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"slug": "murray-bowles-punk-photography-book-hail-murray",
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"content": "\u003cp>Stand at the back of a punk club like Berkeley’s \u003ca href=\"https://www.kqed.org/arts/tag/924-gilman\">924 Gilman\u003c/a> nowadays, and the entire crowd will invariably be lit up with a hundred little screens, all recording a moment in time to share online later. But at the primordial 924 Gilman of yesteryear, there was often just a single camera in the crowd, held in Murray Bowles’ hand flicking out far above his head, followed by a quick flash.\u003c/p>\n\u003cfigure id=\"attachment_13968871\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968871\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-scaled.jpg\" alt=\"A black and white crowd shot at a punk show. Photographer Murray Bowles, a bearded white man in a flannel shirt, is featured mid-frame with his camera raised above his head.\" width=\"2560\" height=\"1917\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-1536x1150.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-2048x1534.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-1920x1438.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Murray Bowles’ signature ‘Hail Mary’ shooting style. \u003ccite>(Christian Larsen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://lastgasp.com/products/hail-murray\">\u003ci>Hail Murray!: The Bay Area Punk Photography of Murray Bowles, 1982–1995\u003c/i>\u003c/a> (Last Gasp; $39.95) is a sprawling, 270-page monograph of black and white photos representing a wildly creative and supercharged era of local underground music. If you attended any \u003ca href=\"https://www.kqed.org/arts/tag/punk\">Bay Area punk\u003c/a> shows from the 1980s through the 1990s, you likely crossed paths with Murray, its de facto chronicler. Wrapped in a decidedly civilian package — an older man with floppy brown hair, bearded, and bespectacled — he looked more like a computer programmer than a punk (and, unbeknownst to many, he actually \u003ci>was\u003c/i> a programmer of note in early Silicon Valley). At first glance, one might be surprised to learn that this understated character was an essential contributor to the chaotic music scene that birthed bands like Operation Ivy, Blatz and Green Day.\u003c/p>\n\u003cfigure id=\"attachment_13968865\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968865\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_01.jpg\" alt=\"A book cover featuring a black and white crowd photo of punk dancing at an outside show. The book title Hail Murray is in red font at the top.\" width=\"1600\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_01.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_01-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_01-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_01-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_01-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_01-1536x1152.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">‘Hail Murray!: The Punk Photography of Murray Bowles, 1982-1995.’ \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After the show had ended, while everyone else slept off their hangovers or rotted all night at the 24-hour donut shop, Murray would be hunkered down in the makeshift darkroom set up in his kitchen, spending hours developing pictures of bands. He would later gather up all of the prints and shove them into a shoebox to bring to shows to share and sell for 15¢ a piece, the cost of the paper. (This was later raised to a quarter. Inflation, y’all.) While rifling through Murray’s shoebox, eager eyeballs went on the lookout for pictures of favorite bands or secret crushes, but more than anything else, people were hoping to find a photo of themselves. Being captured in a Murray picture was a stamp of approval. It was a confirmation that you had indeed been there. That you belonged.\u003c/p>\n\u003cp>That manifestation of belonging takes on various forms in the punk scene. It doesn’t matter how shy a person is, or how lacking in musical ability. Everyone has a role. And while bands have always enjoyed the spotlight, they’re just one part of a complex ecosystem. There are zine editors, promoters, the people who feed and house the touring bands, \u003ca href=\"https://www.kqed.org/arts/13830408/going-strong-since-1990-this-low-budget-newsletter-is-a-punk-institution\">Steve List\u003c/a>, the volunteers who sweep the floors and clean the toilets. These often unsung community heroes are the reason the punk scene has been able to function and evolve.\u003c/p>\n\u003cfigure id=\"attachment_13968882\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13968882 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_11-800x599.jpg\" alt=\"A young white girl with long brown hair plays a Gibson guitar\" width=\"800\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_11-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_11-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_11-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_11-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_11-1536x1150.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_11-2048x1534.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_11-1920x1438.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Squat, Nightbreak, San Francisco, 1995. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Why do this work that is neither glamorous nor rewarded? Sometimes community service is a calling. As Murray famously said, “I wanted to be more than just a spectator.” There are those people who see something that needs to be done and are compelled to do it. Surely no one embodies this more than Anna Brown, teacher, longtime East Bay punk, and Murray’s most bulldogged advocate, the person who consented to take on the monumental task of compiling, designing, and editing \u003ci>Hail Murray!\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Anna first met Murray at a show in 1987; the next thing she knew, she was a regular passenger in his Rabbit Cabriolet, on the way to film screenings, art openings, punk shows and hikes. Murray was notoriously inscrutable, and didn’t often talk about himself. Anna, on the other hand, was articulate, outgoing and tough. Their personalities complementing each other, they became lifelong friends.\u003c/p>\n\u003cfigure id=\"attachment_13968961\" class=\"wp-caption aligncenter\" style=\"max-width: 1277px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968961\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Anna.Aaron_.1993.MurrayBowles.jpg\" alt=\"\" width=\"1277\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Anna.Aaron_.1993.MurrayBowles.jpg 1277w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Anna.Aaron_.1993.MurrayBowles-800x501.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Anna.Aaron_.1993.MurrayBowles-1020x639.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Anna.Aaron_.1993.MurrayBowles-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Anna.Aaron_.1993.MurrayBowles-768x481.jpg 768w\" sizes=\"(max-width: 1277px) 100vw, 1277px\">\u003cfigcaption class=\"wp-caption-text\">Anna Brown with friend Aaron, 1993. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When I ask Anna how long she’s been working on this book, she gets a faraway look in her eye. “I’d always wanted to make this book, ever since I was a teenager,” she tells me. “Murray was into the idea but he was very passive in general.”\u003c/p>\n\u003cp>Around 2010, the two began to tackle the project, mind-boggling in its scope. Murray took dozens of photos, every single weekend, for almost 40 years. What would a body of work of that magnitude look like? How could you even begin to catalog and curate it? They caught a break in 2017 when the documentary team behind \u003ci>\u003ca href=\"https://www.kqed.org/arts/13239750/the-definitive-documentary-on-east-bay-punk-is-coming-pit-warning\">Turn It Around: The Story of East Bay Punk\u003c/a>\u003c/i> digitized thousands of Murray’s photos, but that still left thousands \u003cem>more\u003c/em> to sift through.\u003c/p>\n\u003cp>[aside postid='arts_13938024']Then in 2019, Murray Bowles died unexpectedly.\u003c/p>\n\u003cp>“When he died, I felt super guilty because we had this whole plan,” Anna tells me. The two friends had planned to spend Murray’s retirement years going around the country doing book tours and gallery shows, the culmination of a life’s work.\u003c/p>\n\u003cp>“I felt really bad that he didn’t get a chance to do any of that stuff, or to see the book,” Anna says. “So I became extremely determined.”\u003c/p>\n\u003cfigure id=\"attachment_13968952\" class=\"wp-caption aligncenter\" style=\"max-width: 1428px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968952\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Hail-Murray-sampler_Page_06.OpIvy_.jpg\" alt=\"\" width=\"1428\" height=\"906\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Hail-Murray-sampler_Page_06.OpIvy_.jpg 1428w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Hail-Murray-sampler_Page_06.OpIvy_-800x508.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Hail-Murray-sampler_Page_06.OpIvy_-1020x647.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Hail-Murray-sampler_Page_06.OpIvy_-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Hail-Murray-sampler_Page_06.OpIvy_-768x487.jpg 768w\" sizes=\"(max-width: 1428px) 100vw, 1428px\">\u003cfigcaption class=\"wp-caption-text\">Operation Ivy, Gilman Street, Berkeley, 1988. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Anna transcribed interviews, received feedback, taught herself Photoshop and InDesign, solicited funding and found a publisher. Along the way, she experimented with different layouts, and how to best encapsulate the life’s work of her friend.\u003c/p>\n\u003cp>“I felt a lot of anxiety about these pictures that are sacred to our people,” she explains. “They mean so much to everyone. It felt like I was handling an incredibly fragile, delicate thing. I knew that everyone was going to have their own ideas about how they wanted the book to be.”\u003c/p>\n\u003cp>[aside postID='arts_13871151']In the end, Anna decided that Bowles’ aesthetic would be best captured as a monograph. Punk may be messy, but \u003cem>Hail Murray!\u003c/em> is impeccably clean and gorgeous. Each 12” x 9” landscape page is devoted to a single black and white photograph, giving it ample space to breathe.\u003c/p>\n\u003cp>Though there’s a multitude of band photos in the book — from lesser-known entities like thrash band Sluglords to well-known groups like Rancid — many of its most compelling images are moments captured between friends. Young people sprawled on the hoods of cars, friends drinking beer on couches or hunkered down in a stairwell, girls carrying other girls through the pit, inexplicable configurations of body parts at a crowded house show where you’re not even sure where one person ends and the next person begins. There is an implied intimacy to the work, underscored by a minimalist approach to titles and descriptions.\u003c/p>\n\u003cfigure id=\"attachment_13968877\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13968877 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_04-800x599.jpg\" alt=\"Punk band Special Forces plays at UC Berkeley's Sproul Plaza. Orlando, a tall Black man with a mohawk, stands in front with a microphone.\" width=\"800\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_04-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_04-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_04-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_04-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_04-1536x1150.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_04-2048x1534.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_04-1920x1438.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Special Forces, Sproul Plaza, UC Berkeley, 1985. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the absence of elaborate captions or other explicit context cues, one might ask how \u003cem>Hail Murray!\u003c/em> will be perceived by those outside of the community it chronicles. For punks, part of the excitement was digging through Murray’s photo box, scanning the faces in the crowd and wondering: “Am I in here?” But outsiders to the punk scene may be surprised to see themselves here, too, reflected in the universal quest for fun and belonging.\u003c/p>\n\u003cp>“If Murray’s work is ‘about’ anything, it’s about the joy of punk,” Anna says. “Going through his archives, you come away feeling that Murray’s mission, in simplest terms, was to celebrate the feeling of being there on any given night or afternoon — the collective energy of a singular moment.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Hail Murray!: The Bay Area Punk Photography of Murray Bowles 1982–1995’ is celebrated in a release party with live music by Smokers and Nasty World on Sunday, Dec. 8, at 111 Minna Gallery in San Francisco. 4pm–9pm. \u003ca href=\"https://111minnagallery.com/event/hail-murray-book-party/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"title": "Finally, a Book of Murray Bowles’ Bay Area Punk Photography | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Stand at the back of a punk club like Berkeley’s \u003ca href=\"https://www.kqed.org/arts/tag/924-gilman\">924 Gilman\u003c/a> nowadays, and the entire crowd will invariably be lit up with a hundred little screens, all recording a moment in time to share online later. But at the primordial 924 Gilman of yesteryear, there was often just a single camera in the crowd, held in Murray Bowles’ hand flicking out far above his head, followed by a quick flash.\u003c/p>\n\u003cfigure id=\"attachment_13968871\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968871\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-scaled.jpg\" alt=\"A black and white crowd shot at a punk show. Photographer Murray Bowles, a bearded white man in a flannel shirt, is featured mid-frame with his camera raised above his head.\" width=\"2560\" height=\"1917\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-1536x1150.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-2048x1534.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_02-1920x1438.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Murray Bowles’ signature ‘Hail Mary’ shooting style. \u003ccite>(Christian Larsen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://lastgasp.com/products/hail-murray\">\u003ci>Hail Murray!: The Bay Area Punk Photography of Murray Bowles, 1982–1995\u003c/i>\u003c/a> (Last Gasp; $39.95) is a sprawling, 270-page monograph of black and white photos representing a wildly creative and supercharged era of local underground music. If you attended any \u003ca href=\"https://www.kqed.org/arts/tag/punk\">Bay Area punk\u003c/a> shows from the 1980s through the 1990s, you likely crossed paths with Murray, its de facto chronicler. Wrapped in a decidedly civilian package — an older man with floppy brown hair, bearded, and bespectacled — he looked more like a computer programmer than a punk (and, unbeknownst to many, he actually \u003ci>was\u003c/i> a programmer of note in early Silicon Valley). At first glance, one might be surprised to learn that this understated character was an essential contributor to the chaotic music scene that birthed bands like Operation Ivy, Blatz and Green Day.\u003c/p>\n\u003cfigure id=\"attachment_13968865\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968865\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_01.jpg\" alt=\"A book cover featuring a black and white crowd photo of punk dancing at an outside show. The book title Hail Murray is in red font at the top.\" width=\"1600\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_01.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_01-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_01-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_01-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_01-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_01-1536x1152.jpg 1536w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">‘Hail Murray!: The Punk Photography of Murray Bowles, 1982-1995.’ \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After the show had ended, while everyone else slept off their hangovers or rotted all night at the 24-hour donut shop, Murray would be hunkered down in the makeshift darkroom set up in his kitchen, spending hours developing pictures of bands. He would later gather up all of the prints and shove them into a shoebox to bring to shows to share and sell for 15¢ a piece, the cost of the paper. (This was later raised to a quarter. Inflation, y’all.) While rifling through Murray’s shoebox, eager eyeballs went on the lookout for pictures of favorite bands or secret crushes, but more than anything else, people were hoping to find a photo of themselves. Being captured in a Murray picture was a stamp of approval. It was a confirmation that you had indeed been there. That you belonged.\u003c/p>\n\u003cp>That manifestation of belonging takes on various forms in the punk scene. It doesn’t matter how shy a person is, or how lacking in musical ability. Everyone has a role. And while bands have always enjoyed the spotlight, they’re just one part of a complex ecosystem. There are zine editors, promoters, the people who feed and house the touring bands, \u003ca href=\"https://www.kqed.org/arts/13830408/going-strong-since-1990-this-low-budget-newsletter-is-a-punk-institution\">Steve List\u003c/a>, the volunteers who sweep the floors and clean the toilets. These often unsung community heroes are the reason the punk scene has been able to function and evolve.\u003c/p>\n\u003cfigure id=\"attachment_13968882\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13968882 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_11-800x599.jpg\" alt=\"A young white girl with long brown hair plays a Gibson guitar\" width=\"800\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_11-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_11-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_11-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_11-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_11-1536x1150.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_11-2048x1534.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_11-1920x1438.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Squat, Nightbreak, San Francisco, 1995. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Why do this work that is neither glamorous nor rewarded? Sometimes community service is a calling. As Murray famously said, “I wanted to be more than just a spectator.” There are those people who see something that needs to be done and are compelled to do it. Surely no one embodies this more than Anna Brown, teacher, longtime East Bay punk, and Murray’s most bulldogged advocate, the person who consented to take on the monumental task of compiling, designing, and editing \u003ci>Hail Murray!\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Anna first met Murray at a show in 1987; the next thing she knew, she was a regular passenger in his Rabbit Cabriolet, on the way to film screenings, art openings, punk shows and hikes. Murray was notoriously inscrutable, and didn’t often talk about himself. Anna, on the other hand, was articulate, outgoing and tough. Their personalities complementing each other, they became lifelong friends.\u003c/p>\n\u003cfigure id=\"attachment_13968961\" class=\"wp-caption aligncenter\" style=\"max-width: 1277px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968961\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Anna.Aaron_.1993.MurrayBowles.jpg\" alt=\"\" width=\"1277\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Anna.Aaron_.1993.MurrayBowles.jpg 1277w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Anna.Aaron_.1993.MurrayBowles-800x501.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Anna.Aaron_.1993.MurrayBowles-1020x639.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Anna.Aaron_.1993.MurrayBowles-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Anna.Aaron_.1993.MurrayBowles-768x481.jpg 768w\" sizes=\"(max-width: 1277px) 100vw, 1277px\">\u003cfigcaption class=\"wp-caption-text\">Anna Brown with friend Aaron, 1993. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When I ask Anna how long she’s been working on this book, she gets a faraway look in her eye. “I’d always wanted to make this book, ever since I was a teenager,” she tells me. “Murray was into the idea but he was very passive in general.”\u003c/p>\n\u003cp>Around 2010, the two began to tackle the project, mind-boggling in its scope. Murray took dozens of photos, every single weekend, for almost 40 years. What would a body of work of that magnitude look like? How could you even begin to catalog and curate it? They caught a break in 2017 when the documentary team behind \u003ci>\u003ca href=\"https://www.kqed.org/arts/13239750/the-definitive-documentary-on-east-bay-punk-is-coming-pit-warning\">Turn It Around: The Story of East Bay Punk\u003c/a>\u003c/i> digitized thousands of Murray’s photos, but that still left thousands \u003cem>more\u003c/em> to sift through.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Then in 2019, Murray Bowles died unexpectedly.\u003c/p>\n\u003cp>“When he died, I felt super guilty because we had this whole plan,” Anna tells me. The two friends had planned to spend Murray’s retirement years going around the country doing book tours and gallery shows, the culmination of a life’s work.\u003c/p>\n\u003cp>“I felt really bad that he didn’t get a chance to do any of that stuff, or to see the book,” Anna says. “So I became extremely determined.”\u003c/p>\n\u003cfigure id=\"attachment_13968952\" class=\"wp-caption aligncenter\" style=\"max-width: 1428px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968952\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Hail-Murray-sampler_Page_06.OpIvy_.jpg\" alt=\"\" width=\"1428\" height=\"906\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Hail-Murray-sampler_Page_06.OpIvy_.jpg 1428w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Hail-Murray-sampler_Page_06.OpIvy_-800x508.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Hail-Murray-sampler_Page_06.OpIvy_-1020x647.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Hail-Murray-sampler_Page_06.OpIvy_-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Hail-Murray-sampler_Page_06.OpIvy_-768x487.jpg 768w\" sizes=\"(max-width: 1428px) 100vw, 1428px\">\u003cfigcaption class=\"wp-caption-text\">Operation Ivy, Gilman Street, Berkeley, 1988. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Anna transcribed interviews, received feedback, taught herself Photoshop and InDesign, solicited funding and found a publisher. Along the way, she experimented with different layouts, and how to best encapsulate the life’s work of her friend.\u003c/p>\n\u003cp>“I felt a lot of anxiety about these pictures that are sacred to our people,” she explains. “They mean so much to everyone. It felt like I was handling an incredibly fragile, delicate thing. I knew that everyone was going to have their own ideas about how they wanted the book to be.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In the end, Anna decided that Bowles’ aesthetic would be best captured as a monograph. Punk may be messy, but \u003cem>Hail Murray!\u003c/em> is impeccably clean and gorgeous. Each 12” x 9” landscape page is devoted to a single black and white photograph, giving it ample space to breathe.\u003c/p>\n\u003cp>Though there’s a multitude of band photos in the book — from lesser-known entities like thrash band Sluglords to well-known groups like Rancid — many of its most compelling images are moments captured between friends. Young people sprawled on the hoods of cars, friends drinking beer on couches or hunkered down in a stairwell, girls carrying other girls through the pit, inexplicable configurations of body parts at a crowded house show where you’re not even sure where one person ends and the next person begins. There is an implied intimacy to the work, underscored by a minimalist approach to titles and descriptions.\u003c/p>\n\u003cfigure id=\"attachment_13968877\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13968877 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_04-800x599.jpg\" alt=\"Punk band Special Forces plays at UC Berkeley's Sproul Plaza. Orlando, a tall Black man with a mohawk, stands in front with a microphone.\" width=\"800\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_04-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_04-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_04-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_04-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_04-1536x1150.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_04-2048x1534.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_04-1920x1438.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Special Forces, Sproul Plaza, UC Berkeley, 1985. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the absence of elaborate captions or other explicit context cues, one might ask how \u003cem>Hail Murray!\u003c/em> will be perceived by those outside of the community it chronicles. For punks, part of the excitement was digging through Murray’s photo box, scanning the faces in the crowd and wondering: “Am I in here?” But outsiders to the punk scene may be surprised to see themselves here, too, reflected in the universal quest for fun and belonging.\u003c/p>\n\u003cp>“If Murray’s work is ‘about’ anything, it’s about the joy of punk,” Anna says. “Going through his archives, you come away feeling that Murray’s mission, in simplest terms, was to celebrate the feeling of being there on any given night or afternoon — the collective energy of a singular moment.”\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>‘Hail Murray!: The Bay Area Punk Photography of Murray Bowles 1982–1995’ is celebrated in a release party with live music by Smokers and Nasty World on Sunday, Dec. 8, at 111 Minna Gallery in San Francisco. 4pm–9pm. \u003ca href=\"https://111minnagallery.com/event/hail-murray-book-party/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Walking through San Francisco’s Chinatown, you may be surprised to stumble across a literal cave in the middle of Grant Street. Welcome to the historic Li Po Lounge, your portal into the 1930s and home to one of the most potent Mai Tais ever to cross our lips.\u003c/p>\n\u003cp>Typically, a Mai Tai is a combination of rums, lime juice, and liqueur. The Li Po’s Mai Tai recipe is a long-kept secret but it includes Chinese wine and a nutty earthiness that balances the typical Mai-Tai sweetness.\u003c/p>\n\u003cp>With vintage neon, faded celebrity photos (hi, Anthony Bourdain) and red vinyl booths, the Li Po Lounge is a moment forever caught in time in the midst of San Francisco’s constant changes.\u003c/p>\n\u003cp>The Mai Tai itself was invented at Trader Vic’s in Oakland, but today, you can sip one at their current location in Emeryville — just one of many places keeping this iconic cocktail alive.\u003c/p>\n\u003cp>\u003cstrong>About No Crumbs: \u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>No Crumbs’ host Josh Decolongon dives into the histories and mysteries of Bay Area food culture. Whether he’s explaining the difference between Mission and California-style burritos (spoiler alert: it’s the fries) or tracking down the diner that inspired animated sitcom \u003cem>Bob’s Burgers\u003c/em>, No Crumbs will inspire new perspectives on the Bay Area food scene you thought you knew.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Watch more on KQED Food \u003ca href=\"http://www.instagram.com/kqedfood\">Instagram\u003c/a> and \u003ca href=\"http://www.youtube.com/kqedfood\">YouTube\u003c/a>.\u003c/p>\n\n",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game and Brown has some lessons he'd like to share. ",
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"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": {
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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": 12
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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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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"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",
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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},
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},
"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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"source": "npr"
},
"link": "/radio/program/reveal",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
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