, Curry released \u003ca href=\"https://open.spotify.com/album/5QroxHPF8n9MKWNCRC13Dv\">\u003cem>Tight Knit\u003c/em>\u003c/a>, a 12-minute R&B project that compares an intense love connection to the stitches of his signature purple beanie. Curry says he’s arrived at a newfound clarity and mindfulness in creating, which has opened up new opportunities.\u003c/p>\n\u003cp>“I’m just where the love is,” Curry says. “If there happens to be music, then we’re going.”\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/0n8cbJ5_LNA'\n title='//www.youtube.com/embed/0n8cbJ5_LNA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Curry was slated to perform at Sol Blume, one of the West Coast’s biggest R&B festivals. Unfortunately, \u003ca href=\"https://www.kqed.org/arts/13956315/sol-blume-festival-postponed-until-2025\">the event was delayed from May 2024 to August 2025\u003c/a>, but Curry hasn’t lost momentum. On July 19, he’ll take the stage with Kool John at \u003ca href=\"https://www.godowntownsac.com/events/signature-events/concerts-in-the-park/\">Sacramento’s Concerts in the Park series\u003c/a>, which spotlights other local artists including Igwe Aka and DJ Shino Smoke.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Curry’s dad, the producer \u003ca href=\"https://www.instagram.com/sbvce\">SBVCE\u003c/a> (formerly N8 the Gr8), introduced him to the music world and helped his son hone his sound. Curry evolved from rapping like a “real hip-hop head” to singing airy, introspective, 808-heavy R&B that puts a new spin on his traditional roots. This foundation gave him confidence, and eventually, Curry decided to branch out on his own.\u003c/p>\n\u003cp>“I got to a point where I wanted to see what I could do as a man for myself and try some things,” he says.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/wrQTByrJAYE'\n title='//www.youtube.com/embed/wrQTByrJAYE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>His new track, “Nah G,” is an anthemic single that was made over a FaceTime call. The song pushes the idea of Curry being himself to the fullest, realizing his career is more about the journey than the destination. On the bouncy track, reminiscent of a video game soundtrack, he playfully says “no” to people in 14 different ways.\u003c/p>\n\u003cp>Curry has collaborated extensively with artists from the Bay Area, including Pinole producer and HBK member P-Lo, who appears on “Knock It” from Curry’s 2022 \u003cem>By Design\u003c/em> album. “Through P-Lo, I met so many people. He has been such a great fool,” Curry says. “He’s always recommending me somewhere. He’s always showed full love and put me with the people that lined up with my wave.”\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/byYsxBbnhvo'\n title='//www.youtube.com/embed/byYsxBbnhvo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Curry and P-Lo’s collaborations show the unity between Bay Area and Sacramento artists. Sacramento artists regularly venture down I-80 to the Bay Area for inspiration and connections; meanwhile, many Bay Area-raised artists have relocated to Sac for (slightly) more affordable housing. The two regions have a symbiotic relationship that finds its way into the music and beyond.\u003c/p>\n\u003cp>“It’s Northern Cali,” says Curry. “It’s up.”\u003c/p>\n\u003cp>That statewide creative exchange extends to Los Angeles as well. Through P-Lo, Curry met the LA producer \u003ca href=\"https://www.instagram.com/cassiolopes/\">Cassio Lopes\u003c/a>, who produced and shot the video for “Nah G” and worked closely with P-Lo for his album, \u003cem>Stunna\u003c/em>.\u003c/p>\n\u003cp>“The moment I met Nate, it felt like I’ve known him my entire life,” Lopes said.\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/H4xkyLiIc48'\n title='//www.youtube.com/embed/H4xkyLiIc48'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>From that initial meeting, Lopes and Curry became fast friends and frequent collaborators. As Curry continues his journey and expands his artistry, he will return to Cesar Chavez Park on July 19 for a full circle moment. This will be the first time Curry and Lopes perform on stage together. Curry hopes it’ll be a “beautiful wave.”\u003c/p>\n\u003cp>“I absolutely can’t wait for that,” he exclaims. “The energy is going to be up.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>More details about \u003ca href=\"https://www.godowntownsac.com/events/signature-events/concerts-in-the-park/\">Sacramento’s Concerts In the Park series are here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>One of the West Coast’s biggest annual R&B events, Sacramento’s \u003ca href=\"https://solblume.com/\" target=\"_blank\" rel=\"noopener\">Sol Blume Festival\u003c/a>, has been postponed.\u003c/p>\n\u003cp>On Saturday, event organizers announced that due to damage from winter storms that flooded Sacramento’s Discovery Park, the event, originally scheduled for May 3–5, will be postponed until the weekend of August 15–17, 2025.\u003c/p>\n\u003cp>This is the second year in a row the festival has changed dates due to issues with flooding in the park. Sol Blume officials announced that in an effort to avoid future flooding, the festival’s dates will move to the late summer for the foreseeable future.\u003c/p>\n\u003cp>[aside postID='arts_13955802']The postponement caused a gut-punch for fans looking forward to seeing this year’s headliners of SZA, Snoh Aalegra and Kaytraminé, a duo comprised of lyricist Aminé and producer Kaytranada. Other artists scheduled to perform at the three-day weekend festival also included PARTYNEXTDOOR and Ari Lennox, as well as SiR, PinkPantheress, and Sacramento’s Nate Curry.\u003c/p>\n\u003cp>Tickets for the postponed 2024 featival will be honored at the 2025 festival, event organizers announced. Weekend pass holders who chose to retain their tickets will automatically receive upgrades to the next higher tier: GA passes will be upgraded to GA+ passes, GA+ passes to VIP passes, and VIP passes to Returnable VIP passes. (Returnable VIP pass holders will receive a $100 voucher for 2025 merch and concessions.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The festival is also offering refunds for the 2024 festival. Fans looking to request a refund will have until May 17 to do so. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For more information and further updates, check \u003ca href=\"https://solblume.com/\" target=\"_blank\" rel=\"noopener\">Sol Blume’s website\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of the West Coast’s biggest annual R&B events, Sacramento’s \u003ca href=\"https://solblume.com/\" target=\"_blank\" rel=\"noopener\">Sol Blume Festival\u003c/a>, has been postponed.\u003c/p>\n\u003cp>On Saturday, event organizers announced that due to damage from winter storms that flooded Sacramento’s Discovery Park, the event, originally scheduled for May 3–5, will be postponed until the weekend of August 15–17, 2025.\u003c/p>\n\u003cp>This is the second year in a row the festival has changed dates due to issues with flooding in the park. Sol Blume officials announced that in an effort to avoid future flooding, the festival’s dates will move to the late summer for the foreseeable future.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The postponement caused a gut-punch for fans looking forward to seeing this year’s headliners of SZA, Snoh Aalegra and Kaytraminé, a duo comprised of lyricist Aminé and producer Kaytranada. Other artists scheduled to perform at the three-day weekend festival also included PARTYNEXTDOOR and Ari Lennox, as well as SiR, PinkPantheress, and Sacramento’s Nate Curry.\u003c/p>\n\u003cp>Tickets for the postponed 2024 featival will be honored at the 2025 festival, event organizers announced. Weekend pass holders who chose to retain their tickets will automatically receive upgrades to the next higher tier: GA passes will be upgraded to GA+ passes, GA+ passes to VIP passes, and VIP passes to Returnable VIP passes. (Returnable VIP pass holders will receive a $100 voucher for 2025 merch and concessions.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The festival is also offering refunds for the 2024 festival. Fans looking to request a refund will have until May 17 to do so. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For more information and further updates, check \u003ca href=\"https://solblume.com/\" target=\"_blank\" rel=\"noopener\">Sol Blume’s website\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"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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"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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},
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"airtime": "SUN 7:30pm-8pm",
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"info": "Inside Europe, a one-hour weekly news magazine hosted by Helen Seeney and Keith Walker, explores the topical issues shaping the continent. No other part of the globe has experienced such dynamic political and social change in recent years.",
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"title": "Latino USA",
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"live-from-here-highlights": {
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"title": "Live from Here Highlights",
"info": "Chris Thile steps to the mic as the host of Live from Here (formerly A Prairie Home Companion), a live public radio variety show. Download Chris’s Song of the Week plus other highlights from the broadcast. Produced by American Public Media.",
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"rss": "https://feeds.publicradio.org/public_feeds/a-prairie-home-companion-highlights/rss/rss"
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
"id": "mindshift",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 13
},
"link": "/podcasts/mindshift",
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"order": 12
},
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"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
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"link": "/radio/program/on-the-media",
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},
"our-body-politic": {
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"title": "Our Body Politic",
"info": "Presented by KQED, KCRW and KPCC, and created and hosted by award-winning journalist Farai Chideya, Our Body Politic is unapologetically centered on reporting on not just how women of color experience the major political events of today, but how they’re impacting those very issues.",
"airtime": "SAT 6pm-7pm, SUN 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Our-Body-Politic-Podcast-Tile-360x360-1.jpg",
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"meta": {
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},
"link": "/radio/program/our-body-politic",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5zaW1wbGVjYXN0LmNvbS9feGFQaHMxcw",
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"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
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},
"perspectives": {
"id": "perspectives",
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"tagline": "KQED's series of daily listener commentaries since 1991",
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"officialWebsiteLink": "/perspectives/",
"meta": {
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"order": 15
},
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