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The sheer number of Bay Area and Northern California musicians also stood out, highlighting local talent who continue to break barriers and accumulate accolades.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Rising R&B superstar Victoria Monét commanded seven nominations for her indelible debut album \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Jaguar II\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. Monét grew up in Sacramento before relocating to Los Angeles to launch her songwriting career. \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Monét performed a homecoming show last month in Sacramento following two sold-out nights at the Regency Ballroom in San Francisco. The star quality in her performance was palpable. Monét previously received three Grammy nominations for her work on Ariana Grande’s album \u003cem>thank u, next\u003c/em> and Chloe x Halle’s hit single “Do It,” but this year’s seven nominations mark a first for her as a performer.\u003c/p>\n\u003cp>Monét’s 2-year-old daughter, Hazel, achieved a milestone as well. She’s the youngest nominee in the history of the awards for her featured voice in the song “Hollywood” alongside the legendary group Earth, Wind & Fire in the Best Traditional R&B Performance category.\u003c/p>\n\u003cp>https://twitter.com/Justjstyle/status/1720626880607396004?s=20\u003c/p>\n\u003cp>Monét is also nominated in these categories: Best R&B Song for “On My Mama”, Best R&B Performance for “How Does It Make You Feel”, Best R&B Album and Best Engineered Album categories. What’s more, she’ll compete in two of the four general field categories as she receives a coveted Best New Artist nomination while her hit song, “On My Mama,” lands in the Record of the Year tier. Colin Leonard, nominated as the mastering engineer of “On My Mama,” studied classical guitar at the University of the Pacific in Stockton.\u003c/p>\n\u003cp>The most nominated artist this year, SZA, had some Bay Area magic on her album, too. Rob Bisel, who received three nominations as the songwriter, producer and engineer on SZA’s multiplatinum hit “Kill Bill,” was raised in Moraga and interned at Studio 880 in Oakland as a teen.\u003c/p>\n\u003cp>Raised 115 miles north of San Francisco in the rural town of Ukiah, Phoebe Bridgers netted seven nominations, including one for her own collaboration with SZA, “Ghost in the Machine.” Six additional nominations for her group Boygenius, including Album of the Year for \u003cem>The Record\u003c/em> and Record of the Year for “Not Strong Enough,” brought Bridgers into a tie with Monét’s seven nominations.\u003c/p>\n\u003cp>With nine Grammy Awards earned over their decades-long career, iconic San Francisco-based band Metallica received three nominations in the rock and metal categories. The group released their eleventh studio album \u003cem>72 Seasons\u003c/em> earlier this year to positive critical reception. If they win in 2024, it will end the band’s unlucky streak, giving Metallica its first set of golden gramophones since 2009.\u003c/p>\n\u003cp>San Francisco Symphony conductor Esa-Pekka Salonen notched two nominations for the Best Orchestral Performance and Best Choral Performance categories for his recording of Stravinsky’s “The Rite of Spring” with the Symphony and the SF Symphony Chorus’ recording of Hungarian composer György Ligeti’s “Lux Aeterna,” respectively.\u003c/p>\n\u003cp>Molly Tuttle, who was born in Santa Clara and raised in Palo Alto, received a nod in the Best Bluegrass Album category with \u003cem>City of Gold\u003c/em>, a project featuring her band Golden Highway. The album is partly an ode to Tuttle’s roots in California, with titles like “San Joaquin” and “Yosemite” on the tracklist.\u003c/p>\n\u003cp>Jeremy Cohen-led Quartet San Francisco’s “Cutey and the Dragon” got recognition in the Best Instrumental Composition category. While Cohen is a Bay Area musician, he is not credited as a composer, making him ineligible for a nomination in this field.\u003c/p>\n\u003ch2>More nominees with Bay Area ties include:\u003c/h2>\n\u003cp>Ray Keys, a songwriter on Coco Jones’ sultry hit “ICU,” was born in San José.\u003c/p>\n\u003cp>Rogét Chahayed, a songwriter on Doja Cat’s comeback single “Attention.” Chahayed attended the San Francisco Conservatory of Music and studied under professor Yoshikazu Nagai. [aside postID=arts_13937961 hero='https://ww2.kqed.org/app/uploads/sites/2/2023/11/Tony-Toni-Tone-2.REV_-1020x574.png']Zakir Hussain, who lives in San Anselmo, received two nominations in the Best Global Music Performance and Best Contemporary Instrumental Album categories.\u003c/p>\n\u003cp>Julian Lage, a Santa Rosa-bred jazz musician, was nominated for his album \u003cem>The Layers\u003c/em> in the Best Contemporary Instrumental Album category.\u003c/p>\n\u003cp>And Skrillex, the popular DJ, spent part of his childhood in San Francisco and scored two nominations in the Dance/Electronic genre.\u003c/p>\n\u003cp>\u003cem>The \u003c/em>\u003ca href=\"https://www.grammy.com/\">\u003cem>66th Annual Grammy Awards\u003c/em>\u003c/a>\u003cem> are scheduled for Sunday, Feb. 4, at the Crypto.com Arena in Los Angeles. Viewers at home can tune into CBS or Paramount+ to catch the show.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n","blocks":[],"excerpt":"The 2024 Grammy nominations are now live — and several artists with Northern California ties will be vying for a golden gramophone at the ceremony on Feb. 4 in Los Angeles.","status":"publish","parent":0,"modified":1705003096,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":19,"wordCount":887},"headData":{"title":"NorCal Grammy Award Nominees Revealed: Victoria Monét, Metallica and More | KQED","description":"The 2024 Grammy nominations are now live — and several artists with Northern California ties will be vying for a golden gramophone at the ceremony on Feb. 4 in Los Angeles.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"NorCal Grammy Award Nominees Revealed: Victoria Monét, Metallica and More","datePublished":"2023-11-15T20:00:17.000Z","dateModified":"2024-01-11T19:58:16.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13938043/bay-area-grammy-award-nominees-revealed-victoria-monet-metallica-and-more","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Recording Academy announced the \u003ca href=\"https://www.grammy.com/news/2024-grammys-nominations-full-winners-nominees-list\">nominees for the 2024 Grammy Awards\u003c/a> last week, kindling the usual deluge of conversations around which artists were snubbed.\u003c/p>\n\u003cp>Sifting through 91 categories revealed two big reasons for music fans to celebrate: the domination of women across many major categories that historically championed male artists. The sheer number of Bay Area and Northern California musicians also stood out, highlighting local talent who continue to break barriers and accumulate accolades.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Rising R&B superstar Victoria Monét commanded seven nominations for her indelible debut album \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Jaguar II\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. Monét grew up in Sacramento before relocating to Los Angeles to launch her songwriting career. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Monét performed a homecoming show last month in Sacramento following two sold-out nights at the Regency Ballroom in San Francisco. The star quality in her performance was palpable. Monét previously received three Grammy nominations for her work on Ariana Grande’s album \u003cem>thank u, next\u003c/em> and Chloe x Halle’s hit single “Do It,” but this year’s seven nominations mark a first for her as a performer.\u003c/p>\n\u003cp>Monét’s 2-year-old daughter, Hazel, achieved a milestone as well. She’s the youngest nominee in the history of the awards for her featured voice in the song “Hollywood” alongside the legendary group Earth, Wind & Fire in the Best Traditional R&B Performance category.\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1720626880607396004"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Monét is also nominated in these categories: Best R&B Song for “On My Mama”, Best R&B Performance for “How Does It Make You Feel”, Best R&B Album and Best Engineered Album categories. What’s more, she’ll compete in two of the four general field categories as she receives a coveted Best New Artist nomination while her hit song, “On My Mama,” lands in the Record of the Year tier. Colin Leonard, nominated as the mastering engineer of “On My Mama,” studied classical guitar at the University of the Pacific in Stockton.\u003c/p>\n\u003cp>The most nominated artist this year, SZA, had some Bay Area magic on her album, too. Rob Bisel, who received three nominations as the songwriter, producer and engineer on SZA’s multiplatinum hit “Kill Bill,” was raised in Moraga and interned at Studio 880 in Oakland as a teen.\u003c/p>\n\u003cp>Raised 115 miles north of San Francisco in the rural town of Ukiah, Phoebe Bridgers netted seven nominations, including one for her own collaboration with SZA, “Ghost in the Machine.” Six additional nominations for her group Boygenius, including Album of the Year for \u003cem>The Record\u003c/em> and Record of the Year for “Not Strong Enough,” brought Bridgers into a tie with Monét’s seven nominations.\u003c/p>\n\u003cp>With nine Grammy Awards earned over their decades-long career, iconic San Francisco-based band Metallica received three nominations in the rock and metal categories. The group released their eleventh studio album \u003cem>72 Seasons\u003c/em> earlier this year to positive critical reception. If they win in 2024, it will end the band’s unlucky streak, giving Metallica its first set of golden gramophones since 2009.\u003c/p>\n\u003cp>San Francisco Symphony conductor Esa-Pekka Salonen notched two nominations for the Best Orchestral Performance and Best Choral Performance categories for his recording of Stravinsky’s “The Rite of Spring” with the Symphony and the SF Symphony Chorus’ recording of Hungarian composer György Ligeti’s “Lux Aeterna,” respectively.\u003c/p>\n\u003cp>Molly Tuttle, who was born in Santa Clara and raised in Palo Alto, received a nod in the Best Bluegrass Album category with \u003cem>City of Gold\u003c/em>, a project featuring her band Golden Highway. The album is partly an ode to Tuttle’s roots in California, with titles like “San Joaquin” and “Yosemite” on the tracklist.\u003c/p>\n\u003cp>Jeremy Cohen-led Quartet San Francisco’s “Cutey and the Dragon” got recognition in the Best Instrumental Composition category. While Cohen is a Bay Area musician, he is not credited as a composer, making him ineligible for a nomination in this field.\u003c/p>\n\u003ch2>More nominees with Bay Area ties include:\u003c/h2>\n\u003cp>Ray Keys, a songwriter on Coco Jones’ sultry hit “ICU,” was born in San José.\u003c/p>\n\u003cp>Rogét Chahayed, a songwriter on Doja Cat’s comeback single “Attention.” Chahayed attended the San Francisco Conservatory of Music and studied under professor Yoshikazu Nagai. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13937961","hero":"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Tony-Toni-Tone-2.REV_-1020x574.png","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Zakir Hussain, who lives in San Anselmo, received two nominations in the Best Global Music Performance and Best Contemporary Instrumental Album categories.\u003c/p>\n\u003cp>Julian Lage, a Santa Rosa-bred jazz musician, was nominated for his album \u003cem>The Layers\u003c/em> in the Best Contemporary Instrumental Album category.\u003c/p>\n\u003cp>And Skrillex, the popular DJ, spent part of his childhood in San Francisco and scored two nominations in the Dance/Electronic genre.\u003c/p>\n\u003cp>\u003cem>The \u003c/em>\u003ca href=\"https://www.grammy.com/\">\u003cem>66th Annual Grammy Awards\u003c/em>\u003c/a>\u003cem> are scheduled for Sunday, Feb. 4, at the Crypto.com Arena in Los Angeles. Viewers at home can tune into CBS or Paramount+ to catch the show.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13938043/bay-area-grammy-award-nominees-revealed-victoria-monet-metallica-and-more","authors":["11883"],"categories":["arts_1","arts_69","arts_235"],"tags":["arts_820","arts_1685","arts_1010","arts_1367","arts_21739"],"featImg":"arts_13938053","label":"arts"},"arts_13927738":{"type":"posts","id":"arts_13927738","meta":{"index":"posts_1591205157","site":"arts","id":"13927738","score":null,"sort":[1681410622000]},"guestAuthors":[],"slug":"metallica-72-seasons-james-hetfield-lars-ulrich-share-writing-credits-new-album","title":"Metallica Says New Album ‘72 Seasons’ Is ‘Dark’ and ‘Taboo’ as Ever","publishDate":1681410622,"format":"standard","headTitle":"Metallica Says New Album ‘72 Seasons’ Is ‘Dark’ and ‘Taboo’ as Ever | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Zoom has been credited for keeping students and teachers connected, the judicial system working and fitness classes jumping. You can add a Metallica album to that list.\u003c/p>\n\u003cp>The hard rockers met weekly over their computers to stay connected during the pandemic, a standing get-together that eventually became a songwriting factory. The first step was an acoustic version of their song “Blackened.”\u003c/p>\n\u003cp>“It proved to us that, yes, we can at least do something remotely while we’re all still separated,” says guitarist Kirk Hammett. “That grew into trying to get riffs together for the new album though Zoom.”\u003c/p>\n\u003cp>Six or seven of those song sketches ended up on \u003cem>72 Seasons\u003c/em>, the band’s 12th full-length album, out Friday. It’s the sound of a band not slowing down, despite singer and rhythm guitarist James Hetfield and drummer Lars Ulrich turning 60 this year and Hammett already on the other side of that milestone. Bassist Robert Trujillo is the baby, at just 58.\u003c/p>\n\u003cfigure id=\"attachment_13927741\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927741\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/GettyImages-1243490028-1-scaled-e1681409022822-800x533.jpg\" alt=\"A smiling man with long braids, dressed in all black, onstage playing a bass.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1243490028-1-scaled-e1681409022822-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1243490028-1-scaled-e1681409022822-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1243490028-1-scaled-e1681409022822-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1243490028-1-scaled-e1681409022822-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1243490028-1-scaled-e1681409022822-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1243490028-1-scaled-e1681409022822.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Robert Trujillo at the Global Citizen Festival in New York, September 2022. \u003ccite>(ANGELA WEISS/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It ended up working really fantastic,” says Hetfield. “I know what we do. I know what we do best. I know what we’ve done before. But there’s also an artist in me that wants to keep evolving and trying to do different stuff.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The album is a typical Metallica album — fast and furious with superb artistry — and lyrics that poke at the scab of pain and alienation. Yet there are some shoots of hope, as when Hetfield snarls, “Without darkness/ There’s no light.”\u003c/p>\n\u003cp>“Darkness is easy to talk about for me. So, so easy. And I wanted to offer a little more light in it,” says Hetfield, who has been frank about his battles with addiction.\u003c/p>\n\u003cp>[aside postid='arts_13891674']The title refers to the first 18 years of a person’s life and the album explores the cruelty of youth and the dangers of growing up.\u003c/p>\n\u003cp>“I wish I knew then what I know now — you can take that sentence, and apply it to the whole concept of this album,” says Hammett. “It’s a real provocative sort of concept that’s somewhat challenging and somewhat introspective.”\u003c/p>\n\u003cp>Noteworthy is “Screaming Suicide,” with a nasty inner voice taunting the singer. While far from the first time the band has tackled the issue, this time Hetfield drives into it, singing “Don’t ever speak my name/ Remember you’re to blame/ Keep me inside/ My name is suicide.”\u003c/p>\n\u003cp>“That was some delicate territory to navigate. But in the words of Mister Rogers, ‘If it’s a human experience, we should be able to talk about it,’” says Hetfield. “I’ve had those thoughts. Who hasn’t had those thoughts? If you say you haven’t, maybe you’re fooling yourself a little bit.”\u003c/p>\n\u003cfigure id=\"attachment_13927742\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927742\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Screen-Shot-2023-04-13-at-11.06.45-AM-800x797.png\" alt=\"A yellow album cover depicting the charred remains of a broken crib surrounded by broken toys and musical instruments.\" width=\"800\" height=\"797\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-13-at-11.06.45-AM-800x797.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-13-at-11.06.45-AM-1020x1016.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-13-at-11.06.45-AM-160x159.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-13-at-11.06.45-AM-768x765.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-13-at-11.06.45-AM.png 1052w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Metallica’s ‘72 Seasons.’ \u003ccite>(Rhino/ Blackened Recordings)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hammett is full of admiration for Hetfield’s lyrics and hopes the songs can help listeners get a better understanding of themselves.\u003c/p>\n\u003cp>“The topics are dark. The topics are taboo. But what he’s doing is shining light on them. He’s bringing awareness to them and saying this is a real issue that people need to deal with.”\u003c/p>\n\u003cp>\u003cem>72 Seasons\u003c/em> also sees Hetfield experimenting with vocal effects and styles, like ghostlike chanting on “You Must Burn!” and an almost languid, glam vibe on “Crown of Barbed Wire.”\u003c/p>\n\u003cp>“As far as vocals go, I really wanted to just explore some different stuff. I have a fear that all the songs kind of end up sounding the same. So I like giving them a little more character with different things,” he says.\u003c/p>\n\u003cp>[aside postid='arts_13875915']Another change is that on \u003cem>72 Seasons\u003c/em>, Hammett and Trujillo were given writing credits on more than half the album, a return to the way previous albums came together, like “Death Magnetic” and “St. Anger.”\u003c/p>\n\u003cp>“All four guys were on the floor when we were writing, which is new for us. Usually it’s just Lars and I sitting out there hashing it out. It felt really great to have the energy of all four,” says Hetfield. “There’s a lot more democracy on this album. Lars and I gave up the steering wheel a little more than usual.”\u003c/p>\n\u003cp>Hammett agrees: “It was much more collaborative. The attitude was just more open. There is less limitations on everyone’s creativity and I think that shows.” His favorite song and riff on the album were supplied by Trujillo.\u003c/p>\n\u003cp>The band has lately gotten a popular bounce from TV show \u003cem>Stranger Things\u003c/em>. In the season four finale, fan-favorite character Eddie Munson heroically rocks out to Metallica’s “Master of Puppets” in the Upside Down, a sequence Hammett calls “the Metallica music video that was never made.” The song even reached No. 40 the Billboard Hot 100.\u003c/p>\n\u003cp>“\u003cem>Stranger Things\u003c/em> definitely took ‘Master of Puppets’ to another level and it feels like fans of ours that maybe grew up with this are now in positions of power,” says Hetfield. “You know, it’s like, ‘Hey, I’m a fan of Metallica. Why can’t we put this in there?’ So I’m super-grateful.”\u003c/p>\n\u003cfigure id=\"attachment_13927739\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927739\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/GettyImages-1449774458-scaled-e1681408100103-800x533.jpg\" alt=\"A white man sits at a large drum kit, his mouth open in a scream, his drumsticks raised at his sides.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1449774458-scaled-e1681408100103-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1449774458-scaled-e1681408100103-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1449774458-scaled-e1681408100103-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1449774458-scaled-e1681408100103-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1449774458-scaled-e1681408100103-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1449774458-scaled-e1681408100103.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lars Ulrich performing with Metallica in Los Angeles, December 2022. \u003ccite>(Jeff Kravitz/Getty Images for P+ and MTV)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The album closes with “Inamorata,” a sprawling song that uncoils with snarling riffs as Hetfield sings, “Misery, she needs me/ Oh, but I need her more.” It clocks in at 11:10, making it one of Metallica’s longest songs.\u003c/p>\n\u003cp>“I hate long songs. I really do. I try to write shorter songs and Lars keeps making them longer. And that’s our kind of constant battle,” says Hetfield, who is a fan of Motörhead, Misfits and the Ramones.\u003c/p>\n\u003cp>[aside postid='arts_13848271']“I’m never concerned about what the number is at the end of the song as long as it does its purpose,” he adds. “We’re not out to prove anything and we’re not out to set records like, ‘Hey, this is our longest song ever. How great!’ You know, there’s no mission there whatsoever. The song wrote itself.”\u003c/p>\n\u003cp>Fans may hope to hear many of the new songs on the band’s upcoming European and North American stadium tour but not everyone will have the same experience. Metallica plans to hit cities with two concerts per stop and promise two completely different setlists.\u003c/p>\n\u003cp>“We kind of need to be challenged because we’ve been playing these songs for so long and we need to change them around to still make them interesting and fun for us,” says Hammett. Hetfield agrees: “It’s fun for us and hopefully fun for the fans. And if they want to come to both shows, that would be fantastic.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 AP. To see more, \u003ca href=\"https://apnews.com/\">visit AP\u003c/a>.\u003c/em>\u003c/div>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Metallica’s ‘72 Seasons’ is out April 14, 2023. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"James Hetfield says: “In the words of Mister Rogers, ‘If it’s a human experience, we should be able to talk about it.’”","status":"publish","parent":0,"modified":1705005627,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":29,"wordCount":1278},"headData":{"title":"New Metallica Album ‘72 Seasons’ is Dark and Taboo as Ever | KQED","description":"James Hetfield says: “In the words of Mister Rogers, ‘If it’s a human experience, we should be able to talk about it.’”","ogTitle":"Metallica Says New Album ‘72 Seasons’ is ‘Dark’ and ‘Taboo’ as Ever","ogDescription":"","ogImgId":"","twTitle":"Metallica Says New Album ‘72 Seasons’ is ‘Dark’ and ‘Taboo’ as Ever","twDescription":"","twImgId":"","socialTitle":"New Metallica Album ‘72 Seasons’ is Dark and Taboo as Ever %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Metallica Says New Album ‘72 Seasons’ Is ‘Dark’ and ‘Taboo’ as Ever","datePublished":"2023-04-13T18:30:22.000Z","dateModified":"2024-01-11T20:40:27.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Mark Kennedy","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13927738/metallica-72-seasons-james-hetfield-lars-ulrich-share-writing-credits-new-album","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Zoom has been credited for keeping students and teachers connected, the judicial system working and fitness classes jumping. You can add a Metallica album to that list.\u003c/p>\n\u003cp>The hard rockers met weekly over their computers to stay connected during the pandemic, a standing get-together that eventually became a songwriting factory. The first step was an acoustic version of their song “Blackened.”\u003c/p>\n\u003cp>“It proved to us that, yes, we can at least do something remotely while we’re all still separated,” says guitarist Kirk Hammett. “That grew into trying to get riffs together for the new album though Zoom.”\u003c/p>\n\u003cp>Six or seven of those song sketches ended up on \u003cem>72 Seasons\u003c/em>, the band’s 12th full-length album, out Friday. It’s the sound of a band not slowing down, despite singer and rhythm guitarist James Hetfield and drummer Lars Ulrich turning 60 this year and Hammett already on the other side of that milestone. Bassist Robert Trujillo is the baby, at just 58.\u003c/p>\n\u003cfigure id=\"attachment_13927741\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927741\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/GettyImages-1243490028-1-scaled-e1681409022822-800x533.jpg\" alt=\"A smiling man with long braids, dressed in all black, onstage playing a bass.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1243490028-1-scaled-e1681409022822-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1243490028-1-scaled-e1681409022822-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1243490028-1-scaled-e1681409022822-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1243490028-1-scaled-e1681409022822-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1243490028-1-scaled-e1681409022822-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1243490028-1-scaled-e1681409022822.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Robert Trujillo at the Global Citizen Festival in New York, September 2022. \u003ccite>(ANGELA WEISS/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It ended up working really fantastic,” says Hetfield. “I know what we do. I know what we do best. I know what we’ve done before. But there’s also an artist in me that wants to keep evolving and trying to do different stuff.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The album is a typical Metallica album — fast and furious with superb artistry — and lyrics that poke at the scab of pain and alienation. Yet there are some shoots of hope, as when Hetfield snarls, “Without darkness/ There’s no light.”\u003c/p>\n\u003cp>“Darkness is easy to talk about for me. So, so easy. And I wanted to offer a little more light in it,” says Hetfield, who has been frank about his battles with addiction.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13891674","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The title refers to the first 18 years of a person’s life and the album explores the cruelty of youth and the dangers of growing up.\u003c/p>\n\u003cp>“I wish I knew then what I know now — you can take that sentence, and apply it to the whole concept of this album,” says Hammett. “It’s a real provocative sort of concept that’s somewhat challenging and somewhat introspective.”\u003c/p>\n\u003cp>Noteworthy is “Screaming Suicide,” with a nasty inner voice taunting the singer. While far from the first time the band has tackled the issue, this time Hetfield drives into it, singing “Don’t ever speak my name/ Remember you’re to blame/ Keep me inside/ My name is suicide.”\u003c/p>\n\u003cp>“That was some delicate territory to navigate. But in the words of Mister Rogers, ‘If it’s a human experience, we should be able to talk about it,’” says Hetfield. “I’ve had those thoughts. Who hasn’t had those thoughts? If you say you haven’t, maybe you’re fooling yourself a little bit.”\u003c/p>\n\u003cfigure id=\"attachment_13927742\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927742\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/Screen-Shot-2023-04-13-at-11.06.45-AM-800x797.png\" alt=\"A yellow album cover depicting the charred remains of a broken crib surrounded by broken toys and musical instruments.\" width=\"800\" height=\"797\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-13-at-11.06.45-AM-800x797.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-13-at-11.06.45-AM-1020x1016.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-13-at-11.06.45-AM-160x159.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-13-at-11.06.45-AM-768x765.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/Screen-Shot-2023-04-13-at-11.06.45-AM.png 1052w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Metallica’s ‘72 Seasons.’ \u003ccite>(Rhino/ Blackened Recordings)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hammett is full of admiration for Hetfield’s lyrics and hopes the songs can help listeners get a better understanding of themselves.\u003c/p>\n\u003cp>“The topics are dark. The topics are taboo. But what he’s doing is shining light on them. He’s bringing awareness to them and saying this is a real issue that people need to deal with.”\u003c/p>\n\u003cp>\u003cem>72 Seasons\u003c/em> also sees Hetfield experimenting with vocal effects and styles, like ghostlike chanting on “You Must Burn!” and an almost languid, glam vibe on “Crown of Barbed Wire.”\u003c/p>\n\u003cp>“As far as vocals go, I really wanted to just explore some different stuff. I have a fear that all the songs kind of end up sounding the same. So I like giving them a little more character with different things,” he says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13875915","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Another change is that on \u003cem>72 Seasons\u003c/em>, Hammett and Trujillo were given writing credits on more than half the album, a return to the way previous albums came together, like “Death Magnetic” and “St. Anger.”\u003c/p>\n\u003cp>“All four guys were on the floor when we were writing, which is new for us. Usually it’s just Lars and I sitting out there hashing it out. It felt really great to have the energy of all four,” says Hetfield. “There’s a lot more democracy on this album. Lars and I gave up the steering wheel a little more than usual.”\u003c/p>\n\u003cp>Hammett agrees: “It was much more collaborative. The attitude was just more open. There is less limitations on everyone’s creativity and I think that shows.” His favorite song and riff on the album were supplied by Trujillo.\u003c/p>\n\u003cp>The band has lately gotten a popular bounce from TV show \u003cem>Stranger Things\u003c/em>. In the season four finale, fan-favorite character Eddie Munson heroically rocks out to Metallica’s “Master of Puppets” in the Upside Down, a sequence Hammett calls “the Metallica music video that was never made.” The song even reached No. 40 the Billboard Hot 100.\u003c/p>\n\u003cp>“\u003cem>Stranger Things\u003c/em> definitely took ‘Master of Puppets’ to another level and it feels like fans of ours that maybe grew up with this are now in positions of power,” says Hetfield. “You know, it’s like, ‘Hey, I’m a fan of Metallica. Why can’t we put this in there?’ So I’m super-grateful.”\u003c/p>\n\u003cfigure id=\"attachment_13927739\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927739\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/GettyImages-1449774458-scaled-e1681408100103-800x533.jpg\" alt=\"A white man sits at a large drum kit, his mouth open in a scream, his drumsticks raised at his sides.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1449774458-scaled-e1681408100103-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1449774458-scaled-e1681408100103-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1449774458-scaled-e1681408100103-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1449774458-scaled-e1681408100103-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1449774458-scaled-e1681408100103-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-1449774458-scaled-e1681408100103.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lars Ulrich performing with Metallica in Los Angeles, December 2022. \u003ccite>(Jeff Kravitz/Getty Images for P+ and MTV)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The album closes with “Inamorata,” a sprawling song that uncoils with snarling riffs as Hetfield sings, “Misery, she needs me/ Oh, but I need her more.” It clocks in at 11:10, making it one of Metallica’s longest songs.\u003c/p>\n\u003cp>“I hate long songs. I really do. I try to write shorter songs and Lars keeps making them longer. And that’s our kind of constant battle,” says Hetfield, who is a fan of Motörhead, Misfits and the Ramones.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13848271","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“I’m never concerned about what the number is at the end of the song as long as it does its purpose,” he adds. “We’re not out to prove anything and we’re not out to set records like, ‘Hey, this is our longest song ever. How great!’ You know, there’s no mission there whatsoever. The song wrote itself.”\u003c/p>\n\u003cp>Fans may hope to hear many of the new songs on the band’s upcoming European and North American stadium tour but not everyone will have the same experience. Metallica plans to hit cities with two concerts per stop and promise two completely different setlists.\u003c/p>\n\u003cp>“We kind of need to be challenged because we’ve been playing these songs for so long and we need to change them around to still make them interesting and fun for us,” says Hammett. Hetfield agrees: “It’s fun for us and hopefully fun for the fans. And if they want to come to both shows, that would be fantastic.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 AP. To see more, \u003ca href=\"https://apnews.com/\">visit AP\u003c/a>.\u003c/em>\u003c/div>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Metallica’s ‘72 Seasons’ is out April 14, 2023. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13927738/metallica-72-seasons-james-hetfield-lars-ulrich-share-writing-credits-new-album","authors":["byline_arts_13927738"],"programs":["arts_140"],"categories":["arts_1","arts_11615","arts_69"],"tags":["arts_994","arts_1010","arts_585"],"featImg":"arts_13927740","label":"arts_140"},"arts_13907870":{"type":"posts","id":"arts_13907870","meta":{"index":"posts_1591205157","site":"arts","id":"13907870","score":null,"sort":[1641830403000]},"guestAuthors":[],"slug":"bottlerock-lineup-metallica-pnk-twenty-one-pilots-luke-combs-more-for-2022","title":"BottleRock Lineup: Metallica, P!nk, Twenty One Pilots, Luke Combs, More for 2022","publishDate":1641830403,"format":"standard","headTitle":"BottleRock Lineup: Metallica, P!nk, Twenty One Pilots, Luke Combs, More for 2022 | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Metallica, P!nk, Twenty One Pilots and Luke Combs will headline BottleRock 2022 in Napa.\u003c/p>\n\u003cp>The lineup for the Memorial Day festival also includes California rap supergroup Mount Westmore (Too Short, E-40, Snoop Dogg and Ice Cube), The Black Crowes, Pitbull, CHVRCHES, Bleachers, Spoon, BANKS, Alessia Cara, SAINt JHN, Grandmaster Flash, Fantastic Negrito and many more. \u003c/p>\n\u003cp>BottleRock is scheduled to return at the kickoff of festival season, May 27–29, 2022, after a canceled festival in 2020 and a pandemic-delayed festival last year. That edition of BottleRock, in October 2021, brought over 100,000 spectators to see headliners Guns N’ Roses, Miley Cyrus, Foo Fighters and Megan Thee Stallion.\u003c/p>\n\u003cp>Three-day passes to this year’s festival go on sale Tuesday, Jan. 11, at 10am Pacific Time. Three-day passes start at $379 for general admission, with varying VIP tiers of $899, $1,699, $1,799, and—\u003cem>ahem\u003c/em>—$4,995. \u003c/p>\n\u003cp>Full lineup below. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Metallica\u003cbr>\nP!nk\u003cbr>\nTwenty One Pilots\u003cbr>\nLuke Combs\u003cbr>\nThe Black Crowes\u003cbr>\nKygo\u003cbr>\nPitbull\u003cbr>\nGreta Van Fleet\u003cbr>\nMount Westmore (featuring Snoop Dogg, Ice Cube, E-40 and Too $hort)\u003cbr>\nRainbow Kitten Surprise\u003cbr>\nCHVRCHES\u003cbr>\nBleachers\u003cbr>\nSpoon\u003cbr>\nBANKS\u003cbr>\nAlessia Cara\u003cbr>\nSAINt JHN\u003cbr>\nVance Joy\u003cbr>\nMichael Franti & Spearhead\u003cbr>\nSilversun Pickups\u003cbr>\nThe Wailers featuring Julian Marley\u003cbr>\nIration\u003cbr>\nGreensky Bluegrass\u003cbr>\ngrandson\u003cbr>\nAmos Lee\u003cbr>\nYola\u003cbr>\nTai Verdes\u003cbr>\nMisterWives\u003cbr>\nMarcus King\u003cbr>\nFLETCHER\u003cbr>\nBahamas\u003cbr>\nNoah Kahan\u003cbr>\nGrandmaster Flash\u003cbr>\nMarc E. Bassy\u003cbr>\nFantastic Negrito\u003cbr>\nDrew Holcomb & The Neighbors\u003cbr>\nSkip Marley\u003cbr>\nKikagaku Moyo\u003cbr>\nRoyal & the Serpent\u003cbr>\nAly & AJ\u003cbr>\nJustus Bennetts\u003cbr>\nWild Rivers\u003cbr>\nKinky\u003cbr>\nTessa Violet\u003cbr>\nDorothy\u003cbr>\nFoy Vance\u003cbr>\nThe Brothers Comatose\u003cbr>\nJORDY\u003cbr>\nBlu DeTiger\u003cbr>\nAtlas Genius\u003cbr>\nJake Wesley Rogers\u003cbr>\nThe Happy Fits\u003cbr>\nDjo\u003cbr>\nAna Tijoux\u003cbr>\nAllison Ponthier\u003cbr>\nHot Milk\u003cbr>\nDiamante Eléctrico\u003cbr>\nDE’WAYNE\u003cbr>\nMadame Gandhi\u003cbr>\nLiily\u003cbr>\nThe Suffers\u003cbr>\nMotherfolk\u003cbr>\nEliza & The Delusionals\u003cbr>\nWilliam Prince\u003cbr>\nJames Tormé\u003cbr>\nTaipei Houston\u003cbr>\nBastardane\u003cbr>\nOTTTO\u003cbr>\nNiko Rubio\u003cbr>\nPeter Collins\u003cbr>\nJharrel Jerome\u003cbr>\nRon Artis II\u003cbr>\nFull Moonalice\u003cbr>\nThe Alive\u003cbr>\nJaleh\u003cbr>\nKosha Dillz\u003cbr>\nChelsea Effect\u003cbr>\nThe Silverado Pickups\u003cbr>\nNapa Valley Youth Symphony\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\n","blocks":[],"excerpt":"Mount Westmore (Too Short, E-40, Snoop Dogg and Ice Cube), Alessia Cara, Grandmaster Flash and others also play the Memorial Day weekend festival in Napa. ","status":"publish","parent":0,"modified":1705007339,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":9,"wordCount":335},"headData":{"title":"BottleRock Lineup: Metallica, P!nk, Twenty One Pilots, Luke Combs, More for 2022 | KQED","description":"Mount Westmore (Too Short, E-40, Snoop Dogg and Ice Cube), Alessia Cara, Grandmaster Flash and others also play the Memorial Day weekend festival in Napa. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"BottleRock Lineup: Metallica, P!nk, Twenty One Pilots, Luke Combs, More for 2022","datePublished":"2022-01-10T16:00:03.000Z","dateModified":"2024-01-11T21:08:59.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13907870/bottlerock-lineup-metallica-pnk-twenty-one-pilots-luke-combs-more-for-2022","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Metallica, P!nk, Twenty One Pilots and Luke Combs will headline BottleRock 2022 in Napa.\u003c/p>\n\u003cp>The lineup for the Memorial Day festival also includes California rap supergroup Mount Westmore (Too Short, E-40, Snoop Dogg and Ice Cube), The Black Crowes, Pitbull, CHVRCHES, Bleachers, Spoon, BANKS, Alessia Cara, SAINt JHN, Grandmaster Flash, Fantastic Negrito and many more. \u003c/p>\n\u003cp>BottleRock is scheduled to return at the kickoff of festival season, May 27–29, 2022, after a canceled festival in 2020 and a pandemic-delayed festival last year. That edition of BottleRock, in October 2021, brought over 100,000 spectators to see headliners Guns N’ Roses, Miley Cyrus, Foo Fighters and Megan Thee Stallion.\u003c/p>\n\u003cp>Three-day passes to this year’s festival go on sale Tuesday, Jan. 11, at 10am Pacific Time. Three-day passes start at $379 for general admission, with varying VIP tiers of $899, $1,699, $1,799, and—\u003cem>ahem\u003c/em>—$4,995. \u003c/p>\n\u003cp>Full lineup below. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Metallica\u003cbr>\nP!nk\u003cbr>\nTwenty One Pilots\u003cbr>\nLuke Combs\u003cbr>\nThe Black Crowes\u003cbr>\nKygo\u003cbr>\nPitbull\u003cbr>\nGreta Van Fleet\u003cbr>\nMount Westmore (featuring Snoop Dogg, Ice Cube, E-40 and Too $hort)\u003cbr>\nRainbow Kitten Surprise\u003cbr>\nCHVRCHES\u003cbr>\nBleachers\u003cbr>\nSpoon\u003cbr>\nBANKS\u003cbr>\nAlessia Cara\u003cbr>\nSAINt JHN\u003cbr>\nVance Joy\u003cbr>\nMichael Franti & Spearhead\u003cbr>\nSilversun Pickups\u003cbr>\nThe Wailers featuring Julian Marley\u003cbr>\nIration\u003cbr>\nGreensky Bluegrass\u003cbr>\ngrandson\u003cbr>\nAmos Lee\u003cbr>\nYola\u003cbr>\nTai Verdes\u003cbr>\nMisterWives\u003cbr>\nMarcus King\u003cbr>\nFLETCHER\u003cbr>\nBahamas\u003cbr>\nNoah Kahan\u003cbr>\nGrandmaster Flash\u003cbr>\nMarc E. Bassy\u003cbr>\nFantastic Negrito\u003cbr>\nDrew Holcomb & The Neighbors\u003cbr>\nSkip Marley\u003cbr>\nKikagaku Moyo\u003cbr>\nRoyal & the Serpent\u003cbr>\nAly & AJ\u003cbr>\nJustus Bennetts\u003cbr>\nWild Rivers\u003cbr>\nKinky\u003cbr>\nTessa Violet\u003cbr>\nDorothy\u003cbr>\nFoy Vance\u003cbr>\nThe Brothers Comatose\u003cbr>\nJORDY\u003cbr>\nBlu DeTiger\u003cbr>\nAtlas Genius\u003cbr>\nJake Wesley Rogers\u003cbr>\nThe Happy Fits\u003cbr>\nDjo\u003cbr>\nAna Tijoux\u003cbr>\nAllison Ponthier\u003cbr>\nHot Milk\u003cbr>\nDiamante Eléctrico\u003cbr>\nDE’WAYNE\u003cbr>\nMadame Gandhi\u003cbr>\nLiily\u003cbr>\nThe Suffers\u003cbr>\nMotherfolk\u003cbr>\nEliza & The Delusionals\u003cbr>\nWilliam Prince\u003cbr>\nJames Tormé\u003cbr>\nTaipei Houston\u003cbr>\nBastardane\u003cbr>\nOTTTO\u003cbr>\nNiko Rubio\u003cbr>\nPeter Collins\u003cbr>\nJharrel Jerome\u003cbr>\nRon Artis II\u003cbr>\nFull Moonalice\u003cbr>\nThe Alive\u003cbr>\nJaleh\u003cbr>\nKosha Dillz\u003cbr>\nChelsea Effect\u003cbr>\nThe Silverado Pickups\u003cbr>\nNapa Valley Youth Symphony\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13907870/bottlerock-lineup-metallica-pnk-twenty-one-pilots-luke-combs-more-for-2022","authors":["185"],"categories":["arts_1"],"tags":["arts_1853","arts_1601","arts_1010","arts_1694","arts_3478"],"featImg":"arts_13907871","label":"arts"},"arts_13891674":{"type":"posts","id":"arts_13891674","meta":{"index":"posts_1591205157","site":"arts","id":"13891674","score":null,"sort":[1611347892000]},"guestAuthors":[],"slug":"theres-a-metallica-huey-lewis-mashup-now-because-san-francisco","title":"There's a Metallica/Huey Lewis Mashup Now, Because San Francisco","publishDate":1611347892,"format":"standard","headTitle":"There’s a Metallica/Huey Lewis Mashup Now, Because San Francisco | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>What do you get if you cross a heavy metal ode to nightmares with a yacht rock paean to being sensible? (Try to resist answering, “An actual nightmare.”)\u003c/p>\n\u003cp>Sure, it’s probably not a question anyone should have asked. But since this concerns both Metallica and Huey Lewis and the News—both San Francisco bands—everyone who lives in the city has a contractual obligation to listen to this. (I don’t make the rules! That’s just how this works!)\u003c/p>\n\u003cp>Making these two very different songs work together is less complicated than you might expect. You take James Hetfield’s vocals from “\u003ca href=\"https://www.youtube.com/watch?v=CD-E-LDc384\" target=\"_blank\" rel=\"noopener noreferrer\">Enter Sandman\u003c/a>,” speed them up a little, then lay them over the music from “\u003ca href=\"https://www.youtube.com/watch?v=LB5YkmjalDg\" target=\"_blank\" rel=\"noopener noreferrer\">Hip to Be Square\u003c/a>.”\u003c/p>\n\u003cp>Yes, the end result is stupid. No, nobody needed this. But, damn. That’s a catchy mashup.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3MRx4LpYbQ4\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"What do you get if you cross a heavy metal ode to nightmares with a yacht rock paean to staying healthy? San Francisco!","status":"publish","parent":0,"modified":1705019600,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":6,"wordCount":160},"headData":{"title":"There's a Metallica/Huey Lewis Mashup Now, Because San Francisco | KQED","description":"What do you get if you cross a heavy metal ode to nightmares with a yacht rock paean to staying healthy? San Francisco!","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"There's a Metallica/Huey Lewis Mashup Now, Because San Francisco","datePublished":"2021-01-22T20:38:12.000Z","dateModified":"2024-01-12T00:33:20.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13891674/theres-a-metallica-huey-lewis-mashup-now-because-san-francisco","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>What do you get if you cross a heavy metal ode to nightmares with a yacht rock paean to being sensible? (Try to resist answering, “An actual nightmare.”)\u003c/p>\n\u003cp>Sure, it’s probably not a question anyone should have asked. But since this concerns both Metallica and Huey Lewis and the News—both San Francisco bands—everyone who lives in the city has a contractual obligation to listen to this. (I don’t make the rules! That’s just how this works!)\u003c/p>\n\u003cp>Making these two very different songs work together is less complicated than you might expect. You take James Hetfield’s vocals from “\u003ca href=\"https://www.youtube.com/watch?v=CD-E-LDc384\" target=\"_blank\" rel=\"noopener noreferrer\">Enter Sandman\u003c/a>,” speed them up a little, then lay them over the music from “\u003ca href=\"https://www.youtube.com/watch?v=LB5YkmjalDg\" target=\"_blank\" rel=\"noopener noreferrer\">Hip to Be Square\u003c/a>.”\u003c/p>\n\u003cp>Yes, the end result is stupid. No, nobody needed this. But, damn. That’s a catchy mashup.\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/3MRx4LpYbQ4'\n title='//www.youtube.com/embed/3MRx4LpYbQ4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13891674/theres-a-metallica-huey-lewis-mashup-now-because-san-francisco","authors":["11242"],"categories":["arts_1","arts_69","arts_75"],"tags":["arts_1010"],"featImg":"arts_13891677","label":"arts"},"arts_13875915":{"type":"posts","id":"arts_13875915","meta":{"index":"posts_1591205157","site":"arts","id":"13875915","score":null,"sort":[1583275807000]},"guestAuthors":[],"slug":"metallica-celebrates-new-namesake-a-blind-crustacean","title":"Metallica Celebrates New Namesake—an Eyeless, Colorless Crustacean","publishDate":1583275807,"format":"standard","headTitle":"Metallica Celebrates New Namesake—an Eyeless, Colorless Crustacean | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>San Francisco thrash legends Metallica have expressed delight over having a newly discovered species of crustacean named after them.\u003c/p>\n\u003cp>The Macrostylis Metallicola has a worm-like body, no eyes, no color and maxes out at a quarter of an inch long. It resides in the darkest depths of the Pacific, 16,000 feet below the ocean surface, and was discovered between Mexico and Hawaii by Dr. Torben Riehl and Dr. Bart De Smet of Ghent University, Belgium.\u003c/p>\n\u003cp>“The powerful music of Metallica has accompanied me the majority of my life,” \u003ca href=\"https://www.news18.com/news/buzz/macrostylis-metallicola-deep-sea-creature-discovered-in-pacific-ocean-named-after-metallica-2519015.html\" target=\"_blank\" rel=\"noopener noreferrer\">Riehl explained\u003c/a>. “I am thrilled to be able to give something back to the band by naming a new species after them!”\u003c/p>\n\u003cp>Here is the Macrostylis Metallicola in all of its glory, as presented in \u003cem>\u003ca href=\"https://peerj.com/articles/8621/\" target=\"_blank\" rel=\"noopener noreferrer\">PeerJ, The Journal of Life and Environmental Sciences\u003c/a>\u003c/em>:\u003c/p>\n\u003cfigure id=\"attachment_13875917\" class=\"wp-caption alignnone\" style=\"max-width: 510px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13875917\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/fig-2-1x.jpg\" alt=\"“Macrostylis metallicola n. sp. holotype ♀ 879 (SMF 50941) digitized pencil drawings of habitus.”\" width=\"510\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/fig-2-1x.jpg 510w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/fig-2-1x-160x188.jpg 160w\" sizes=\"(max-width: 510px) 100vw, 510px\">\u003cfigcaption class=\"wp-caption-text\">“Macrostylis metallicola n. sp. holotype ♀ 879 (SMF 50941) digitized pencil drawings of habitus.” \u003ccite>(PeerJ.com - DOI: 10.7717/peerj.8621/fig-2)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Delightfully, Metallica’s resident artist came up with their own vivid rendition, as the quartet celebrated the special milestone. “Now that’s one metal crustacean!” the band wrote.\u003c/p>\n\u003cp>https://www.instagram.com/p/B9FQ6GqA02F/\u003c/p>\n\u003cp>Remarkably, this is not the first time science’s love for heavy metal has expressed itself through the naming of new organisms.\u003c/p>\n\u003cp>Researcher Mats Eriksson has \u003ca href=\"https://www.loudersound.com/news/extinct-monster-worm-named-after-cannibal-corpse-bassist\" target=\"_blank\" rel=\"noopener noreferrer\">named worms\u003c/a> after Motörhead frontman Lemmy Kilmister (the Kalloprion Kilmisteri), Cannibal Corpse bassist Alex Webster (the Websteroprion Armstrongi) and King Diamond (Kingnites Diamondi). Elsewhere, Megadeth frontman Dave Mustaine has \u003ca href=\"https://loudwire.com/new-species-tarantula-named-after-megadeth-dave-mustaine/\" target=\"_blank\" rel=\"noopener noreferrer\">a tarantula\u003c/a> (Aphonopelma Davemustainei) named for him, and Ozzy Osbourne has been honored with \u003ca href=\"https://www.nme.com/news/music/ozzy-osbourne-20-1222564\" target=\"_blank\" rel=\"noopener noreferrer\">a frog\u003c/a> that sounds like a bat (Dendropsophus Ozzyi).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n","blocks":[],"excerpt":"The Macrostylis Metallicola has a worm-like body, no eyes, no color, and maxes out at a quarter of an inch long.","status":"publish","parent":0,"modified":1705021173,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":9,"wordCount":283},"headData":{"title":"Metallica Celebrates New Namesake—an Eyeless, Colorless Crustacean | KQED","description":"The Macrostylis Metallicola has a worm-like body, no eyes, no color, and maxes out at a quarter of an inch long.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Metallica Celebrates New Namesake—an Eyeless, Colorless Crustacean","datePublished":"2020-03-03T22:50:07.000Z","dateModified":"2024-01-12T00:59:33.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13875915/metallica-celebrates-new-namesake-a-blind-crustacean","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco thrash legends Metallica have expressed delight over having a newly discovered species of crustacean named after them.\u003c/p>\n\u003cp>The Macrostylis Metallicola has a worm-like body, no eyes, no color and maxes out at a quarter of an inch long. It resides in the darkest depths of the Pacific, 16,000 feet below the ocean surface, and was discovered between Mexico and Hawaii by Dr. Torben Riehl and Dr. Bart De Smet of Ghent University, Belgium.\u003c/p>\n\u003cp>“The powerful music of Metallica has accompanied me the majority of my life,” \u003ca href=\"https://www.news18.com/news/buzz/macrostylis-metallicola-deep-sea-creature-discovered-in-pacific-ocean-named-after-metallica-2519015.html\" target=\"_blank\" rel=\"noopener noreferrer\">Riehl explained\u003c/a>. “I am thrilled to be able to give something back to the band by naming a new species after them!”\u003c/p>\n\u003cp>Here is the Macrostylis Metallicola in all of its glory, as presented in \u003cem>\u003ca href=\"https://peerj.com/articles/8621/\" target=\"_blank\" rel=\"noopener noreferrer\">PeerJ, The Journal of Life and Environmental Sciences\u003c/a>\u003c/em>:\u003c/p>\n\u003cfigure id=\"attachment_13875917\" class=\"wp-caption alignnone\" style=\"max-width: 510px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13875917\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/fig-2-1x.jpg\" alt=\"“Macrostylis metallicola n. sp. holotype ♀ 879 (SMF 50941) digitized pencil drawings of habitus.”\" width=\"510\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/fig-2-1x.jpg 510w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/fig-2-1x-160x188.jpg 160w\" sizes=\"(max-width: 510px) 100vw, 510px\">\u003cfigcaption class=\"wp-caption-text\">“Macrostylis metallicola n. sp. holotype ♀ 879 (SMF 50941) digitized pencil drawings of habitus.” \u003ccite>(PeerJ.com - DOI: 10.7717/peerj.8621/fig-2)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Delightfully, Metallica’s resident artist came up with their own vivid rendition, as the quartet celebrated the special milestone. “Now that’s one metal crustacean!” the band wrote.\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"instagramLink","attributes":{"named":{"instagramId":"B9FQ6GqA02F"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Remarkably, this is not the first time science’s love for heavy metal has expressed itself through the naming of new organisms.\u003c/p>\n\u003cp>Researcher Mats Eriksson has \u003ca href=\"https://www.loudersound.com/news/extinct-monster-worm-named-after-cannibal-corpse-bassist\" target=\"_blank\" rel=\"noopener noreferrer\">named worms\u003c/a> after Motörhead frontman Lemmy Kilmister (the Kalloprion Kilmisteri), Cannibal Corpse bassist Alex Webster (the Websteroprion Armstrongi) and King Diamond (Kingnites Diamondi). Elsewhere, Megadeth frontman Dave Mustaine has \u003ca href=\"https://loudwire.com/new-species-tarantula-named-after-megadeth-dave-mustaine/\" target=\"_blank\" rel=\"noopener noreferrer\">a tarantula\u003c/a> (Aphonopelma Davemustainei) named for him, and Ozzy Osbourne has been honored with \u003ca href=\"https://www.nme.com/news/music/ozzy-osbourne-20-1222564\" target=\"_blank\" rel=\"noopener noreferrer\">a frog\u003c/a> that sounds like a bat (Dendropsophus Ozzyi).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13875915/metallica-celebrates-new-namesake-a-blind-crustacean","authors":["11242"],"categories":["arts_69","arts_75"],"tags":["arts_994","arts_1010","arts_2832","arts_973"],"featImg":"arts_13875916","label":"arts"},"arts_13865920":{"type":"posts","id":"arts_13865920","meta":{"index":"posts_1591205157","site":"arts","id":"13865920","score":null,"sort":[1567881190000]},"guestAuthors":[],"slug":"metallica-and-sf-symphony-open-chase-center-with-a-bang","title":"Metallica and SF Symphony Open Chase Center with a Bang","publishDate":1567881190,"format":"standard","headTitle":"Metallica and SF Symphony Open Chase Center with a Bang | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Lightning-fast guitar solos, a laser light show, a 75-member orchestra and a packed arena of 18,000 Metallica fans in black band T-shirts. That was the scene at Friday’s inaugural concert at \u003ca href=\"https://www.chasecenter.com/\" target=\"_blank\" rel=\"noopener\">Chase Center\u003c/a>, the state-of-the-art new Warriors stadium.\u003c/p>\n\u003cp>A meeting of the minds as powerful as Metallica and San Francisco Symphony was only right to christen such an impressive building, which felt epic simply by virtue of its enormous size and spotless, glass-paneled facade. With LED screens everywhere, Chase Center takes every opportunity to remind you it’s of the 21st century. Unlike the comparatively dusty yet charming Oracle Arena, built in 1966, everything about it exudes wealth—a monument to new-money San Francisco complete with $11 pizza slices and $15 tall cans of Budweiser (which were peanuts for show-goers who paid up to $9,000 a ticket for Friday’s concert).\u003c/p>\n\u003cp>“We have a new arena, a world-class f-cking arena in our own backyard,” announced Metallica’s Lars Ulrich. “F-ck yeah!”\u003c/p>\n\u003cfigure id=\"attachment_13865922\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865922\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/IMG_7050-800x600.jpg\" alt=\"Metallica fans line up outside of Chase Center for the new arena's debut concert featuring the rock legends and San Francisco Symphony.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_7050-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_7050-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_7050-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_7050-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_7050-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_7050.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Metallica fans line up outside of Chase Center for the new arena’s debut concert featuring the rock legends and San Francisco Symphony. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ulrich’s drum kit was perched in the center of a circular, revolving stage, which made for a dynamic presentation. Singer-guitarist James Hetfield, lead guitarist Kirk Hammett and bassist Robert Trujillo orbited him, moving freely about. Surrounding them were the stationary orchestra musicians, with Edwin Outwater conducting the first half of the concert and San Francisco Symphony music director Michael Tilson Thomas (who is set to retire this year after 25 years) conducting the second half.\u003c/p>\n\u003cp>After opening with a cover of Spaghetti Western classic “Ecstasy of Gold,” Metallica’s players got to shredding, wasting no time before launching into solos on “The Call of Ktulu,” another instrumental, and the sludgy “For Whom the Bell Tolls.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Although thrilling in its virtuosity, the first half of the show sounded more like a Metallica concert than a collaboration with the symphony—at least from my vantage point in the nosebleeds. The orchestra players were often inaudible over Ulrich’s thunderous drum kit, by far the loudest thing in the arena, and it was difficult to pick up on the nuance of the instrumentation the late Michael Kamen arranged for the two musical powerhouses when they first collaborated on the live album \u003cem>S&M\u003c/em> in 1999.\u003c/p>\n\u003cp>[aside postID='arts_13864717,arts_13865435,news_11771940' label='Related Coverage']\u003c/p>\n\u003cp>The stripped-down woodwind and string section at the end of “Memory Remains” was a turning point in the show, when Metallica’s players allowed their fingers to rest for a moment and let the orchestral arrangement breathe. From that point, the concert became more of an interplay between the two ensembles rather than a Metallica set with an extra boost of strings.\u003c/p>\n\u003cp>After intermission, Michael Tilson Thomas arrived and addressed the audience directly, unlike Outwater, who had been silent throughout the first half (though jumping up and down and rocking out as he conducted). Judging by the attire of the mostly male, Gen X and Baby Boomer audience, the majority of the crowd was there for Metallica and not the orchestra, so MTT assumed the role of an accessible and entertaining educator, like a Bill Nye for classical music.\u003c/p>\n\u003cfigure id=\"attachment_13866000\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866000\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/IMG_4254-800x450.jpg\" alt=\"Michael Tilson Thomas conducts the San Francisco Symphony and Metallica at the Chase Center's inaugural concert on Sept. 9.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_4254-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_4254-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_4254-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_4254-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_4254-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_4254.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Tilson Thomas conducts the San Francisco Symphony and Metallica at the Chase Center’s inaugural concert on Sept. 9. \u003ccite>(Dan Nykolayko)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He also revealed tidbits about his cute and unlikely friendship with Ulrich. “Lars and I sometimes talk music late at night,” said MTT, describing the similarities between different classical music movements and heavy metal. Metallica then joined the symphony for Sergei Prokofiev’s 1915 \u003cem>Scythian Suite\u003c/em>. MTT described the anxious piece as “a mighty dance of ecstatic vengeance”—also an apt characterization of Hetfield and Hammett’s ferocious guitar playing.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Closing the show with their hits “Master of Puppets” and “Enter Sandman,” Metallica and the SF Symphony unleashed 18,000 fans into the wild. Fortunately, the traffic leaving the new Mission Bay venue wasn’t quite as apocalyptic as feared. People dispersed into MUNI trams, pedicabs, bikes, scooters and ride shares, slightly deafened and giddy, diffusing the evening’s energy into the night.\u003c/p>\n\n","blocks":[],"excerpt":"The epic first concert befit the new state-of-the-art venue, which exudes new-money San Francisco opulence.","status":"publish","parent":0,"modified":1705022192,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":749},"headData":{"title":"Metallica and SF Symphony Open Chase Center with a Bang | KQED","description":"The epic first concert befit the new state-of-the-art venue, which exudes new-money San Francisco opulence.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Metallica and SF Symphony Open Chase Center with a Bang","datePublished":"2019-09-07T18:33:10.000Z","dateModified":"2024-01-12T01:16:32.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13865920/metallica-and-sf-symphony-open-chase-center-with-a-bang","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Lightning-fast guitar solos, a laser light show, a 75-member orchestra and a packed arena of 18,000 Metallica fans in black band T-shirts. That was the scene at Friday’s inaugural concert at \u003ca href=\"https://www.chasecenter.com/\" target=\"_blank\" rel=\"noopener\">Chase Center\u003c/a>, the state-of-the-art new Warriors stadium.\u003c/p>\n\u003cp>A meeting of the minds as powerful as Metallica and San Francisco Symphony was only right to christen such an impressive building, which felt epic simply by virtue of its enormous size and spotless, glass-paneled facade. With LED screens everywhere, Chase Center takes every opportunity to remind you it’s of the 21st century. Unlike the comparatively dusty yet charming Oracle Arena, built in 1966, everything about it exudes wealth—a monument to new-money San Francisco complete with $11 pizza slices and $15 tall cans of Budweiser (which were peanuts for show-goers who paid up to $9,000 a ticket for Friday’s concert).\u003c/p>\n\u003cp>“We have a new arena, a world-class f-cking arena in our own backyard,” announced Metallica’s Lars Ulrich. “F-ck yeah!”\u003c/p>\n\u003cfigure id=\"attachment_13865922\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865922\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/IMG_7050-800x600.jpg\" alt=\"Metallica fans line up outside of Chase Center for the new arena's debut concert featuring the rock legends and San Francisco Symphony.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_7050-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_7050-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_7050-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_7050-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_7050-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_7050.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Metallica fans line up outside of Chase Center for the new arena’s debut concert featuring the rock legends and San Francisco Symphony. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ulrich’s drum kit was perched in the center of a circular, revolving stage, which made for a dynamic presentation. Singer-guitarist James Hetfield, lead guitarist Kirk Hammett and bassist Robert Trujillo orbited him, moving freely about. Surrounding them were the stationary orchestra musicians, with Edwin Outwater conducting the first half of the concert and San Francisco Symphony music director Michael Tilson Thomas (who is set to retire this year after 25 years) conducting the second half.\u003c/p>\n\u003cp>After opening with a cover of Spaghetti Western classic “Ecstasy of Gold,” Metallica’s players got to shredding, wasting no time before launching into solos on “The Call of Ktulu,” another instrumental, and the sludgy “For Whom the Bell Tolls.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Although thrilling in its virtuosity, the first half of the show sounded more like a Metallica concert than a collaboration with the symphony—at least from my vantage point in the nosebleeds. The orchestra players were often inaudible over Ulrich’s thunderous drum kit, by far the loudest thing in the arena, and it was difficult to pick up on the nuance of the instrumentation the late Michael Kamen arranged for the two musical powerhouses when they first collaborated on the live album \u003cem>S&M\u003c/em> in 1999.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13864717,arts_13865435,news_11771940","label":"Related Coverage "},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The stripped-down woodwind and string section at the end of “Memory Remains” was a turning point in the show, when Metallica’s players allowed their fingers to rest for a moment and let the orchestral arrangement breathe. From that point, the concert became more of an interplay between the two ensembles rather than a Metallica set with an extra boost of strings.\u003c/p>\n\u003cp>After intermission, Michael Tilson Thomas arrived and addressed the audience directly, unlike Outwater, who had been silent throughout the first half (though jumping up and down and rocking out as he conducted). Judging by the attire of the mostly male, Gen X and Baby Boomer audience, the majority of the crowd was there for Metallica and not the orchestra, so MTT assumed the role of an accessible and entertaining educator, like a Bill Nye for classical music.\u003c/p>\n\u003cfigure id=\"attachment_13866000\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866000\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/IMG_4254-800x450.jpg\" alt=\"Michael Tilson Thomas conducts the San Francisco Symphony and Metallica at the Chase Center's inaugural concert on Sept. 9.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_4254-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_4254-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_4254-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_4254-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_4254-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/IMG_4254.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Tilson Thomas conducts the San Francisco Symphony and Metallica at the Chase Center’s inaugural concert on Sept. 9. \u003ccite>(Dan Nykolayko)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He also revealed tidbits about his cute and unlikely friendship with Ulrich. “Lars and I sometimes talk music late at night,” said MTT, describing the similarities between different classical music movements and heavy metal. Metallica then joined the symphony for Sergei Prokofiev’s 1915 \u003cem>Scythian Suite\u003c/em>. MTT described the anxious piece as “a mighty dance of ecstatic vengeance”—also an apt characterization of Hetfield and Hammett’s ferocious guitar playing.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Closing the show with their hits “Master of Puppets” and “Enter Sandman,” Metallica and the SF Symphony unleashed 18,000 fans into the wild. Fortunately, the traffic leaving the new Mission Bay venue wasn’t quite as apocalyptic as feared. People dispersed into MUNI trams, pedicabs, bikes, scooters and ride shares, slightly deafened and giddy, diffusing the evening’s energy into the night.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13865920/metallica-and-sf-symphony-open-chase-center-with-a-bang","authors":["11387"],"categories":["arts_69","arts_235"],"tags":["arts_6926","arts_1118","arts_1010","arts_1366","arts_769","arts_1367"],"featImg":"arts_13865998","label":"arts"},"arts_13865435":{"type":"posts","id":"arts_13865435","meta":{"index":"posts_1591205157","site":"arts","id":"13865435","score":null,"sort":[1567609318000]},"guestAuthors":[],"slug":"michael-tilson-thomas-looks-to-his-final-season-as-sf-symphony-music-director","title":"Michael Tilson Thomas Looks to His Final Season as SF Symphony Music Director","publishDate":1567609318,"format":"standard","headTitle":"Michael Tilson Thomas Looks to His Final Season as SF Symphony Music Director | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>\u003ca href=\"https://michaeltilsonthomas.com/\" target=\"_blank\" rel=\"noopener\">Michael Tilson Thomas\u003c/a> says one of the best things about being music director of the \u003ca href=\"https://www.sfsymphony.org\" target=\"_blank\" rel=\"noopener\">San Francisco Symphony\u003c/a> is the variety. [aside postid='arts_13864717']\u003c/p>\n\u003cp>“I was very lucky to find an atmosphere here in San Francisco that allowed me to do quite a lot of experimentation,” says Thomas, who opens his final season as the symphony’s music director on Wednesday at Davies Symphony Hall after 25 years in the role.\u003c/p>\n\u003cp>A glance at the orchestra’s upcoming roster is enough to get a sense of the conductor’s careening musical tastes. The first few concerts of the season include 19th-century Austrian composer \u003ca href=\"https://en.wikipedia.org/wiki/Gustav_Mahler\" target=\"_blank\" rel=\"noopener\">Gustav Mahler\u003c/a>’s Symphony No. 6 and a collaboration with \u003ca href=\"https://www.metallica.com/\" target=\"_blank\" rel=\"noopener\">Metallica\u003c/a>.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"METALLICA AND SAN FRANCISCO SYMPHONY - TRAILER ESPAÑOL\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/TgUnVhEblxU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>The heavy metal band and the San Francisco Symphony perform together on Sept. 6 to mark the official opening of the \u003ca href=\"https://www.chasecenter.com/\" target=\"_blank\" rel=\"noopener\">Chase Center\u003c/a>, the \u003ca href=\"https://www.nba.com/warriors/\" target=\"_blank\" rel=\"noopener\">Golden State Warriors\u003c/a>’ new home.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Metallica drummer Lars Ulrich, a regular concertgoer at Davies Symphony Hall, says he loves watching Thomas in action on the podium.\u003c/p>\n\u003cp>“Every time, it’s an incredibly enriching experience,” Ulrich says.\u003c/p>\n\u003cp>Discussing his views on his role, Thomas says cultural institutions have a responsibility to enrich people’s lives beyond entertainment. [aside postid='arts_13861650']\u003c/p>\n\u003cp>“I do believe that arts organizations should be involved in presenting progressive social issues,” he says.\u003c/p>\n\u003cp>He points to recent San Francisco Symphony performances benefiting California wildfire victims and LGBTQ+ nonprofits in honor of Pride.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Celebrating Pride\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/ujigG6zzbdE?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>The 74-year-old conductor is looking forward to continuing his relationship with the San Francisco Symphony as Music Director Laureate. [aside postid='arts_13849044']\u003c/p>\n\u003cp>“I get to do whatever music I want with this wonderful orchestra,” he says. “And I have virtually no administrative responsibilities.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.esapekkasalonen.com/\" target=\"_blank\" rel=\"noopener\">Esa-Pekka Salonen\u003c/a>, the \u003ca href=\"https://www.laphil.com/\" target=\"_blank\" rel=\"noopener\">Los Angeles Philharmonic\u003c/a>’s former music director, will take over from Thomas next fall.\u003c/p>\n\n","blocks":[],"excerpt":"A glance at the orchestra’s upcoming roster gives a sense of the conductor’s careening musical tastes.","status":"publish","parent":0,"modified":1705022211,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":319},"headData":{"title":"Michael Tilson Thomas Looks to His Final Season as SF Symphony Music Director | KQED","description":"A glance at the orchestra’s upcoming roster gives a sense of the conductor’s careening musical tastes.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Michael Tilson Thomas Looks to His Final Season as SF Symphony Music Director","datePublished":"2019-09-04T15:01:58.000Z","dateModified":"2024-01-12T01:16:51.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://www.kqed.org/.stream/anon/radio/tcr/2019/09/297856VeltmanSymphony.mp3","sticky":false,"audioTrackLength":136,"templateType":"standard","featuredImageType":"standard","path":"/arts/13865435/michael-tilson-thomas-looks-to-his-final-season-as-sf-symphony-music-director","audioDuration":136000,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://michaeltilsonthomas.com/\" target=\"_blank\" rel=\"noopener\">Michael Tilson Thomas\u003c/a> says one of the best things about being music director of the \u003ca href=\"https://www.sfsymphony.org\" target=\"_blank\" rel=\"noopener\">San Francisco Symphony\u003c/a> is the variety. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13864717","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I was very lucky to find an atmosphere here in San Francisco that allowed me to do quite a lot of experimentation,” says Thomas, who opens his final season as the symphony’s music director on Wednesday at Davies Symphony Hall after 25 years in the role.\u003c/p>\n\u003cp>A glance at the orchestra’s upcoming roster is enough to get a sense of the conductor’s careening musical tastes. The first few concerts of the season include 19th-century Austrian composer \u003ca href=\"https://en.wikipedia.org/wiki/Gustav_Mahler\" target=\"_blank\" rel=\"noopener\">Gustav Mahler\u003c/a>’s Symphony No. 6 and a collaboration with \u003ca href=\"https://www.metallica.com/\" target=\"_blank\" rel=\"noopener\">Metallica\u003c/a>.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"METALLICA AND SAN FRANCISCO SYMPHONY - TRAILER ESPAÑOL\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/TgUnVhEblxU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>The heavy metal band and the San Francisco Symphony perform together on Sept. 6 to mark the official opening of the \u003ca href=\"https://www.chasecenter.com/\" target=\"_blank\" rel=\"noopener\">Chase Center\u003c/a>, the \u003ca href=\"https://www.nba.com/warriors/\" target=\"_blank\" rel=\"noopener\">Golden State Warriors\u003c/a>’ new home.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Metallica drummer Lars Ulrich, a regular concertgoer at Davies Symphony Hall, says he loves watching Thomas in action on the podium.\u003c/p>\n\u003cp>“Every time, it’s an incredibly enriching experience,” Ulrich says.\u003c/p>\n\u003cp>Discussing his views on his role, Thomas says cultural institutions have a responsibility to enrich people’s lives beyond entertainment. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13861650","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I do believe that arts organizations should be involved in presenting progressive social issues,” he says.\u003c/p>\n\u003cp>He points to recent San Francisco Symphony performances benefiting California wildfire victims and LGBTQ+ nonprofits in honor of Pride.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Celebrating Pride\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/ujigG6zzbdE?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>The 74-year-old conductor is looking forward to continuing his relationship with the San Francisco Symphony as Music Director Laureate. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13849044","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I get to do whatever music I want with this wonderful orchestra,” he says. “And I have virtually no administrative responsibilities.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.esapekkasalonen.com/\" target=\"_blank\" rel=\"noopener\">Esa-Pekka Salonen\u003c/a>, the \u003ca href=\"https://www.laphil.com/\" target=\"_blank\" rel=\"noopener\">Los Angeles Philharmonic\u003c/a>’s former music director, will take over from Thomas next fall.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13865435/michael-tilson-thomas-looks-to-his-final-season-as-sf-symphony-music-director","authors":["8608"],"categories":["arts_69","arts_235"],"tags":["arts_6926","arts_1118","arts_1010","arts_1366","arts_6885","arts_1367"],"featImg":"arts_13852783","label":"arts"},"arts_13864252":{"type":"posts","id":"arts_13864252","meta":{"index":"posts_1591205157","site":"arts","id":"13864252","score":null,"sort":[1566233780000]},"guestAuthors":[],"slug":"watch-the-untold-story-of-bay-area-thrash-metal-in-murder-in-the-front-row","title":"Watch the Untold Story of Bay Area Thrash Metal in 'Murder in the Front Row'","publishDate":1566233780,"format":"standard","headTitle":"Watch the Untold Story of Bay Area Thrash Metal in ‘Murder in the Front Row’ | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>The hippies had the \u003ca href=\"https://www.kqed.org/arts/program/summer-of-love\" target=\"_blank\" rel=\"noopener\">Summer of Love\u003c/a> in ’69, the punks had the \u003ca href=\"https://www.theguardian.com/music/2017/feb/23/punk-rock-san-francisco-jim-jocoy-order-of-appearance\" target=\"_blank\" rel=\"noopener\">“Summer of Hate”\u003c/a> in ’79, and in the early-1980s, the metalheads crashed in and took over. Of all the music scenes the Bay Area spawned over the past half-century, thrash metal has proven to be simultaneously one of the most prominent and one of the most publicly unsung. The new documentary \u003ca href=\"https://mitfr.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Murder in the Front Row\u003c/em>\u003c/a> is here to change that.\u003c/p>\n\u003cp>Having premiered to screaming, sold-out audiences at \u003ca href=\"https://prod3.agileticketing.net/websales/pages/list.aspx?epguid=c38c6c79-7580-4652-a103-3e55898dcc8b&view=tiles3&page=2&\">SF Doc Fest\u003c/a>, this love letter to Metallica, Megadeth, Slayer and many more—based on a \u003ca href=\"https://www.amazon.com/Murder-Front-Row-Thrash-Epicenter/dp/1935950037/ref=sr_1_1?crid=G2AG0X0C3AH5&keywords=murder+in+the+front+row+book&qid=1566119469&s=gateway&sprefix=murder+in+the+front+row%2Caps%2C242&sr=8-1\" target=\"_blank\" rel=\"noopener\">2012 book\u003c/a> of the same name by Harald Oimoen and Brian Lew—is returning for three September screenings: at San Francisco’s Alamo Drafthouse and Roxie Theater, as well as Oakland’s Regal Jack London.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LiEQF2aXoY4\u003c/p>\n\u003cp>Filmmaker and director Adam Dubin—previously responsible for the Beastie Boys music video “\u003ca href=\"https://www.youtube.com/watch?v=eBShN8qT4lk\" target=\"_blank\" rel=\"noopener\">(You Gotta) Fight for Your Right (to Party!)\u003c/a>” and the Metallica documentary \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/A_Year_and_a_Half_in_the_Life_of_Metallica\" target=\"_blank\" rel=\"noopener\">A Year and a Half in the Life of Metallica\u003c/a>\u003c/em>—spent three years putting the film together, and was stunned by the degree of emotion present in the final product. “This music … it’s very harsh, very fast music,” \u003ca href=\"https://www.youtube.com/watch?v=W2JLdznlIOM\" target=\"_blank\" rel=\"noopener\">Dubin told KPIX\u003c/a> before the premiere, “but what was surprising and what I think comes through in the film is that there’s actually a warm, fuzzy, beating heart in the scene. The fans [and] musicians all kind of took care of each other.”\u003c/p>\n\u003cp>The movie, which takes its name from the 1985 Exodus track “\u003ca href=\"https://www.youtube.com/watch?v=tTdGnKB8j7U\" target=\"_blank\" rel=\"noopener\">Bonded By Blood\u003c/a>,” combines rare footage, extensive interviews, vintage photos and new animation to tell the expansive story.\u003c/p>\n\u003cfigure id=\"attachment_13864423\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864423\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/maxresdefault-800x450.jpg\" alt=\"Art by M. Wartella, based on "classic hand-drawn metal posters," as featured in the documentary, 'Murder in the Front Row.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Art by M. Wartella, based on “classic hand-drawn metal posters,” as featured in the documentary, ‘Murder in the Front Row.’ \u003ccite>(YouTube/'Murder in the Front Row')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There were so many personal stories from Bay Area legends here, that Adam needed a way to bring all these tales to life,” animation director \u003ca href=\"https://ackxhpaez.com/animation.html\" target=\"_blank\" rel=\"noopener\">M. Wartella\u003c/a> told KQED Arts. “To give you one example, there were people like this guy Ron “Skitchie” Burch, who was kind of a metal Pied Piper in the ’80s on Telegraph Avenue. He introduced all the key players to each other—they’d hang out listening to the Scorpions and Motörhead on Strawberry Hill in Golden Gate Park—but there weren’t a lot of photos of him. So animating a drawing of him coming to life was kind of magical and a pure honor.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Murder in the Front Row\u003c/em> promises to capture the complexities of this underground scene as it scrabbled its way together, expanded and exploded, and eventually found its way to an international audience, changing heavy metal forever. “You’ll laugh, you’ll cry, you’ll definitely become an Exodus fan,” M. Wartella smiles. “This is one of those films that is in a super-limited run too. So if it’s playing anywhere within a 120-mile radius of you? You have to be there.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>—\u003cem>Rae Alexandra\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Adam Dubin's documentary about the birth of thrash metal in the 1980s Bay Area returns for three screenings. ","status":"publish","parent":0,"modified":1705022296,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":9,"wordCount":560},"headData":{"title":"Watch the Untold Story of Bay Area Thrash Metal in 'Murder in the Front Row' | KQED","description":"Adam Dubin's documentary about the birth of thrash metal in the 1980s Bay Area returns for three screenings. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Watch the Untold Story of Bay Area Thrash Metal in 'Murder in the Front Row'","datePublished":"2019-08-19T16:56:20.000Z","dateModified":"2024-01-12T01:18:16.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"event","featuredImageType":"standard","startTime":1568271600,"endTime":1569564000,"startTimeString":"Sept. 12, 14 and 26","venueName":"Various Theaters","venueAddress":"San Francisco and Oakland","eventLink":"https://mitfr.com/see-the-film","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13864252/watch-the-untold-story-of-bay-area-thrash-metal-in-murder-in-the-front-row","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The hippies had the \u003ca href=\"https://www.kqed.org/arts/program/summer-of-love\" target=\"_blank\" rel=\"noopener\">Summer of Love\u003c/a> in ’69, the punks had the \u003ca href=\"https://www.theguardian.com/music/2017/feb/23/punk-rock-san-francisco-jim-jocoy-order-of-appearance\" target=\"_blank\" rel=\"noopener\">“Summer of Hate”\u003c/a> in ’79, and in the early-1980s, the metalheads crashed in and took over. Of all the music scenes the Bay Area spawned over the past half-century, thrash metal has proven to be simultaneously one of the most prominent and one of the most publicly unsung. The new documentary \u003ca href=\"https://mitfr.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Murder in the Front Row\u003c/em>\u003c/a> is here to change that.\u003c/p>\n\u003cp>Having premiered to screaming, sold-out audiences at \u003ca href=\"https://prod3.agileticketing.net/websales/pages/list.aspx?epguid=c38c6c79-7580-4652-a103-3e55898dcc8b&view=tiles3&page=2&\">SF Doc Fest\u003c/a>, this love letter to Metallica, Megadeth, Slayer and many more—based on a \u003ca href=\"https://www.amazon.com/Murder-Front-Row-Thrash-Epicenter/dp/1935950037/ref=sr_1_1?crid=G2AG0X0C3AH5&keywords=murder+in+the+front+row+book&qid=1566119469&s=gateway&sprefix=murder+in+the+front+row%2Caps%2C242&sr=8-1\" target=\"_blank\" rel=\"noopener\">2012 book\u003c/a> of the same name by Harald Oimoen and Brian Lew—is returning for three September screenings: at San Francisco’s Alamo Drafthouse and Roxie Theater, as well as Oakland’s Regal Jack London.\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/LiEQF2aXoY4'\n title='//www.youtube.com/embed/LiEQF2aXoY4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Filmmaker and director Adam Dubin—previously responsible for the Beastie Boys music video “\u003ca href=\"https://www.youtube.com/watch?v=eBShN8qT4lk\" target=\"_blank\" rel=\"noopener\">(You Gotta) Fight for Your Right (to Party!)\u003c/a>” and the Metallica documentary \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/A_Year_and_a_Half_in_the_Life_of_Metallica\" target=\"_blank\" rel=\"noopener\">A Year and a Half in the Life of Metallica\u003c/a>\u003c/em>—spent three years putting the film together, and was stunned by the degree of emotion present in the final product. “This music … it’s very harsh, very fast music,” \u003ca href=\"https://www.youtube.com/watch?v=W2JLdznlIOM\" target=\"_blank\" rel=\"noopener\">Dubin told KPIX\u003c/a> before the premiere, “but what was surprising and what I think comes through in the film is that there’s actually a warm, fuzzy, beating heart in the scene. The fans [and] musicians all kind of took care of each other.”\u003c/p>\n\u003cp>The movie, which takes its name from the 1985 Exodus track “\u003ca href=\"https://www.youtube.com/watch?v=tTdGnKB8j7U\" target=\"_blank\" rel=\"noopener\">Bonded By Blood\u003c/a>,” combines rare footage, extensive interviews, vintage photos and new animation to tell the expansive story.\u003c/p>\n\u003cfigure id=\"attachment_13864423\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864423\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/maxresdefault-800x450.jpg\" alt=\"Art by M. Wartella, based on "classic hand-drawn metal posters," as featured in the documentary, 'Murder in the Front Row.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/maxresdefault.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Art by M. Wartella, based on “classic hand-drawn metal posters,” as featured in the documentary, ‘Murder in the Front Row.’ \u003ccite>(YouTube/'Murder in the Front Row')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There were so many personal stories from Bay Area legends here, that Adam needed a way to bring all these tales to life,” animation director \u003ca href=\"https://ackxhpaez.com/animation.html\" target=\"_blank\" rel=\"noopener\">M. Wartella\u003c/a> told KQED Arts. “To give you one example, there were people like this guy Ron “Skitchie” Burch, who was kind of a metal Pied Piper in the ’80s on Telegraph Avenue. He introduced all the key players to each other—they’d hang out listening to the Scorpions and Motörhead on Strawberry Hill in Golden Gate Park—but there weren’t a lot of photos of him. So animating a drawing of him coming to life was kind of magical and a pure honor.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Murder in the Front Row\u003c/em> promises to capture the complexities of this underground scene as it scrabbled its way together, expanded and exploded, and eventually found its way to an international audience, changing heavy metal forever. “You’ll laugh, you’ll cry, you’ll definitely become an Exodus fan,” M. Wartella smiles. “This is one of those films that is in a super-limited run too. So if it’s playing anywhere within a 120-mile radius of you? You have to be there.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>—\u003cem>Rae Alexandra\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13864252/watch-the-untold-story-of-bay-area-thrash-metal-in-murder-in-the-front-row","authors":["11242"],"programs":["arts_140"],"categories":["arts_74","arts_69","arts_75"],"tags":["arts_13672","arts_1118","arts_994","arts_1010","arts_905"],"featImg":"arts_13864442","label":"arts_140"},"arts_13861791":{"type":"posts","id":"arts_13861791","meta":{"index":"posts_1591205157","site":"arts","id":"13861791","score":null,"sort":[1563569223000]},"guestAuthors":[],"slug":"metallicas-secret-deal-with-live-nation-reveals-how-artists-scalp-their-own-tickets","title":"Metallica's Secret Deal with Live Nation Reveals How Artists Scalp Their Own Tickets","publishDate":1563569223,"format":"image","headTitle":"Metallica’s Secret Deal with Live Nation Reveals How Artists Scalp Their Own Tickets | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>You know that frustration when concert tickets you want finally go on sale, but they immediately sell out and are already on StubHub a split second later due to scalpers?\u003c/p>\n\u003cp>New evidence shows you might want to blame the band for scalping their own tickets.\u003c/p>\n\u003cp>A leaked recording of a phone call between a consultant who works with Metallica and a Live Nation executive reveals what’s long been talked about behind closed doors: that the promotions giant Live Nation—which also owns Ticketmaster—teams up with artists to resell their own tickets for a higher price on the secondary market through backdoor deals.\u003c/p>\n\u003cp>As \u003ca href=\"https://www.billboard.com/articles/business/8521538/live-nation-resale-market-secretly-recorded-phone-calls-concert-tickets?fbclid=IwAR0_I5VA8hTTjBnWm3uTbFDy9wRUF5hgKq1xoP5G1-dyxEYcbo38if6SI18\" target=\"_blank\" rel=\"noopener\">Billboard’s Dave Brooks and Hannah Karp\u003c/a> first reported today, Tony DiCioccio coordinated with Live Nation to place 88,000 tickets from Metallica’s WorldWired North American tour on StubHub and other resale sites instead of giving fans a chance to buy them directly.\u003c/p>\n\u003cp>The hush-hush deal was conducted through surreptitious accounts, set up similarly to those of fan clubs and sponsors that receive large ticket quantities in exchange for helping promote tours. When Billboard reporters confronted Live Nation with the leaked phone tape, which was recorded by Vaughn Millette of Live Nation competitor Outback Presents, the company copped to the practice, stating that in 2016 and 2017, “about a dozen artists out of the thousands we work with asked us to do this.” (Live Nation representatives contend that the practice has dwindled as artists have found new ways to recover lost revenue, such as tiered pricing for premium seats and expensive VIP packages.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Live Nation’s admission runs contrary to Ticketmaster’s previous statement: as Brooks and Karp pointed out, Ticketmaster executives denied funneling tickets to resale sites as recently as 2018.\u003c/p>\n\u003cp>Industry experts quoted in Billboard’s report say the situation illustrates a catch-22 that major artists face amid the rise of ticket resale sites. When artists keep prices low for fans, it’s easier for scalpers to scoop tickets up and resell them for profit. Raise prices, and the artists risk looking greedy and turning off their base.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But are secret deals that inflate prices and make shows less accessible to the average fan really the answer? Read the \u003ca href=\"https://www.billboard.com/articles/business/8521538/live-nation-resale-market-secretly-recorded-phone-calls-concert-tickets?fbclid=IwAR0_I5VA8hTTjBnWm3uTbFDy9wRUF5hgKq1xoP5G1-dyxEYcbo38if6SI18\" target=\"_blank\" rel=\"noopener\">Billboard story here\u003c/a> to learn more.\u003c/p>\n\n","blocks":[],"excerpt":"A secret recording reveals that Metallica's representative coordinated with Live Nation to scalp their own tickets.","status":"publish","parent":0,"modified":1705022513,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":10,"wordCount":389},"headData":{"title":"Metallica's Secret Deal with Live Nation Reveals How Artists Scalp Their Own Tickets | KQED","description":"A secret recording reveals that Metallica's representative coordinated with Live Nation to scalp their own tickets.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Metallica's Secret Deal with Live Nation Reveals How Artists Scalp Their Own Tickets","datePublished":"2019-07-19T20:47:03.000Z","dateModified":"2024-01-12T01:21:53.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13861791/metallicas-secret-deal-with-live-nation-reveals-how-artists-scalp-their-own-tickets","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>You know that frustration when concert tickets you want finally go on sale, but they immediately sell out and are already on StubHub a split second later due to scalpers?\u003c/p>\n\u003cp>New evidence shows you might want to blame the band for scalping their own tickets.\u003c/p>\n\u003cp>A leaked recording of a phone call between a consultant who works with Metallica and a Live Nation executive reveals what’s long been talked about behind closed doors: that the promotions giant Live Nation—which also owns Ticketmaster—teams up with artists to resell their own tickets for a higher price on the secondary market through backdoor deals.\u003c/p>\n\u003cp>As \u003ca href=\"https://www.billboard.com/articles/business/8521538/live-nation-resale-market-secretly-recorded-phone-calls-concert-tickets?fbclid=IwAR0_I5VA8hTTjBnWm3uTbFDy9wRUF5hgKq1xoP5G1-dyxEYcbo38if6SI18\" target=\"_blank\" rel=\"noopener\">Billboard’s Dave Brooks and Hannah Karp\u003c/a> first reported today, Tony DiCioccio coordinated with Live Nation to place 88,000 tickets from Metallica’s WorldWired North American tour on StubHub and other resale sites instead of giving fans a chance to buy them directly.\u003c/p>\n\u003cp>The hush-hush deal was conducted through surreptitious accounts, set up similarly to those of fan clubs and sponsors that receive large ticket quantities in exchange for helping promote tours. When Billboard reporters confronted Live Nation with the leaked phone tape, which was recorded by Vaughn Millette of Live Nation competitor Outback Presents, the company copped to the practice, stating that in 2016 and 2017, “about a dozen artists out of the thousands we work with asked us to do this.” (Live Nation representatives contend that the practice has dwindled as artists have found new ways to recover lost revenue, such as tiered pricing for premium seats and expensive VIP packages.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Live Nation’s admission runs contrary to Ticketmaster’s previous statement: as Brooks and Karp pointed out, Ticketmaster executives denied funneling tickets to resale sites as recently as 2018.\u003c/p>\n\u003cp>Industry experts quoted in Billboard’s report say the situation illustrates a catch-22 that major artists face amid the rise of ticket resale sites. When artists keep prices low for fans, it’s easier for scalpers to scoop tickets up and resell them for profit. Raise prices, and the artists risk looking greedy and turning off their base.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But are secret deals that inflate prices and make shows less accessible to the average fan really the answer? Read the \u003ca href=\"https://www.billboard.com/articles/business/8521538/live-nation-resale-market-secretly-recorded-phone-calls-concert-tickets?fbclid=IwAR0_I5VA8hTTjBnWm3uTbFDy9wRUF5hgKq1xoP5G1-dyxEYcbo38if6SI18\" target=\"_blank\" rel=\"noopener\">Billboard story here\u003c/a> to learn more.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13861791/metallicas-secret-deal-with-live-nation-reveals-how-artists-scalp-their-own-tickets","authors":["11387"],"categories":["arts_69","arts_235"],"tags":["arts_3219","arts_1010","arts_3620","arts_4802","arts_4798"],"featImg":"arts_13849233","label":"arts"}},"programsReducer":{"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/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. 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But is this once sleepy suburb ready for them?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/news/series/american-suburb-podcast","meta":{"site":"news","source":"kqed","order":"13"},"link":"/news/series/american-suburb-podcast/","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328","tuneIn":"https://tunein.com/radio/American-Suburb-p1086805/","rss":"https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"}},"baycurious":{"id":"baycurious","title":"Bay Curious","tagline":"Exploring the Bay Area, one question at a time","info":"KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg","imageAlt":"\"KQED Bay Curious","officialWebsiteLink":"/news/series/baycurious","meta":{"site":"news","source":"kqed","order":"4"},"link":"/podcasts/baycurious","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/bay-curious/id1172473406","npr":"https://www.npr.org/podcasts/500557090/bay-curious","rss":"https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA","stitcher":"https://www.stitcher.com/podcast/kqed/bay-curious","spotify":"https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"}},"bbc-world-service":{"id":"bbc-world-service","title":"BBC World Service","info":"The day's top stories from BBC News compiled twice daily in the week, once at weekends.","airtime":"MON-FRI 9pm-10pm, TUE-FRI 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.bbc.co.uk/sounds/play/live:bbc_world_service","meta":{"site":"news","source":"BBC World Service"},"link":"/radio/program/bbc-world-service","subscribe":{"apple":"https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2","tuneIn":"https://tunein.com/radio/BBC-World-Service-p455581/","rss":"https://podcasts.files.bbci.co.uk/p02nq0gn.rss"}},"code-switch-life-kit":{"id":"code-switch-life-kit","title":"Code Switch / Life Kit","info":"\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />","airtime":"SUN 9pm-10pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg","meta":{"site":"radio","source":"npr"},"link":"/radio/program/code-switch-life-kit","subscribe":{"apple":"https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy","spotify":"https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV","rss":"https://feeds.npr.org/510312/podcast.xml"}},"commonwealth-club":{"id":"commonwealth-club","title":"Commonwealth Club of California Podcast","info":"The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. 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