Ticket Alert: Green Day Is Playing The Fillmore on April 2
Green Day Are Once Again Political Pop-Punk ‘Saviors’ on New Album
Shane MacGowan of The Pogues, a Laureate of Booze and Beauty, Dies at Age 65
5 Old SF Punk Venues (Other Than Mabuhay Gardens) We Wish Still Existed
How San Francisco Punk Reacted to Dianne Feinstein in the 1970s
Frightwig, Legendary SF Punk Band, Is Still Smashing the Patriarchy at 40
‘A Beautiful City’: Comedian Chris Estrada on SF and the Iconic Punch Line
‘Hit Girls’ Explores Early, Female-Led Bay Area Punk at the San Francisco Library
Las Vegas’ Punk Rock Museum Has a Treasure Trove of Bay Area Treats
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open.\u003c/p>\n\u003cp>Proceeds from the concert will go to United Nations Human Rights climate justice initiatives and a \u003ca href=\"https://www.musicares.org/\">MusiCares\u003c/a> climate fund to benefit musicians affected by climate change.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.righthererightnow.global/\">Right Here, Right Now Global Climate Alliance\u003c/a> will honor Green Day for their “long-standing commitment to social justice and environmental causes,” according to a press release.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“As world renowned artists and activists, Green Day continues to leverage its major influence and platform to bring awareness to the impact of climate change on the people and the environment,” Volker Türk, the United Nations High Commissioner for Human Rights said in a statement.\u003c/p>\n\u003cp>“The United Nations was founded in San Francisco almost 80 years ago to safeguard human rights and dignity from crisis and tragedy. It is only fitting that we are back in San Francisco.”\u003c/p>\n\u003cp>“Music is one of humanity’s greatest resources. It moves the world,” Harvey Mason jr., CEO of the Recording Academy added. “And we are grateful for Green Day’s longstanding dedication to promoting social justice.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Tickets for Green Day’s April 2 show at The Fillmore go on sale \u003ca href=\"https://concerts.livenation.com/green-day-san-francisco-california-04-02-2024/event/1C006079927614B5?_gl=1*1qfbzox*_gcl_au*ODk2MjAxNjIuMTcwOTE0NDk2Mw..*_ga*MTM0NTgwNzQuMTcwOTE0NDk2Mw..*_ga_C1T806G4DF*MTcxMTY1MzQ1Ny4xLjAuMTcxMTY1MzQ2NS41Mi4wLjA.*_ga_H1KKSGW33X*MTcxMTY1MzQ1Ny4xLjAuMTcxMTY1MzQ2NS41Mi4wLjA.&_ga=2.49975855.827973097.1711653457-13458074.1709144963\">via LiveNation.com\u003c/a> on March 29, at 12 p.m.\u003c/em> \u003cem>Tickets will not be available from The Fillmore’s box office. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The Bay Area punk legends will headline the United Nations-backed show to benefit climate-related causes.","status":"publish","parent":0,"modified":1712266564,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":287},"headData":{"title":"Where to Get Tickets for Green Day at The Fillmore | KQED","description":"The Bay Area punk legends will headline the United Nations-backed show to benefit climate-related causes.","ogTitle":"Ticket Alert: Green Day Is Playing The Fillmore on April 2","ogDescription":"","ogImgId":"","twTitle":"Ticket Alert: Green Day Is Playing The Fillmore on April 2","twDescription":"","twImgId":"","socialTitle":"Where to Get Tickets for Green Day at The Fillmore %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Ticket Alert: Green Day Is Playing The Fillmore on April 2","datePublished":"2024-03-28T19:36:56.000Z","dateModified":"2024-04-04T21:36:04.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Maria Sherman, Associated Press","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13954949/green-day-fillmore-sf-get-tickets-livenation","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/green-day\">Green Day\u003c/a> will headline a United Nations Human Rights-backed global climate concert on April 2 at the Fillmore in San Francisco.\u003c/p>\n\u003cp>The intimate event, which is co-hosted by the Recording Academy, aims to bring attention to the inequalities exasperated by climate change.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13955312","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Ultra Q, an alternative rock band fronted by Billie Joe Armstrong’s son Jakob Danger, will open.\u003c/p>\n\u003cp>Proceeds from the concert will go to United Nations Human Rights climate justice initiatives and a \u003ca href=\"https://www.musicares.org/\">MusiCares\u003c/a> climate fund to benefit musicians affected by climate change.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.righthererightnow.global/\">Right Here, Right Now Global Climate Alliance\u003c/a> will honor Green Day for their “long-standing commitment to social justice and environmental causes,” according to a press release.\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>“As world renowned artists and activists, Green Day continues to leverage its major influence and platform to bring awareness to the impact of climate change on the people and the environment,” Volker Türk, the United Nations High Commissioner for Human Rights said in a statement.\u003c/p>\n\u003cp>“The United Nations was founded in San Francisco almost 80 years ago to safeguard human rights and dignity from crisis and tragedy. It is only fitting that we are back in San Francisco.”\u003c/p>\n\u003cp>“Music is one of humanity’s greatest resources. It moves the world,” Harvey Mason jr., CEO of the Recording Academy added. “And we are grateful for Green Day’s longstanding dedication to promoting social justice.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Tickets for Green Day’s April 2 show at The Fillmore go on sale \u003ca href=\"https://concerts.livenation.com/green-day-san-francisco-california-04-02-2024/event/1C006079927614B5?_gl=1*1qfbzox*_gcl_au*ODk2MjAxNjIuMTcwOTE0NDk2Mw..*_ga*MTM0NTgwNzQuMTcwOTE0NDk2Mw..*_ga_C1T806G4DF*MTcxMTY1MzQ1Ny4xLjAuMTcxMTY1MzQ2NS41Mi4wLjA.*_ga_H1KKSGW33X*MTcxMTY1MzQ1Ny4xLjAuMTcxMTY1MzQ2NS41Mi4wLjA.&_ga=2.49975855.827973097.1711653457-13458074.1709144963\">via LiveNation.com\u003c/a> on March 29, at 12 p.m.\u003c/em> \u003cem>Tickets will not be available from The Fillmore’s box office. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13954949/green-day-fillmore-sf-get-tickets-livenation","authors":["byline_arts_13954949"],"programs":["arts_140"],"categories":["arts_1","arts_11615","arts_69","arts_75"],"tags":["arts_9964","arts_1407","arts_1543","arts_913","arts_1146","arts_585"],"featImg":"arts_12374066","label":"arts_140"},"arts_13950877":{"type":"posts","id":"arts_13950877","meta":{"index":"posts_1591205157","site":"arts","id":"13950877","score":null,"sort":[1706109403000]},"guestAuthors":[],"slug":"green-day-are-once-again-political-pop-punk-saviors-on-new-album","title":"Green Day Are Once Again Political Pop-Punk ‘Saviors’ on New Album","publishDate":1706109403,"format":"standard","headTitle":"Green Day Are Once Again Political Pop-Punk ‘Saviors’ on New Album | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Twenty years ago, the Grammy Award winning pop-punk trio \u003ca href=\"https://www.kqed.org/arts/12234613/live-review-green-day-drinks-from-the-fountain-of-youth-at-berkeleys-uc-theatre\">Green Day\u003c/a> released \u003cem>American Idiot\u003c/em> — their ambitious rock opera, a treatise on a world power in decline written by a band with cultural clout and consequently, political power. (It was angry and smart, and most importantly, hook-heavy — the catchiness no doubt a driving factor in its \u003ca href=\"https://www.kqed.org/arts/25374/american_idiot\">Broadway adaptation\u003c/a>.)\u003c/p>\n\u003cp>\u003cem>American Idiot\u003c/em> ushered in a new generation of loyal listeners — in some situations, the children of the initial fans who account for one of the over 10 million sales of their 1994 album \u003ca href=\"https://www.kqed.org/arts/13844052/vince-staples-and-green-day-talking-with-dookie-cover-artist-richie-bucher\">\u003cem>Dookie\u003c/em>\u003c/a> — offering a familiar language of dissidence for a generation just old enough to remember 9/11.\u003c/p>\n\u003cp>[aside postid='arts_13950805']In short: time moves on, but Green Day remains ferocious, allowing their listeners the opportunity to put language and music to their frustration. The targets of their ire are always the same: war, systemic injustices, political pundits. And on their 2024 album, \u003cem>Saviors\u003c/em>, their weapons are once again drawn.\u003c/p>\n\u003cp>Not that it was always this way. Prior to \u003cem>Saviors\u003c/em>, their 14th studio album, Green Day took a detour. Their last album, 2020’s \u003cem>Father of All…\u003c/em> was garage-y rock with the band’s characteristic fervor, but perhaps not their pop-punk sensibilities. This album is a return to form, in some ways, but free of any sense of being derivative. If you invented the wheel, what’s so wrong about letting it roll again?\u003c/p>\n\u003cp>\u003cem>Saviors\u003c/em>, alternatively, kicks off with the spirited rock ‘n’ roll of “The American Dream Is Killing Me,” taking aim at a litany of sociocultural issues in lyrics like “People on the street/ Unemployed and obsolete,” delivered in frontman Billie Joe Armstrong’s immediately recognizable nasal snarl. “Look Ma, No Brains!” is a return to their jubilant absurdity; “Grandma’s on the fentanyl now,” Armstrong sings on “Strange Days Are Here to Stay,” a song that suggests the apocalypse is now.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The fuzzed out, distorted guitars on “Living in the ’20s” ascend into a solo, as Armstrong chants about mass shootings. His voice unravels into a scream, with drummer Tré Cool, bassist Mike Dirnt and producer Rob Cavallo (who worked with the band on both \u003cem>Dookie\u003c/em>, and \u003cem>American Idiot\u003c/em>) controlling the chaos.\u003c/p>\n\u003cp>[aside postid='arts_13937865']There are loving moments here, too, as there are throughout Green Day’s discography — like in the swinging ’90s college radio rock sing-along “Bobby Sox.”\u003c/p>\n\u003cp>A few weeks before Green Day released \u003cem>Saviors\u003c/em>, they performed the song “American Idiot” on \u003cem>Dick Clark’s New Year’s Rockin’ Eve\u003c/em> swapping what was once a contentious line targeting the Bush administration into one with its eyes set on Trump. “I’m not a part of a redneck agenda,” became “I’m not part of a MAGA agenda,” and the internet was set aflame. If anything, the moment is evocative of \u003cem>Saviors\u003c/em>’ identity. It is an album built from the band’s earlier accomplishments, edited for the current moment — and likely a slightly older audience.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If parents consider punk a phase, perhaps this is evidence that frustrations — and speaking truth to power, however it aligns with your beliefs — is not.\u003c/p>\n\n","blocks":[],"excerpt":"Time moves on but Green Day remains ferocious, allowing their listeners the opportunity to put music to their frustration.","status":"publish","parent":0,"modified":1706084313,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":11,"wordCount":568},"headData":{"title":"Album Review: Green Day’s ‘Saviors’ | KQED","description":"Time moves on but Green Day remains ferocious, allowing their listeners the opportunity to put music to their frustration.","ogTitle":"Green Day Are Once Again Political Pop-Punk ‘Saviors’ on New Album","ogDescription":"","ogImgId":"","twTitle":"Green Day Are Once Again Political Pop-Punk ‘Saviors’ on New Album","twDescription":"","twImgId":"","socialTitle":"Album Review: Green Day’s ‘Saviors’ %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Green Day Are Once Again Political Pop-Punk ‘Saviors’ on New Album","datePublished":"2024-01-24T15:16:43.000Z","dateModified":"2024-01-24T08:18:33.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Maria Sherman, Associated Press","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13950877/green-day-are-once-again-political-pop-punk-saviors-on-new-album","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Twenty years ago, the Grammy Award winning pop-punk trio \u003ca href=\"https://www.kqed.org/arts/12234613/live-review-green-day-drinks-from-the-fountain-of-youth-at-berkeleys-uc-theatre\">Green Day\u003c/a> released \u003cem>American Idiot\u003c/em> — their ambitious rock opera, a treatise on a world power in decline written by a band with cultural clout and consequently, political power. (It was angry and smart, and most importantly, hook-heavy — the catchiness no doubt a driving factor in its \u003ca href=\"https://www.kqed.org/arts/25374/american_idiot\">Broadway adaptation\u003c/a>.)\u003c/p>\n\u003cp>\u003cem>American Idiot\u003c/em> ushered in a new generation of loyal listeners — in some situations, the children of the initial fans who account for one of the over 10 million sales of their 1994 album \u003ca href=\"https://www.kqed.org/arts/13844052/vince-staples-and-green-day-talking-with-dookie-cover-artist-richie-bucher\">\u003cem>Dookie\u003c/em>\u003c/a> — offering a familiar language of dissidence for a generation just old enough to remember 9/11.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13950805","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>In short: time moves on, but Green Day remains ferocious, allowing their listeners the opportunity to put language and music to their frustration. The targets of their ire are always the same: war, systemic injustices, political pundits. And on their 2024 album, \u003cem>Saviors\u003c/em>, their weapons are once again drawn.\u003c/p>\n\u003cp>Not that it was always this way. Prior to \u003cem>Saviors\u003c/em>, their 14th studio album, Green Day took a detour. Their last album, 2020’s \u003cem>Father of All…\u003c/em> was garage-y rock with the band’s characteristic fervor, but perhaps not their pop-punk sensibilities. This album is a return to form, in some ways, but free of any sense of being derivative. If you invented the wheel, what’s so wrong about letting it roll again?\u003c/p>\n\u003cp>\u003cem>Saviors\u003c/em>, alternatively, kicks off with the spirited rock ‘n’ roll of “The American Dream Is Killing Me,” taking aim at a litany of sociocultural issues in lyrics like “People on the street/ Unemployed and obsolete,” delivered in frontman Billie Joe Armstrong’s immediately recognizable nasal snarl. “Look Ma, No Brains!” is a return to their jubilant absurdity; “Grandma’s on the fentanyl now,” Armstrong sings on “Strange Days Are Here to Stay,” a song that suggests the apocalypse is now.\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 fuzzed out, distorted guitars on “Living in the ’20s” ascend into a solo, as Armstrong chants about mass shootings. His voice unravels into a scream, with drummer Tré Cool, bassist Mike Dirnt and producer Rob Cavallo (who worked with the band on both \u003cem>Dookie\u003c/em>, and \u003cem>American Idiot\u003c/em>) controlling the chaos.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13937865","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>There are loving moments here, too, as there are throughout Green Day’s discography — like in the swinging ’90s college radio rock sing-along “Bobby Sox.”\u003c/p>\n\u003cp>A few weeks before Green Day released \u003cem>Saviors\u003c/em>, they performed the song “American Idiot” on \u003cem>Dick Clark’s New Year’s Rockin’ Eve\u003c/em> swapping what was once a contentious line targeting the Bush administration into one with its eyes set on Trump. “I’m not a part of a redneck agenda,” became “I’m not part of a MAGA agenda,” and the internet was set aflame. If anything, the moment is evocative of \u003cem>Saviors\u003c/em>’ identity. It is an album built from the band’s earlier accomplishments, edited for the current moment — and likely a slightly older audience.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If parents consider punk a phase, perhaps this is evidence that frustrations — and speaking truth to power, however it aligns with your beliefs — is not.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13950877/green-day-are-once-again-political-pop-punk-saviors-on-new-album","authors":["byline_arts_13950877"],"programs":["arts_140"],"categories":["arts_1","arts_69","arts_75"],"tags":["arts_9964","arts_913","arts_769","arts_585"],"featImg":"arts_13950878","label":"arts_140"},"arts_13938691":{"type":"posts","id":"arts_13938691","meta":{"index":"posts_1591205157","site":"arts","id":"13938691","score":null,"sort":[1701361533000]},"guestAuthors":[],"slug":"shane-macgowan-of-the-pogues-a-laureate-of-booze-and-beauty-dies-at-age-65","title":"Shane MacGowan of The Pogues, a Laureate of Booze and Beauty, Dies at Age 65","publishDate":1701361533,"format":"aside","headTitle":"Shane MacGowan of The Pogues, a Laureate of Booze and Beauty, Dies at Age 65 | KQED","labelTerm":{"site":"arts"},"content":"\u003cfigure id=\"attachment_13938692\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/GettyImages-1389888090-scaled-e1701361416894.jpg\" alt=\"A thin white man with a beard, wearing sunglasses clutches a microphone on a stand, as he sings into it. He is backlit by stage lights.\" width=\"1920\" height=\"1262\" class=\"size-full wp-image-13938692\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1389888090-scaled-e1701361416894.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1389888090-scaled-e1701361416894-800x526.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1389888090-scaled-e1701361416894-1020x670.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1389888090-scaled-e1701361416894-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1389888090-scaled-e1701361416894-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1389888090-scaled-e1701361416894-1536x1010.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Shane MacGowan performs with The Pogues in Belgium, November 1989. The celebrated Irish songwriter and singer died Thursday at the age of 65. \u003ccite>(Gie Knaeps /Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shane MacGowan, the boozy, rabble-rousing singer and chief songwriter of The Pogues, who infused traditional Irish music with the energy and spirit of punk, died Thursday, his family said. He was 65.\u003c/p>\n\u003cp>MacGowan’s songwriting and persona made him an iconic figure in contemporary Irish culture, and some of his compositions have become classics — most notably the bittersweet Christmas ballad “Fairytale of New York,” which Irish President Michael D. Higgins said “will be listened to every Christmas for the next century or more.”\u003c/p>\n\u003cp>“It is with the deepest sorrow and heaviest of hearts that we announce the passing of our most beautiful, darling and dearly beloved Shane MacGowan,” his wife Victoria Clarke, his sister Siobhan and father Maurice said in a statement.\u003c/p>\n\u003cp>The singer died peacefully with his family by his side, the statement added.\u003c/p>\n\u003cp>The musician had been hospitalized in Dublin for several months after being diagnosed with viral encephalitis in late 2022. He was discharged last week, ahead of his upcoming birthday on Christmas Day.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Pogues melded Irish folk and rock ’n’ roll into a unique, intoxicating blend, though MacGowan became as famous for his sozzled, slurred performances as for his powerful songwriting.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=j9jbdgZidu8\u003c/p>\n\u003cp>His songs blended the scabrous and the sentimental, ranging from carousing anthems to snapshots of life in the gutter to unexpectedly tender love songs. The Pogues’ most famous song, “Fairytale of New York” is a tale of down-on-their-luck immigrant lovers that opens with the decidedly unfestive words: “It was Christmas Eve, babe, in the drunk tank.” The duet between the raspy-voiced MacGowan and the velvet tones of the late Kirsty MacColl is by far the most beloved Pogues song in both Ireland and the U.K.\u003c/p>\n\u003cp>Singer-songwriter Nick Cave called Shane MacGowan “a true friend and the greatest songwriter of his generation.”\u003c/p>\n\u003cp>Higgins, the Irish president, said “his songs capture within them, as Shane would put it, the measure of our dreams.”\u003c/p>\n\u003cp>“His words have connected Irish people all over the globe to their culture and history, encompassing so many human emotions in the most poetic of ways,” Higgins said.\u003c/p>\n\u003cp>Irish Prime Minister Leo Varadkar said MacGowan’s songs “beautifully captured the Irish experience, especially the experience of being Irish abroad.”\u003c/p>\n\u003cp>Sinn Fein President Mary Lou McDonald said: “Nobody told the Irish story like Shane — stories of emigration, heartache, dislocation, redemption, love and joy.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=T-kARXzpgtQ\u003c/p>\n\u003cp>Born on Christmas Day 1957 in England to Irish parents, MacGowan spent his early years in rural Ireland before the family moved back to London. Ireland remained the lifelong center of his imagination and his yearning. He grew up steeped in Irish music absorbed from family and neighbors, along with the sounds of rock, Motown, reggae and jazz.\u003c/p>\n\u003cp>He attended the elite Westminster School in London, from which he was expelled, and spent time in a psychiatric hospital after a breakdown in his teens.\u003c/p>\n\u003cp>MacGowan embraced the punk scene that exploded in Britain in the mid-1970s. He joined a band called the Nipple Erectors, performing under the name Shane O’Hooligan, before forming The Pogues alongside musicians including Jem Finer and Spider Stacey.\u003c/p>\n\u003cp>The Pogues — shortened from the original name Pogue Mahone, a rude Irish phrase — fused punk’s furious energy with traditional Irish melodies and instruments including banjo, tin whistle and accordion.\u003c/p>\n\u003cp>“It never occurred to me that you could play Irish music to a rock audience,” MacGowan recalled in \u003cem>A Drink with Shane MacGowan\u003c/em>, a 2001 memoir co-authored with Clarke. “Then it finally clicked. Start a London Irish band playing Irish music with a rock and roll beat. The original idea was just to rock up old ones but then I started writing.”\u003c/p>\n\u003cp>The band’s first album, \u003cem>Red Roses for Me\u003c/em>, was released in 1984 and featured raucous versions of Irish folk songs alongside originals including “Boys from the County Hell,” “Dark Streets of London” and “Streams of Whisky.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=mPpGp_J3z2A\u003c/p>\n\u003cp>Playing pubs and clubs in London and beyond, the band earned a loyal following and praise from music critics and fellow musicians from Bono to Bob Dylan.\u003c/p>\n\u003cp>MacGowan wrote many of the songs on the next two albums, \u003cem>Rum, Sodomy and the Lash\u003c/em> (1985) and \u003cem>If I Should Fall from Grace with God\u003c/em> (1988), ranging from rollicking rousers like the latter album’s title track to ballads like “A Pair of Brown Eyes” and “The Broad Majestic Shannon.”\u003c/p>\n\u003cp>The band also released a 1986 EP, \u003cem>Poguetry in Motion\u003c/em>, which contained two of MacGowan’s finest songs, “A Rainy Night in Soho” and “The Body of an American.” The latter featured prominently in early-2000s TV series \u003cem>The Wire\u003c/em>, sung at the wakes of Baltimore police officers.\u003c/p>\n\u003cp>“I wanted to make pure music that could be from any time, to make time irrelevant, to make generations and decades irrelevant,” he recalled in his memoir.\u003c/p>\n\u003cp>The Pogues were briefly on top of the world, with sold-out tours and appearances on U.S. television, but the band’s output and appearances grew more erratic, due in part to MacGowan’s struggles with alcohol and drugs. He was fired by the other band members in 1991 after they became fed up with a string of no-shows, including when The Pogues were opening for Dylan. The band briefly replaced MacGowan with Clash frontman Joe Strummer before breaking up.\u003c/p>\n\u003cp>MacGowan performed with a new band, Shane MacGowan and the Popes, with whom he put out two albums: \u003cem>The Snake\u003c/em> in 1995 and \u003cem>The Crock Of Gold\u003c/em> in 1997. He reunited with The Pogues in 2001 for a series of concerts and tours, despite his well-documented problems with drinking and performances that regularly included slurred lyrics and at least one fall on stage.\u003c/p>\n\u003cp>MacGowan had years of health problems and used a wheelchair after breaking his pelvis a decade ago. He was long famous for his broken, rotten teeth until receiving a full set of implants in 2015 from a dental surgeon who described the procedure as “the Everest of dentistry.”\u003c/p>\n\u003cp>MacGowan received a lifetime achievement award from the Irish president on his 60th birthday. The occasion was marked with a celebratory concert at the National Concert Hall in Dublin with performers including Bono, Nick Cave, Sinead O’Connor and Johnny Depp.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BgYml2eokLA\u003c/p>\n\u003cp>Clarke wrote on Instagram that “there’s no way to describe the loss that I am feeling and the longing for just one more of his smiles that lit up my world.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I am blessed beyond words to have met him and to have loved him and to have been so endlessly and unconditionally loved by him and to have had so many years of life and love and joy and fun and laughter and so many adventures,” she wrote.\u003c/p>\n\n","blocks":[],"excerpt":"Irish Prime Minister Leo Varadkar said MacGowan’s songs “captured the Irish experience, especially of being Irish abroad.”","status":"publish","parent":0,"modified":1705003040,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":30,"wordCount":1242},"headData":{"title":"Shane MacGowan of The Pogues, a Laureate of Booze and Beauty, Dies at Age 65 | KQED","description":"Irish Prime Minister Leo Varadkar said MacGowan’s songs “captured the Irish experience, especially of being Irish abroad.”","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Shane MacGowan of The Pogues, a Laureate of Booze and Beauty, Dies at Age 65","datePublished":"2023-11-30T16:25:33.000Z","dateModified":"2024-01-11T19:57:20.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Jill Lawless and Dave Bryan, Associated Press","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13938691/shane-macgowan-of-the-pogues-a-laureate-of-booze-and-beauty-dies-at-age-65","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13938692\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/GettyImages-1389888090-scaled-e1701361416894.jpg\" alt=\"A thin white man with a beard, wearing sunglasses clutches a microphone on a stand, as he sings into it. He is backlit by stage lights.\" width=\"1920\" height=\"1262\" class=\"size-full wp-image-13938692\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1389888090-scaled-e1701361416894.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1389888090-scaled-e1701361416894-800x526.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1389888090-scaled-e1701361416894-1020x670.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1389888090-scaled-e1701361416894-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1389888090-scaled-e1701361416894-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1389888090-scaled-e1701361416894-1536x1010.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Shane MacGowan performs with The Pogues in Belgium, November 1989. The celebrated Irish songwriter and singer died Thursday at the age of 65. \u003ccite>(Gie Knaeps /Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shane MacGowan, the boozy, rabble-rousing singer and chief songwriter of The Pogues, who infused traditional Irish music with the energy and spirit of punk, died Thursday, his family said. He was 65.\u003c/p>\n\u003cp>MacGowan’s songwriting and persona made him an iconic figure in contemporary Irish culture, and some of his compositions have become classics — most notably the bittersweet Christmas ballad “Fairytale of New York,” which Irish President Michael D. Higgins said “will be listened to every Christmas for the next century or more.”\u003c/p>\n\u003cp>“It is with the deepest sorrow and heaviest of hearts that we announce the passing of our most beautiful, darling and dearly beloved Shane MacGowan,” his wife Victoria Clarke, his sister Siobhan and father Maurice said in a statement.\u003c/p>\n\u003cp>The singer died peacefully with his family by his side, the statement added.\u003c/p>\n\u003cp>The musician had been hospitalized in Dublin for several months after being diagnosed with viral encephalitis in late 2022. He was discharged last week, ahead of his upcoming birthday on Christmas Day.\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 Pogues melded Irish folk and rock ’n’ roll into a unique, intoxicating blend, though MacGowan became as famous for his sozzled, slurred performances as for his powerful songwriting.\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/j9jbdgZidu8'\n title='//www.youtube.com/embed/j9jbdgZidu8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>His songs blended the scabrous and the sentimental, ranging from carousing anthems to snapshots of life in the gutter to unexpectedly tender love songs. The Pogues’ most famous song, “Fairytale of New York” is a tale of down-on-their-luck immigrant lovers that opens with the decidedly unfestive words: “It was Christmas Eve, babe, in the drunk tank.” The duet between the raspy-voiced MacGowan and the velvet tones of the late Kirsty MacColl is by far the most beloved Pogues song in both Ireland and the U.K.\u003c/p>\n\u003cp>Singer-songwriter Nick Cave called Shane MacGowan “a true friend and the greatest songwriter of his generation.”\u003c/p>\n\u003cp>Higgins, the Irish president, said “his songs capture within them, as Shane would put it, the measure of our dreams.”\u003c/p>\n\u003cp>“His words have connected Irish people all over the globe to their culture and history, encompassing so many human emotions in the most poetic of ways,” Higgins said.\u003c/p>\n\u003cp>Irish Prime Minister Leo Varadkar said MacGowan’s songs “beautifully captured the Irish experience, especially the experience of being Irish abroad.”\u003c/p>\n\u003cp>Sinn Fein President Mary Lou McDonald said: “Nobody told the Irish story like Shane — stories of emigration, heartache, dislocation, redemption, love and joy.”\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/T-kARXzpgtQ'\n title='//www.youtube.com/embed/T-kARXzpgtQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Born on Christmas Day 1957 in England to Irish parents, MacGowan spent his early years in rural Ireland before the family moved back to London. Ireland remained the lifelong center of his imagination and his yearning. He grew up steeped in Irish music absorbed from family and neighbors, along with the sounds of rock, Motown, reggae and jazz.\u003c/p>\n\u003cp>He attended the elite Westminster School in London, from which he was expelled, and spent time in a psychiatric hospital after a breakdown in his teens.\u003c/p>\n\u003cp>MacGowan embraced the punk scene that exploded in Britain in the mid-1970s. He joined a band called the Nipple Erectors, performing under the name Shane O’Hooligan, before forming The Pogues alongside musicians including Jem Finer and Spider Stacey.\u003c/p>\n\u003cp>The Pogues — shortened from the original name Pogue Mahone, a rude Irish phrase — fused punk’s furious energy with traditional Irish melodies and instruments including banjo, tin whistle and accordion.\u003c/p>\n\u003cp>“It never occurred to me that you could play Irish music to a rock audience,” MacGowan recalled in \u003cem>A Drink with Shane MacGowan\u003c/em>, a 2001 memoir co-authored with Clarke. “Then it finally clicked. Start a London Irish band playing Irish music with a rock and roll beat. The original idea was just to rock up old ones but then I started writing.”\u003c/p>\n\u003cp>The band’s first album, \u003cem>Red Roses for Me\u003c/em>, was released in 1984 and featured raucous versions of Irish folk songs alongside originals including “Boys from the County Hell,” “Dark Streets of London” and “Streams of Whisky.”\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/mPpGp_J3z2A'\n title='//www.youtube.com/embed/mPpGp_J3z2A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Playing pubs and clubs in London and beyond, the band earned a loyal following and praise from music critics and fellow musicians from Bono to Bob Dylan.\u003c/p>\n\u003cp>MacGowan wrote many of the songs on the next two albums, \u003cem>Rum, Sodomy and the Lash\u003c/em> (1985) and \u003cem>If I Should Fall from Grace with God\u003c/em> (1988), ranging from rollicking rousers like the latter album’s title track to ballads like “A Pair of Brown Eyes” and “The Broad Majestic Shannon.”\u003c/p>\n\u003cp>The band also released a 1986 EP, \u003cem>Poguetry in Motion\u003c/em>, which contained two of MacGowan’s finest songs, “A Rainy Night in Soho” and “The Body of an American.” The latter featured prominently in early-2000s TV series \u003cem>The Wire\u003c/em>, sung at the wakes of Baltimore police officers.\u003c/p>\n\u003cp>“I wanted to make pure music that could be from any time, to make time irrelevant, to make generations and decades irrelevant,” he recalled in his memoir.\u003c/p>\n\u003cp>The Pogues were briefly on top of the world, with sold-out tours and appearances on U.S. television, but the band’s output and appearances grew more erratic, due in part to MacGowan’s struggles with alcohol and drugs. He was fired by the other band members in 1991 after they became fed up with a string of no-shows, including when The Pogues were opening for Dylan. The band briefly replaced MacGowan with Clash frontman Joe Strummer before breaking up.\u003c/p>\n\u003cp>MacGowan performed with a new band, Shane MacGowan and the Popes, with whom he put out two albums: \u003cem>The Snake\u003c/em> in 1995 and \u003cem>The Crock Of Gold\u003c/em> in 1997. He reunited with The Pogues in 2001 for a series of concerts and tours, despite his well-documented problems with drinking and performances that regularly included slurred lyrics and at least one fall on stage.\u003c/p>\n\u003cp>MacGowan had years of health problems and used a wheelchair after breaking his pelvis a decade ago. He was long famous for his broken, rotten teeth until receiving a full set of implants in 2015 from a dental surgeon who described the procedure as “the Everest of dentistry.”\u003c/p>\n\u003cp>MacGowan received a lifetime achievement award from the Irish president on his 60th birthday. The occasion was marked with a celebratory concert at the National Concert Hall in Dublin with performers including Bono, Nick Cave, Sinead O’Connor and Johnny Depp.\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/BgYml2eokLA'\n title='//www.youtube.com/embed/BgYml2eokLA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Clarke wrote on Instagram that “there’s no way to describe the loss that I am feeling and the longing for just one more of his smiles that lit up my world.”\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>“I am blessed beyond words to have met him and to have loved him and to have been so endlessly and unconditionally loved by him and to have had so many years of life and love and joy and fun and laughter and so many adventures,” she wrote.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13938691/shane-macgowan-of-the-pogues-a-laureate-of-booze-and-beauty-dies-at-age-65","authors":["byline_arts_13938691"],"categories":["arts_1","arts_69","arts_235","arts_1564"],"tags":["arts_10278","arts_2415","arts_21768","arts_21767","arts_913","arts_5292"],"featImg":"arts_13938696","label":"arts"},"arts_13938024":{"type":"posts","id":"arts_13938024","meta":{"index":"posts_1591205157","site":"arts","id":"13938024","score":null,"sort":[1700676473000]},"guestAuthors":[],"slug":"old-san-francisco-punk-venues-deaf-club-farm-sound-music-tool-die","title":"5 Old SF Punk Venues (Other Than Mabuhay Gardens) We Wish Still Existed","publishDate":1700676473,"format":"standard","headTitle":"5 Old SF Punk Venues (Other Than Mabuhay Gardens) We Wish Still Existed | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>San Francisco has birthed and lost a ridiculous number of punk rock venues over the years. There are recent favorites like \u003ca href=\"https://www.invisibleoranges.com/rip-pound-sf/\">The Pound\u003c/a> and \u003ca href=\"https://www.sfgate.com/entertainment/article/farewell-cocodrie-north-beach-club-shutting-down-2748469.php\">Club Cocodrie\u003c/a>, both closed in the early 2000s. There are the short-lived little nightclubs of the 1980s, including \u003ca href=\"https://www.dnalounge.com/backstage/log/19xx/AAC-0697.html\">Club Nine\u003c/a> (which later turned into The Stud), \u003ca href=\"https://www.kqed.org/arts/13902953/alternative-voices-1980s-san-francisco-punk-jeanne-hansen-photography-jonah-raskin\">The Offensive, Club Foot and Attitude\u003c/a>. Most famously of all, there was the legendary \u003ca href=\"https://en.wikipedia.org/wiki/Mabuhay_Gardens\">Mabuhay Gardens\u003c/a>, a home-away-from-home for the most popular punk bands of the ’80s.\u003c/p>\n\u003cp>That same time period also inspired the creation of a handful of venues that were particularly strange and magnificent. Here are five of the most fascinating that we wish still existed today.\u003c/p>\n\u003ch2>The Deaf Club\u003c/h2>\n\u003cp>\u003cstrong>530 Valencia St.\u003c/strong>\u003c/p>\n\u003cp>It may have only lasted 18 months, but the lore of the Mission District’s Deaf Club will live on forever. Its first show was the result of Daphne Hanrahan — then-manager of The Offs — confusing the San Francisco Club of the Deaf with a new punk venue. Soon, by renting out the space herself, she had turned it into one.\u003c/p>\n\u003cp>In February 1979, the \u003cem>San Francisco Examiner\u003c/em> declared:\u003c/p>\n\u003cblockquote>\u003cp>The latest club on the local punk scene is called the Deaf Club. The joke is that the name is no joke … Since December, Walking Dead Productions has sponsored two or three concerts at the club each week, featuring local punk outfits like Crime and the Dils, plus occasional imports from Los Angeles … At the shows, punk followers mingle with the deaf club members.\u003c/p>\u003c/blockquote>\n\u003cp>In \u003ca href=\"https://bookshop.org/p/books/gimme-something-better-the-profound-progressive-and-occasionally-pointless-history-of-bay-area-punk-from-dead-kennedys-to-green-day-jack-boulware/11716732?ean=9780143113805&ref=&source=IndieBound&title=Gimme+Something+Better%3A+The+Profound%2C+Progressive%2C+and+Occasionally+Pointless+History+of+Bay+Area+Punk+from+Dead+Kennedys+to+Green+Day\">\u003cem>Gimme Something Better\u003c/em>\u003c/a>, Jack Boulware and Silke Tudor’s 2009 tome on Bay Area punk, Penelope Houston of The Avengers recalled: “It was kind of amazing. I think [deaf attendees] were dancing to the vibrations. The deaf people were amused that all these punks wanted to come in and rent their room and have these shows.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In 2004, Dead Kennedys reminded the world of the club’s existence with the release of \u003ca href=\"https://en.wikipedia.org/wiki/Live_at_the_Deaf_Club\">\u003cem>Live at the Deaf Club\u003c/em>\u003c/a>, an album of live material recorded at the second floor venue in March 1979. Nothing, however, quite captures the worlds colliding and camaraderie inside the place quite like Richard Gaikowski’s 1980 film, \u003ca href=\"https://www.imdb.com/title/tt8652820/\">\u003cem>Deaf/Punk\u003c/em>\u003c/a>:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7L4NxRqb6Fk\u003c/p>\n\u003ch2>The Farm\u003c/h2>\n\u003cp>\u003cstrong>1499 Potrero Ave.\u003c/strong>\u003c/p>\n\u003cp>Long before it was \u003ca href=\"https://sfrecpark.org/895/Potrero-del-Sol-Park-La-Raza\">Potrero del Sol Park\u003c/a>, the green expanse around the intersection at Potrero and Cesar Chavez was The Farm — a community center, art space, active farm and, most bizarrely of all, a punk venue. The likes of Bad Brains, 7 Seconds, Black Flag, Circle Jerks, Descendents and DOA all came through here in the early ’80s, much to the delight of the San Francisco underground.\u003c/p>\n\u003cp>[aside postid='arts_13899031']Though the aggressive music seemed totally out of step with the hippie commune vibes that had been cultivated at The Farm throughout the late 1970s, members of its board of directors expressed an openness towards — and fascination with — the bands and fans that came through.\u003c/p>\n\u003cp>“Even when the punks were there, I remember going,” noted artist and board member René Yañez in a documentary about The Farm, “and the toilets were broken and they were hanging this kid out the window and the police coming … But I found it interesting.”\u003c/p>\n\u003cp>At the time, fellow board member Gail Feldman said: “[Folks] see people with hair sticking straight up and they get a little worried. But actually there hasn’t been that much of a problem…”\u003c/p>\n\u003cp>The Farm’s “punk era” can be seen in this documentary about the space, starting from 26:40:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fpfD_3AvH8Y\u003c/p>\n\u003ch2>Valencia Tool & Die\u003c/h2>\n\u003cp>\u003cstrong>974 Valencia St.\u003c/strong>\u003c/p>\n\u003cp>Today, it’s\u003ca href=\"https://www.lolosf.com/\"> Loló\u003c/a>: A restaurant with a noisy ambiance and carnival-inspired decor. This is fairly fitting once you realize that, between 1980 and 1983, 974 Valencia St. was a supremely weird gallery, indie movie theater, performance art space and, yes, excellent punk venue.\u003c/p>\n\u003cp>[aside postid='arts_13894169']During its short tenure, the venue managed to host the likes of Minor Threat, Social Distortion, Hüsker Dü, Fang and even \u003ca href=\"https://www.youtube.com/watch?v=2SCIJlMTR7A\">Allen Ginsberg performing with a New Wave band called The Job\u003c/a>. Performances happened on the street level and in the cellar — a space that was soundproofed with sand, only accessible via trap door and entirely lacking in a stage. Sometimes shows happened on both floors simultaneously. Sometimes they happened on Sunday afternoons. And sometimes (fairly frequently, actually) they happened entirely out of hours, in the middle of the night.\u003c/p>\n\u003cp>In the end, the venue was shut down for a number of violations, including some that were fire code-related. But while it existed, Valencia Tool & Die was a space where musicians could experiment without filter, find community and share ideas. Consider the band in the video below, Faith. No Man. Here they are playing a perfectly good set in Tool & Die’s basement in 1983. A couple of months after this was filmed, however, the rhythm section — bassist Billy Gould and drummer Mike Bordin — decided they could do better. They struck out on their own and formed a little band called Faith No More. So that’s nice.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=E6G1bWKNjJY\u003c/p>\n\u003ch2>The Sound of Music\u003c/h2>\n\u003cp>\u003cstrong>162 Turk St.\u003c/strong>\u003c/p>\n\u003cp>Today, it looks like any other nondescript, three-story building in the Tenderloin. But between 1980 and 1987, the Sound of Music was a punk rock venue and nightclub that hosted bands like \u003ca href=\"https://www.kqed.org/arts/13935330/frightwig-40th-anniversary-album-san-francisco-punk-rock-riot-grrrl\">Frightwig\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=VxoiN7c2UYU&list=RDEMS9VV4IqCH_18L_Bgf2Xxew&start_radio=1\">Boy Trouble\u003c/a> and, later on, Romeo Void. (Agnostic Front also once played the tiny club after their show at Mabuhay Gardens got canceled at the last minute.)\u003c/p>\n\u003cp>[aside postid='arts_13902953']Owned by Celso Ruperto — a photographer best known for \u003ca href=\"https://oac.cdlib.org/findaid/ark:/13030/c8jh3tvx/\">documenting the dancers of North Beach’s strip clubs\u003c/a> — the club was only-partially-controlled chaos. It also had a reputation for being very lackadaisical when it came to checking IDs; Frightwig guitarist Mia d’Bruzzi started bartending there when she was only 17. “Everyone was broke, pissed off about everything and having the time of their lives,” d’Bruzzi told \u003ca href=\"https://hoodline.com/2015/10/punks-tenderloin-roots-and-the-sound-of-music/\">\u003cem>Central City Extra\u003c/em>\u003c/a> in 2015. “If I didn’t like a band, I would throw half-full beer cans at them from the bar.”\u003c/p>\n\u003cp>Ruperto decided to let the venue go in 1986. It was listed for sale in newspapers that year for $65,000. The final show happened there in 1987.\u003c/p>\n\u003cp>“The Sound of Music was a dump,” \u003ca href=\"https://en.wikipedia.org/wiki/White_Trash_Debutantes\">White Trash Debutantes\u003c/a> singer Ginger Coyote recalled in 2015. “The sound system sucked, but it was a club where about anyone could play and most people could get in free or cheap.”\u003c/p>\n\u003cp>Looks like a good time to us…\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HWp79_YFODw\u003c/p>\n\u003ch2>Target Video\u003c/h2>\n\u003cp>\u003cstrong>678 South Van Ness Ave.\u003c/strong>\u003c/p>\n\u003cp>In 1983, two years after it had closed, the \u003cem>Examiner\u003c/em> described Target Video as “a black building on South Van Ness Ave.” and “a national flashpoint of new culture in the making.”\u003c/p>\n\u003cp>[aside postid='arts_13927137']The man behind that cultural earthquake was Joe Rees, a sculptor, videographer and one-man punk archive. Rees videotaped over 500 bands, all over the country, starting in 1976, documenting the underground scene like no one else. And it wasn’t just the sheer volume of footage that made Rees stand out, it was what he did with it. Rees spliced his films of punk shows with news and documentary clips that often added a gravitas — and impending sense of doom — to already intense songs.\u003c/p>\n\u003cp>It made sense for Rees, then, to start his own venue in 1978. He could record bands at \u003ca href=\"https://www.youtube.com/watch?v=cpbeu7szjkE\">Target Video, turn those sets into short films\u003c/a>, then hold screenings of those in the building too.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ca href=\"https://www.artforum.com/events/joe-rees-228192/\">An article in \u003cem>Artforum\u003c/em>\u003c/a> once described Rees’ work as “art for TV fans, rather than TV for art fans.” For the punks who frequented Target Video shows, it was simply TV for them — disaffected, angry, with one hell of a soundtrack.\u003c/p>\n\u003cfigure id=\"attachment_13938380\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938380\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/GettyImages-1178248674-scaled.jpg\" alt=\"A group of four young men clamber down a very steep wall, laughing and at strange angles. One of them is holding a pool cue. Two of them are holding cans of beer.\" width=\"2560\" height=\"1841\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1178248674-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1178248674-800x575.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1178248674-1020x734.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1178248674-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1178248674-768x552.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1178248674-1536x1105.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1178248674-2048x1473.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1178248674-1920x1381.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Let’s close this out with a photo of Flipper — a band that played literally all of these venues — on a San Francisco railway embankment in 1981. Just because. \u003ccite>(Ruby Ray/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n","blocks":[],"excerpt":"Because modern-day SF is lacking in 17-year-old bartenders, deaf slam dancers and rooms soundproofed with sand.","status":"publish","parent":0,"modified":1705003066,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":31,"wordCount":1415},"headData":{"title":"5 Old SF Punk Venues (Other Than Mabuhay Gardens) We Wish Still Existed | KQED","description":"Because modern-day SF is lacking in 17-year-old bartenders, deaf slam dancers and rooms soundproofed with sand.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"5 Old SF Punk Venues (Other Than Mabuhay Gardens) We Wish Still Existed","datePublished":"2023-11-22T18:07:53.000Z","dateModified":"2024-01-11T19:57:46.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13938024/old-san-francisco-punk-venues-deaf-club-farm-sound-music-tool-die","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco has birthed and lost a ridiculous number of punk rock venues over the years. There are recent favorites like \u003ca href=\"https://www.invisibleoranges.com/rip-pound-sf/\">The Pound\u003c/a> and \u003ca href=\"https://www.sfgate.com/entertainment/article/farewell-cocodrie-north-beach-club-shutting-down-2748469.php\">Club Cocodrie\u003c/a>, both closed in the early 2000s. There are the short-lived little nightclubs of the 1980s, including \u003ca href=\"https://www.dnalounge.com/backstage/log/19xx/AAC-0697.html\">Club Nine\u003c/a> (which later turned into The Stud), \u003ca href=\"https://www.kqed.org/arts/13902953/alternative-voices-1980s-san-francisco-punk-jeanne-hansen-photography-jonah-raskin\">The Offensive, Club Foot and Attitude\u003c/a>. Most famously of all, there was the legendary \u003ca href=\"https://en.wikipedia.org/wiki/Mabuhay_Gardens\">Mabuhay Gardens\u003c/a>, a home-away-from-home for the most popular punk bands of the ’80s.\u003c/p>\n\u003cp>That same time period also inspired the creation of a handful of venues that were particularly strange and magnificent. Here are five of the most fascinating that we wish still existed today.\u003c/p>\n\u003ch2>The Deaf Club\u003c/h2>\n\u003cp>\u003cstrong>530 Valencia St.\u003c/strong>\u003c/p>\n\u003cp>It may have only lasted 18 months, but the lore of the Mission District’s Deaf Club will live on forever. Its first show was the result of Daphne Hanrahan — then-manager of The Offs — confusing the San Francisco Club of the Deaf with a new punk venue. Soon, by renting out the space herself, she had turned it into one.\u003c/p>\n\u003cp>In February 1979, the \u003cem>San Francisco Examiner\u003c/em> declared:\u003c/p>\n\u003cblockquote>\u003cp>The latest club on the local punk scene is called the Deaf Club. The joke is that the name is no joke … Since December, Walking Dead Productions has sponsored two or three concerts at the club each week, featuring local punk outfits like Crime and the Dils, plus occasional imports from Los Angeles … At the shows, punk followers mingle with the deaf club members.\u003c/p>\u003c/blockquote>\n\u003cp>In \u003ca href=\"https://bookshop.org/p/books/gimme-something-better-the-profound-progressive-and-occasionally-pointless-history-of-bay-area-punk-from-dead-kennedys-to-green-day-jack-boulware/11716732?ean=9780143113805&ref=&source=IndieBound&title=Gimme+Something+Better%3A+The+Profound%2C+Progressive%2C+and+Occasionally+Pointless+History+of+Bay+Area+Punk+from+Dead+Kennedys+to+Green+Day\">\u003cem>Gimme Something Better\u003c/em>\u003c/a>, Jack Boulware and Silke Tudor’s 2009 tome on Bay Area punk, Penelope Houston of The Avengers recalled: “It was kind of amazing. I think [deaf attendees] were dancing to the vibrations. The deaf people were amused that all these punks wanted to come in and rent their room and have these shows.”\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>In 2004, Dead Kennedys reminded the world of the club’s existence with the release of \u003ca href=\"https://en.wikipedia.org/wiki/Live_at_the_Deaf_Club\">\u003cem>Live at the Deaf Club\u003c/em>\u003c/a>, an album of live material recorded at the second floor venue in March 1979. Nothing, however, quite captures the worlds colliding and camaraderie inside the place quite like Richard Gaikowski’s 1980 film, \u003ca href=\"https://www.imdb.com/title/tt8652820/\">\u003cem>Deaf/Punk\u003c/em>\u003c/a>:\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/7L4NxRqb6Fk'\n title='//www.youtube.com/embed/7L4NxRqb6Fk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>The Farm\u003c/h2>\n\u003cp>\u003cstrong>1499 Potrero Ave.\u003c/strong>\u003c/p>\n\u003cp>Long before it was \u003ca href=\"https://sfrecpark.org/895/Potrero-del-Sol-Park-La-Raza\">Potrero del Sol Park\u003c/a>, the green expanse around the intersection at Potrero and Cesar Chavez was The Farm — a community center, art space, active farm and, most bizarrely of all, a punk venue. The likes of Bad Brains, 7 Seconds, Black Flag, Circle Jerks, Descendents and DOA all came through here in the early ’80s, much to the delight of the San Francisco underground.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13899031","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Though the aggressive music seemed totally out of step with the hippie commune vibes that had been cultivated at The Farm throughout the late 1970s, members of its board of directors expressed an openness towards — and fascination with — the bands and fans that came through.\u003c/p>\n\u003cp>“Even when the punks were there, I remember going,” noted artist and board member René Yañez in a documentary about The Farm, “and the toilets were broken and they were hanging this kid out the window and the police coming … But I found it interesting.”\u003c/p>\n\u003cp>At the time, fellow board member Gail Feldman said: “[Folks] see people with hair sticking straight up and they get a little worried. But actually there hasn’t been that much of a problem…”\u003c/p>\n\u003cp>The Farm’s “punk era” can be seen in this documentary about the space, starting from 26:40:\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/fpfD_3AvH8Y'\n title='//www.youtube.com/embed/fpfD_3AvH8Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Valencia Tool & Die\u003c/h2>\n\u003cp>\u003cstrong>974 Valencia St.\u003c/strong>\u003c/p>\n\u003cp>Today, it’s\u003ca href=\"https://www.lolosf.com/\"> Loló\u003c/a>: A restaurant with a noisy ambiance and carnival-inspired decor. This is fairly fitting once you realize that, between 1980 and 1983, 974 Valencia St. was a supremely weird gallery, indie movie theater, performance art space and, yes, excellent punk venue.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13894169","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>During its short tenure, the venue managed to host the likes of Minor Threat, Social Distortion, Hüsker Dü, Fang and even \u003ca href=\"https://www.youtube.com/watch?v=2SCIJlMTR7A\">Allen Ginsberg performing with a New Wave band called The Job\u003c/a>. Performances happened on the street level and in the cellar — a space that was soundproofed with sand, only accessible via trap door and entirely lacking in a stage. Sometimes shows happened on both floors simultaneously. Sometimes they happened on Sunday afternoons. And sometimes (fairly frequently, actually) they happened entirely out of hours, in the middle of the night.\u003c/p>\n\u003cp>In the end, the venue was shut down for a number of violations, including some that were fire code-related. But while it existed, Valencia Tool & Die was a space where musicians could experiment without filter, find community and share ideas. Consider the band in the video below, Faith. No Man. Here they are playing a perfectly good set in Tool & Die’s basement in 1983. A couple of months after this was filmed, however, the rhythm section — bassist Billy Gould and drummer Mike Bordin — decided they could do better. They struck out on their own and formed a little band called Faith No More. So that’s nice.\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/E6G1bWKNjJY'\n title='//www.youtube.com/embed/E6G1bWKNjJY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>The Sound of Music\u003c/h2>\n\u003cp>\u003cstrong>162 Turk St.\u003c/strong>\u003c/p>\n\u003cp>Today, it looks like any other nondescript, three-story building in the Tenderloin. But between 1980 and 1987, the Sound of Music was a punk rock venue and nightclub that hosted bands like \u003ca href=\"https://www.kqed.org/arts/13935330/frightwig-40th-anniversary-album-san-francisco-punk-rock-riot-grrrl\">Frightwig\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=VxoiN7c2UYU&list=RDEMS9VV4IqCH_18L_Bgf2Xxew&start_radio=1\">Boy Trouble\u003c/a> and, later on, Romeo Void. (Agnostic Front also once played the tiny club after their show at Mabuhay Gardens got canceled at the last minute.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13902953","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Owned by Celso Ruperto — a photographer best known for \u003ca href=\"https://oac.cdlib.org/findaid/ark:/13030/c8jh3tvx/\">documenting the dancers of North Beach’s strip clubs\u003c/a> — the club was only-partially-controlled chaos. It also had a reputation for being very lackadaisical when it came to checking IDs; Frightwig guitarist Mia d’Bruzzi started bartending there when she was only 17. “Everyone was broke, pissed off about everything and having the time of their lives,” d’Bruzzi told \u003ca href=\"https://hoodline.com/2015/10/punks-tenderloin-roots-and-the-sound-of-music/\">\u003cem>Central City Extra\u003c/em>\u003c/a> in 2015. “If I didn’t like a band, I would throw half-full beer cans at them from the bar.”\u003c/p>\n\u003cp>Ruperto decided to let the venue go in 1986. It was listed for sale in newspapers that year for $65,000. The final show happened there in 1987.\u003c/p>\n\u003cp>“The Sound of Music was a dump,” \u003ca href=\"https://en.wikipedia.org/wiki/White_Trash_Debutantes\">White Trash Debutantes\u003c/a> singer Ginger Coyote recalled in 2015. “The sound system sucked, but it was a club where about anyone could play and most people could get in free or cheap.”\u003c/p>\n\u003cp>Looks like a good time to us…\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/HWp79_YFODw'\n title='//www.youtube.com/embed/HWp79_YFODw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Target Video\u003c/h2>\n\u003cp>\u003cstrong>678 South Van Ness Ave.\u003c/strong>\u003c/p>\n\u003cp>In 1983, two years after it had closed, the \u003cem>Examiner\u003c/em> described Target Video as “a black building on South Van Ness Ave.” and “a national flashpoint of new culture in the making.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13927137","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The man behind that cultural earthquake was Joe Rees, a sculptor, videographer and one-man punk archive. Rees videotaped over 500 bands, all over the country, starting in 1976, documenting the underground scene like no one else. And it wasn’t just the sheer volume of footage that made Rees stand out, it was what he did with it. Rees spliced his films of punk shows with news and documentary clips that often added a gravitas — and impending sense of doom — to already intense songs.\u003c/p>\n\u003cp>It made sense for Rees, then, to start his own venue in 1978. He could record bands at \u003ca href=\"https://www.youtube.com/watch?v=cpbeu7szjkE\">Target Video, turn those sets into short films\u003c/a>, then hold screenings of those in the building too.\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>\u003ca href=\"https://www.artforum.com/events/joe-rees-228192/\">An article in \u003cem>Artforum\u003c/em>\u003c/a> once described Rees’ work as “art for TV fans, rather than TV for art fans.” For the punks who frequented Target Video shows, it was simply TV for them — disaffected, angry, with one hell of a soundtrack.\u003c/p>\n\u003cfigure id=\"attachment_13938380\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938380\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/GettyImages-1178248674-scaled.jpg\" alt=\"A group of four young men clamber down a very steep wall, laughing and at strange angles. One of them is holding a pool cue. Two of them are holding cans of beer.\" width=\"2560\" height=\"1841\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1178248674-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1178248674-800x575.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1178248674-1020x734.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1178248674-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1178248674-768x552.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1178248674-1536x1105.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1178248674-2048x1473.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1178248674-1920x1381.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Let’s close this out with a photo of Flipper — a band that played literally all of these venues — on a San Francisco railway embankment in 1981. Just because. \u003ccite>(Ruby Ray/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13938024/old-san-francisco-punk-venues-deaf-club-farm-sound-music-tool-die","authors":["11242"],"categories":["arts_1","arts_7862","arts_11615","arts_75"],"tags":["arts_6660","arts_9964","arts_10342","arts_10278","arts_21529","arts_913","arts_1146"],"featImg":"arts_13938395","label":"arts"},"arts_13845645":{"type":"posts","id":"arts_13845645","meta":{"index":"posts_1591205157","site":"arts","id":"13845645","score":null,"sort":[1696005046000]},"guestAuthors":[],"slug":"dianne-feinstein-jello-biafra-san-francisco-punk","title":"How San Francisco Punk Reacted to Dianne Feinstein in the 1970s","publishDate":1696005046,"format":"standard","headTitle":"How San Francisco Punk Reacted to Dianne Feinstein in the 1970s | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>\u003cem>\u003cstrong>Editor’s Note:\u003c/strong> This article was originally published in 2018.\u003c/em>\u003c/p>\n\u003cp>In the fall of 1978, the San Francisco punk scene was thriving. Shows occurred at least once a week at the Mabuhay Gardens, a Filipino supper club in North Beach, and satellite venues such as the Deaf Club and 330 Grove opened and closed amid police harassment in other parts of the city.\u003c/p>\n\u003cp>But there was something different about San Francisco’s strain of punk. According to historian Michael Stewart Foley, San Francisco boasted the most politically active punk scene in the country. Bands such as The Dils parsed tax policy in underground rags like \u003cem>Search & Destroy\u003c/em>, Crime satirized authority in cop drag, and groups including the Avengers and Mutants rallied to support striking coal miners in Kentucky. \u003c/p>\n\u003cp>A new group called the Dead Kennedys courted controversy by booking a show on the November anniversary of their namesake’s assassination, provoking the ire of \u003cem>San Francisco Chronicle\u003c/em> columnist Herb Caen. But then fresh tragedies seized the headlines: a mass murder-suicide on Nov. 18 in Guyana, killing more than 900 followers of onetime San Francisco political darling Jim Jones, followed nine days later by Dan White’s slaying of his former Board of Supervisors colleague Harvey Milk and San Francisco Mayor George Moscone on Nov. 27. \u003c/p>\n\u003cfigure id=\"attachment_13845665\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/Examiner.DKS_.collage-800x349.jpg\" alt=\"At left, the front page of the San Francisco Examiner after the "White Night" riots followed Dan White's voluntary manslaughter verdict; at right, the cover of the Dead Kennedys' 'Fresh Fruit for Rotting Vegetables.'.\" width=\"800\" height=\"349\" class=\"size-medium wp-image-13845665\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Examiner.DKS_.collage-800x349.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Examiner.DKS_.collage-160x70.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Examiner.DKS_.collage-768x335.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Examiner.DKS_.collage-1020x445.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Examiner.DKS_.collage-1200x523.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Examiner.DKS_.collage.jpg 1850w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">At left, the front page of the San Francisco Examiner after the “White Night” riots followed Dan White’s voluntary manslaughter verdict; at right, the cover of the Dead Kennedys’ ‘Fresh Fruit for Rotting Vegetables.’. \u003ccite>(SFPOA/Alternative Tentacles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The deaths of progressive Moscone and gay rights icon Milk created the political landscape lambasted on \u003cem>Fresh Fruit for Rotting Vegetables\u003c/em>, the Dead Kennedys’ debut album and arguably the city’s first punk full-length. Dianne Feinstein succeeded Moscone as mayor, inaugurating a developer- and police-friendly administration. White, a scion of old San Francisco and former cop, was sentenced to seven years in prison. He served five. “I fought the law,” sang Dead Kennedys bandleader Jello Biafra, “and \u003cem>I won\u003c/em>.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Foley’s book on \u003cem>Fresh Fruit for Rotting Vegetables\u003c/em>, \u003ca href=\"https://www.bloomsbury.com/us/dead-kennedys-fresh-fruit-for-rotting-vegetables-9781623567309/\">published\u003c/a> in 2015 as part of the 33 1/3 series, \u003ca href=\"https://www.eastbayexpress.com/oakland/dead-kennedys-and-the-season-of-the-witch/Content?oid=4330654\">contextualizes\u003c/a> the Dead Kennedys’ landmark album in this dark, tumultuous period.\u003c/p>\n\u003cp>Foley, a scholar and researcher who’s published books on draft resistance and student activism, is currently working on a broader history of 1970s San Francisco punk. Below, in an interview edited for length and clarity, he discusses the effects of the deaths and trial on the scene. \u003c/p>\n\u003cfigure id=\"attachment_13845664\" class=\"wp-caption aligncenter\" style=\"max-width: 711px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/nix-on-6-flyer.jpg\" alt=\"A flyer for a 'Nix on 6' benefit at Mabuhay Gardens.\" width=\"711\" height=\"445\" class=\"size-full wp-image-13845664\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/nix-on-6-flyer.jpg 711w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/nix-on-6-flyer-160x100.jpg 160w\" sizes=\"(max-width: 711px) 100vw, 711px\">\u003cfigcaption class=\"wp-caption-text\">A flyer for a ‘Nix on 6’ benefit at Mabuhay Gardens.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How were Harvey Milk and George Moscone connected to the city’s punk scene? \u003c/strong>\u003c/p>\n\u003cp>Many of the punks from that time have nice things to say about Moscone. They remember his daughter, Jennifer, coming to shows at the Mabuhay. And Milk did go to the Mabuhay for a benefit for the No On 6 campaign, the anti-Briggs Initiative. [The failed proposition would’ve banned gays and lesbians from working in public schools.] It was headlined by Crime, and Milk was the MC. We know he appreciated punk’s political engagement with the Briggs Initiative.\u003c/p>\n\u003cp>\u003cstrong>How much overlap was there between the city’s punk and LGBTQ cultures?\u003c/strong>\u003c/p>\n\u003cp>There’s incredible overlap, but it’s complex. You had gay punks who lived in the Castro or spent time at the clubs there, and some knew Harvey Milk. When [415 Records cofounder] Howie Klein moved to San Francisco, Milk loaned him a camera and gave him free darkroom time. But there was also a younger LGBTQ community that didn’t feel so welcome in the Castro. Some of them, gay men I’ve spoken to, refer to the Castro clones, who were kind of upwardly mobile or more respectable. So there’s tension, but people move between the disco and punk scenes, too.\u003c/p>\n\u003cfigure id=\"attachment_13845668\" class=\"wp-caption aligncenter\" style=\"max-width: 621px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/Crime.PoliceOutfits.jpg\" alt=\"San Francisco punk band Crime, who often performed in police uniforms.\" width=\"621\" height=\"389\" class=\"size-full wp-image-13845668\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Crime.PoliceOutfits.jpg 621w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Crime.PoliceOutfits-160x100.jpg 160w\" sizes=\"(max-width: 621px) 100vw, 621px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco punk band Crime, who often performed in police uniforms. \u003ccite>(YouTube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Moscone’s murder leads to Dianne Feinstein becoming the mayor of San Francisco. After she assumed power, how did the police department’s approach to the punk scene change?\u003c/strong>\u003c/p>\n\u003cp>In the memories of nearly all the punks that I’ve spoken to, there’s an almost immediate change in the police’s handling of crowds outside of the Mabuhay. They’re rolling up, harassing people, arresting people. There’s a kind of raid on the club, in which even Ness Aquino, the owner, is arrested. That’s a week or so after Feinstein takes office. \u003c/p>\n\u003cp>\u003cstrong>And then she’s blamed for the police preemptively shutting down an Avengers show, right?\u003c/strong>\u003c/p>\n\u003cp>Right. The Avengers and the Mutants were going to do a show at the Art Institute in February of ’79, and \u003ca href=\"http://www.sfmutants.com/800chestnut.html\">the show posters used bondage imagery and partially naked women\u003c/a>. Feinstein’s papers aren’t open for research, so I still have questions, but the word was that she took offense. The posters were all over North Beach, and maybe up closer to her home in Pacific Heights. \u003c/p>\n\u003cp>So the police padlocked the venue the night of the show. Eventually there was a makeup show, with alternate versions of the poster criticizing Feinstein for censorship. There was a definite sense by that point that as part of cleaning up San Francisco, she had it in for the punks. \u003c/p>\n\u003cfigure id=\"attachment_13845666\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/DanWhite.DKs_-800x517.jpg\" alt=\"Part of the insert booklet for 'Fresh Fruit for Rotting Vegetables,' with extensive criticism of the Dan White verdict.\" width=\"800\" height=\"517\" class=\"size-medium wp-image-13845666\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/DanWhite.DKs_-800x517.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/DanWhite.DKs_-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/DanWhite.DKs_-768x496.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/DanWhite.DKs_-1020x659.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/DanWhite.DKs_-960x621.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/DanWhite.DKs_-240x155.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/DanWhite.DKs_-375x242.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/DanWhite.DKs_-520x336.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/DanWhite.DKs_.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Part of the insert booklet for ‘Fresh Fruit for Rotting Vegetables,’ with extensive criticism of the Dan White verdict. \u003ccite>(Alternative Tentacles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>Fresh Fruit for Rotting Vegetables\u003c/em> is arguably the San Francisco punk scene’s first full-length statement, and Feinstein is sort of the album’s antagonist, right?\u003c/strong>\u003c/p>\n\u003cp>She’s certainly the antagonist. She’s the target in “Let’s Lynch the Landlord.” The song could’ve been called “Let’s Lynch the Mayor.” They felt contempt for her as a landlord mayor, married to a real-estate developer, and as a mayor friendly to the police. Jerry Brown is also present on the album, in “California Über Alles.” There’s a consistent thread of criticizing liberals on the record. \u003c/p>\n\u003cp>\u003cem>Watch news coverage of Jello Biafra’s 1979 campaign to unseat Dianne Feinstein as Mayor of San Francisco:\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jvjpoy0q66w\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>We’re also talking about the wake of Jonestown, this tragedy overseen by someone who was closely tied to the city’s political establishment. Do you think Jonestown connects to the punk scene’s disenchantment with the city’s more traditional sort of progressivism? \u003c/strong>\u003c/p>\n\u003cp>It’s a good question. I only get vague answers about the scene’s interaction with Jim Jones or the Peoples Temple, although it was next door to Temple Beautiful, which had a lot of punk shows. To them, Jonestown was at least confirmation of certain pathologies in American society, but not something they associated necessarily with a liberal political regime. \u003c/p>\n\u003cp>\u003cstrong>How does \u003cem>Fresh Fruit\u003c/em>’s cover reference Dan White?\u003c/strong>\u003c/p>\n\u003cp>The verdict in his trial began the White Night riots. Punks participated. A couple people have told me they were among the first to throw bricks through the windows of City Hall. They were definitely among the first to set police cars on fire, which show up in these iconic \u003cem>Examiner\u003c/em> photos and then on the cover of \u003cem>Fresh Fruit for Rotting Vegetables\u003c/em>. Paired with the font of the band’s name, it has this kind of Kristallnacht look, which was a deliberate provocation. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=D9lmj8fO64k\u003c/p>\n\u003cp>\u003cstrong>Did other local bands address the killings? \u003c/strong>\u003c/p>\n\u003cp>Yeah. There were benefits for punks arrested during the riots. Tuxedomoon is a good example. Steven Brown from Tuxedomoon was a fiercely political guy and also gay. He had moved to San Francisco from Chicago, where he was involved in a lot of student activism. When the White trial was taking place, they did these performances of ‘19th Nervous Breakdown’ where they read testimony from the newspapers. They also did ‘(Special Treatment for the) Family Man.’ Like the Dead Kennedys version of ‘I Fought the Law,’ it was specifically about Dan White. \u003c/p>\n\u003cp>Another Tuxedomoon song, which has never been released, was called, ‘Dianne, Your Slip is Showing.’ It basically suggests what a lot of punks have relayed to me over the years: that the killings seemed like an orchestrated conspiracy. Most of them consider White killing Moscone and Milk, the verdict, and Feinstein’s rise a win for cops and landlords, if not a right-wing coup.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n","blocks":[],"excerpt":"Historian Michael Stewart Foley discusses the effects of Dianne Feinstein's rise to power on the San Francisco punk scene. ","status":"publish","parent":0,"modified":1705003306,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":29,"wordCount":1475},"headData":{"title":"How San Francisco Punk Reacted to Dianne Feinstein in the 1970s | KQED","description":"Historian Michael Stewart Foley discusses the effects of Dianne Feinstein's rise to power on the San Francisco punk scene. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"How San Francisco Punk Reacted to Dianne Feinstein in the 1970s","datePublished":"2023-09-29T16:30:46.000Z","dateModified":"2024-01-11T20:01:46.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"WpOldSlug":"how-san-francisco-punk-reacted-to-harvey-milk-and-george-moscones-deaths","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13845645/dianne-feinstein-jello-biafra-san-francisco-punk","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Editor’s Note:\u003c/strong> This article was originally published in 2018.\u003c/em>\u003c/p>\n\u003cp>In the fall of 1978, the San Francisco punk scene was thriving. Shows occurred at least once a week at the Mabuhay Gardens, a Filipino supper club in North Beach, and satellite venues such as the Deaf Club and 330 Grove opened and closed amid police harassment in other parts of the city.\u003c/p>\n\u003cp>But there was something different about San Francisco’s strain of punk. According to historian Michael Stewart Foley, San Francisco boasted the most politically active punk scene in the country. Bands such as The Dils parsed tax policy in underground rags like \u003cem>Search & Destroy\u003c/em>, Crime satirized authority in cop drag, and groups including the Avengers and Mutants rallied to support striking coal miners in Kentucky. \u003c/p>\n\u003cp>A new group called the Dead Kennedys courted controversy by booking a show on the November anniversary of their namesake’s assassination, provoking the ire of \u003cem>San Francisco Chronicle\u003c/em> columnist Herb Caen. But then fresh tragedies seized the headlines: a mass murder-suicide on Nov. 18 in Guyana, killing more than 900 followers of onetime San Francisco political darling Jim Jones, followed nine days later by Dan White’s slaying of his former Board of Supervisors colleague Harvey Milk and San Francisco Mayor George Moscone on Nov. 27. \u003c/p>\n\u003cfigure id=\"attachment_13845665\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/Examiner.DKS_.collage-800x349.jpg\" alt=\"At left, the front page of the San Francisco Examiner after the "White Night" riots followed Dan White's voluntary manslaughter verdict; at right, the cover of the Dead Kennedys' 'Fresh Fruit for Rotting Vegetables.'.\" width=\"800\" height=\"349\" class=\"size-medium wp-image-13845665\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Examiner.DKS_.collage-800x349.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Examiner.DKS_.collage-160x70.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Examiner.DKS_.collage-768x335.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Examiner.DKS_.collage-1020x445.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Examiner.DKS_.collage-1200x523.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Examiner.DKS_.collage.jpg 1850w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">At left, the front page of the San Francisco Examiner after the “White Night” riots followed Dan White’s voluntary manslaughter verdict; at right, the cover of the Dead Kennedys’ ‘Fresh Fruit for Rotting Vegetables.’. \u003ccite>(SFPOA/Alternative Tentacles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The deaths of progressive Moscone and gay rights icon Milk created the political landscape lambasted on \u003cem>Fresh Fruit for Rotting Vegetables\u003c/em>, the Dead Kennedys’ debut album and arguably the city’s first punk full-length. Dianne Feinstein succeeded Moscone as mayor, inaugurating a developer- and police-friendly administration. White, a scion of old San Francisco and former cop, was sentenced to seven years in prison. He served five. “I fought the law,” sang Dead Kennedys bandleader Jello Biafra, “and \u003cem>I won\u003c/em>.” \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>Foley’s book on \u003cem>Fresh Fruit for Rotting Vegetables\u003c/em>, \u003ca href=\"https://www.bloomsbury.com/us/dead-kennedys-fresh-fruit-for-rotting-vegetables-9781623567309/\">published\u003c/a> in 2015 as part of the 33 1/3 series, \u003ca href=\"https://www.eastbayexpress.com/oakland/dead-kennedys-and-the-season-of-the-witch/Content?oid=4330654\">contextualizes\u003c/a> the Dead Kennedys’ landmark album in this dark, tumultuous period.\u003c/p>\n\u003cp>Foley, a scholar and researcher who’s published books on draft resistance and student activism, is currently working on a broader history of 1970s San Francisco punk. Below, in an interview edited for length and clarity, he discusses the effects of the deaths and trial on the scene. \u003c/p>\n\u003cfigure id=\"attachment_13845664\" class=\"wp-caption aligncenter\" style=\"max-width: 711px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/nix-on-6-flyer.jpg\" alt=\"A flyer for a 'Nix on 6' benefit at Mabuhay Gardens.\" width=\"711\" height=\"445\" class=\"size-full wp-image-13845664\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/nix-on-6-flyer.jpg 711w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/nix-on-6-flyer-160x100.jpg 160w\" sizes=\"(max-width: 711px) 100vw, 711px\">\u003cfigcaption class=\"wp-caption-text\">A flyer for a ‘Nix on 6’ benefit at Mabuhay Gardens.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How were Harvey Milk and George Moscone connected to the city’s punk scene? \u003c/strong>\u003c/p>\n\u003cp>Many of the punks from that time have nice things to say about Moscone. They remember his daughter, Jennifer, coming to shows at the Mabuhay. And Milk did go to the Mabuhay for a benefit for the No On 6 campaign, the anti-Briggs Initiative. [The failed proposition would’ve banned gays and lesbians from working in public schools.] It was headlined by Crime, and Milk was the MC. We know he appreciated punk’s political engagement with the Briggs Initiative.\u003c/p>\n\u003cp>\u003cstrong>How much overlap was there between the city’s punk and LGBTQ cultures?\u003c/strong>\u003c/p>\n\u003cp>There’s incredible overlap, but it’s complex. You had gay punks who lived in the Castro or spent time at the clubs there, and some knew Harvey Milk. When [415 Records cofounder] Howie Klein moved to San Francisco, Milk loaned him a camera and gave him free darkroom time. But there was also a younger LGBTQ community that didn’t feel so welcome in the Castro. Some of them, gay men I’ve spoken to, refer to the Castro clones, who were kind of upwardly mobile or more respectable. So there’s tension, but people move between the disco and punk scenes, too.\u003c/p>\n\u003cfigure id=\"attachment_13845668\" class=\"wp-caption aligncenter\" style=\"max-width: 621px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/Crime.PoliceOutfits.jpg\" alt=\"San Francisco punk band Crime, who often performed in police uniforms.\" width=\"621\" height=\"389\" class=\"size-full wp-image-13845668\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Crime.PoliceOutfits.jpg 621w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Crime.PoliceOutfits-160x100.jpg 160w\" sizes=\"(max-width: 621px) 100vw, 621px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco punk band Crime, who often performed in police uniforms. \u003ccite>(YouTube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Moscone’s murder leads to Dianne Feinstein becoming the mayor of San Francisco. After she assumed power, how did the police department’s approach to the punk scene change?\u003c/strong>\u003c/p>\n\u003cp>In the memories of nearly all the punks that I’ve spoken to, there’s an almost immediate change in the police’s handling of crowds outside of the Mabuhay. They’re rolling up, harassing people, arresting people. There’s a kind of raid on the club, in which even Ness Aquino, the owner, is arrested. That’s a week or so after Feinstein takes office. \u003c/p>\n\u003cp>\u003cstrong>And then she’s blamed for the police preemptively shutting down an Avengers show, right?\u003c/strong>\u003c/p>\n\u003cp>Right. The Avengers and the Mutants were going to do a show at the Art Institute in February of ’79, and \u003ca href=\"http://www.sfmutants.com/800chestnut.html\">the show posters used bondage imagery and partially naked women\u003c/a>. Feinstein’s papers aren’t open for research, so I still have questions, but the word was that she took offense. The posters were all over North Beach, and maybe up closer to her home in Pacific Heights. \u003c/p>\n\u003cp>So the police padlocked the venue the night of the show. Eventually there was a makeup show, with alternate versions of the poster criticizing Feinstein for censorship. There was a definite sense by that point that as part of cleaning up San Francisco, she had it in for the punks. \u003c/p>\n\u003cfigure id=\"attachment_13845666\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/DanWhite.DKs_-800x517.jpg\" alt=\"Part of the insert booklet for 'Fresh Fruit for Rotting Vegetables,' with extensive criticism of the Dan White verdict.\" width=\"800\" height=\"517\" class=\"size-medium wp-image-13845666\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/DanWhite.DKs_-800x517.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/DanWhite.DKs_-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/DanWhite.DKs_-768x496.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/DanWhite.DKs_-1020x659.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/DanWhite.DKs_-960x621.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/DanWhite.DKs_-240x155.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/DanWhite.DKs_-375x242.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/DanWhite.DKs_-520x336.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/DanWhite.DKs_.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Part of the insert booklet for ‘Fresh Fruit for Rotting Vegetables,’ with extensive criticism of the Dan White verdict. \u003ccite>(Alternative Tentacles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>Fresh Fruit for Rotting Vegetables\u003c/em> is arguably the San Francisco punk scene’s first full-length statement, and Feinstein is sort of the album’s antagonist, right?\u003c/strong>\u003c/p>\n\u003cp>She’s certainly the antagonist. She’s the target in “Let’s Lynch the Landlord.” The song could’ve been called “Let’s Lynch the Mayor.” They felt contempt for her as a landlord mayor, married to a real-estate developer, and as a mayor friendly to the police. Jerry Brown is also present on the album, in “California Über Alles.” There’s a consistent thread of criticizing liberals on the record. \u003c/p>\n\u003cp>\u003cem>Watch news coverage of Jello Biafra’s 1979 campaign to unseat Dianne Feinstein as Mayor of San Francisco:\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/jvjpoy0q66w'\n title='//www.youtube.com/embed/jvjpoy0q66w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003cp>\u003cstrong>We’re also talking about the wake of Jonestown, this tragedy overseen by someone who was closely tied to the city’s political establishment. Do you think Jonestown connects to the punk scene’s disenchantment with the city’s more traditional sort of progressivism? \u003c/strong>\u003c/p>\n\u003cp>It’s a good question. I only get vague answers about the scene’s interaction with Jim Jones or the Peoples Temple, although it was next door to Temple Beautiful, which had a lot of punk shows. To them, Jonestown was at least confirmation of certain pathologies in American society, but not something they associated necessarily with a liberal political regime. \u003c/p>\n\u003cp>\u003cstrong>How does \u003cem>Fresh Fruit\u003c/em>’s cover reference Dan White?\u003c/strong>\u003c/p>\n\u003cp>The verdict in his trial began the White Night riots. Punks participated. A couple people have told me they were among the first to throw bricks through the windows of City Hall. They were definitely among the first to set police cars on fire, which show up in these iconic \u003cem>Examiner\u003c/em> photos and then on the cover of \u003cem>Fresh Fruit for Rotting Vegetables\u003c/em>. Paired with the font of the band’s name, it has this kind of Kristallnacht look, which was a deliberate provocation. \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/D9lmj8fO64k'\n title='//www.youtube.com/embed/D9lmj8fO64k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Did other local bands address the killings? \u003c/strong>\u003c/p>\n\u003cp>Yeah. There were benefits for punks arrested during the riots. Tuxedomoon is a good example. Steven Brown from Tuxedomoon was a fiercely political guy and also gay. He had moved to San Francisco from Chicago, where he was involved in a lot of student activism. When the White trial was taking place, they did these performances of ‘19th Nervous Breakdown’ where they read testimony from the newspapers. They also did ‘(Special Treatment for the) Family Man.’ Like the Dead Kennedys version of ‘I Fought the Law,’ it was specifically about Dan White. \u003c/p>\n\u003cp>Another Tuxedomoon song, which has never been released, was called, ‘Dianne, Your Slip is Showing.’ It basically suggests what a lot of punks have relayed to me over the years: that the killings seemed like an orchestrated conspiracy. Most of them consider White killing Moscone and Milk, the verdict, and Feinstein’s rise a win for cops and landlords, if not a right-wing coup.\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>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13845645/dianne-feinstein-jello-biafra-san-francisco-punk","authors":["11091"],"categories":["arts_1","arts_69","arts_235"],"tags":["arts_11374","arts_10342","arts_10278","arts_4913","arts_913"],"featImg":"arts_13845663","label":"arts"},"arts_13935330":{"type":"posts","id":"arts_13935330","meta":{"index":"posts_1591205157","site":"arts","id":"13935330","score":null,"sort":[1695753055000]},"guestAuthors":[],"slug":"frightwig-40th-anniversary-album-san-francisco-punk-rock-riot-grrrl","title":"Frightwig, Legendary SF Punk Band, Is Still Smashing the Patriarchy at 40","publishDate":1695753055,"format":"standard","headTitle":"Frightwig, Legendary SF Punk Band, Is Still Smashing the Patriarchy at 40 | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>[aside postid='arts_13902953']In 1993, at the height of grunge’s powers, Nirvana hit the stage at New York City’s Sony Studios and recorded one of the most beloved \u003cem>MTV Unplugged\u003c/em> sets of all time. Videos of the performance continue to garner tens of millions of views on YouTube. What few people might notice, however, is the white T-shirt \u003ca href=\"https://www.kqed.org/pop/11767/did-our-idol-worship-drive-kurt-cobain-to-suicide\">Kurt Cobain\u003c/a> wears under his iconic green cardigan. It’s a \u003ca href=\"http://frightwig.org/\">Frightwig\u003c/a> shirt, worn to honor the all-female San Francisco punk band that smashed barriers in the ’80s underground scene.\u003c/p>\n\u003cp>Frightwig was an undeniable influence on bands like L7, Faith No More, the Melvins and, in particular, Hole. Courtney Love once said: “Me, Kat [Bjelland from Babes in Toyland], and Jennifer Finch [from L7] all watched Frightwig on the same night and all decided to start bands the next day. Frightwig are the true grandmothers of riot grrrl.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=P7lbJ0Oi6Jc&list=RDEMt2y_auEXtocfjlb6IFHw7g&index=2\u003c/p>\n\u003cp>Well, \u003ca href=\"https://www.kqed.org/arts/13911761/the-linda-lindas-npr-tiny-desk-la-public-library-racist-sexist-boy\" target=\"_blank\" rel=\"noopener\">riot grrl is back\u003c/a> — and so are its godmothers. In its original incarnation, Frightwig released two albums — \u003cem>Cat Farm Faboo \u003c/em>(Subterranean Records) and \u003cem>Faster, Frightwig, Kill! Kill!\u003c/em> (Caroline) — plus a couple of EPs. Now, 40 years after the outspoken band first formed, they’re releasing a new album, \u003cem>We\u003c/em> \u003cem>Need to Talk. \u003c/em>The record sees original bassist/vocalist Deanna Mitchell and guitarist/vocalist \u003ca href=\"http://mamamiadbruzzi.com/home/\">Mia d’Bruzzi\u003c/a> joined by guitarist Rebecca Sevrin (in Frightwig since 1986), drummer Tina Fagnani and keyboardist \u003ca href=\"https://en.wikipedia.org/wiki/Eric_Drew_Feldman\">Eric Drew Feldman\u003c/a>. They’ll celebrate the album release with a show at Bottom of the Hill on Friday, Sept. 29.\u003c/p>\n\u003cp>\u003cem>We Need to Talk\u003c/em> includes Frightwig’s 2014 single, the fiercely feminist “War on Women,” and swings frenetically between overtly political content (like “Redistribution of Wealth” and “Hot Air Rising”) and the deeply personal. “\u003ca href=\"https://www.youtube.com/watch?v=e-EFJgPlqNg&t=284s\">What Is Love?\u003c/a>” for example, is a rip-roaring ode to single life that starts with a proverbial “toilet full of boyfriends” and ends in a furious crescendo that includes lines repurposed (and drenched in sarcasm) from the Rolling Stones’ “\u003ca href=\"https://www.youtube.com/watch?v=krxU5Y9lCS8\">You Can’t Always Get What You Want\u003c/a>” and The Beatles’ “\u003ca href=\"https://www.youtube.com/watch?v=nGbWU8S3vzs\">She Loves You\u003c/a>.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Elsewhere on the 11-tracker, there’s “Aging Sux,” a frenzied 43-second anthem of empowerment for anyone wishing to age ungracefully, and “Ride Your Bike,” a catchy, humor-imbued ass-shaker. In contrast, “Shine Your Light” is a five-minute ballad written and sung by original Frightwig drummer Cecilia Kuhn, who passed away from cancer in 2017. “Shine Your Light” will be released as a 7″ single adorned with Kuhn’s face and middle finger, still proudly held aloft.\u003c/p>\n\u003cfigure id=\"attachment_13935332\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935332\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/LAB51006_Frightwig_Cecillia-7-inchCoverHighRez.jpg\" alt=\"An illustration of a blonde woman, rendered in the style of Alfonse Mucha, wearing a crown of flowers and holding her right middle finger aloft.\" width=\"640\" height=\"639\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/LAB51006_Frightwig_Cecillia-7-inchCoverHighRez.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/LAB51006_Frightwig_Cecillia-7-inchCoverHighRez-160x160.jpg 160w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">“Shine Your Light” by Frightwig honors drummer Cecilia Kuhn who died in 2017. \u003ccite>(Courtesy of Deanna Mitchell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Frightwig were one of those bands that slammed open a lot of doors for others, but never quite got the props they deserved themselves. \u003cem>We Need to Talk\u003c/em> is an opportunity to right that wrong.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Frightwig’s ‘We Need to Talk’ is out via \u003ca href=\"https://label51recordings.com/\">Label 51 Recordings\u003c/a> on Friday, Sept. 29. To celebrate the release, the band plays \u003ca href=\"http://www.bottomofthehill.com/iC202309.html\">Bottom of the Hill\u003c/a> that night, with openers \u003ca href=\"https://www.instagram.com/falseflagsf/\">False Flag\u003c/a> and \u003ca href=\"https://www.instagram.com/chakifunkwizard/?hl=en\">Chaki\u003c/a>. A free show will also take place at the Golden Gate Park Bandshell on Oct. 7.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The all-female punk outfit influenced members of Faith No More, L7 and Hole. In 2023, Frightwig remains as fiery as ever.","status":"publish","parent":0,"modified":1705003322,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":10,"wordCount":585},"headData":{"title":"Frightwig ‘We Need to Talk’: San Francisco Punks Return Strong | KQED","description":"The all-female punk outfit influenced members of Faith No More, L7 and Hole. In 2023, Frightwig remains as fiery as ever.","ogTitle":"Legendary SF Punk Band Frightwig Returns With 40th Anniversary Album","ogDescription":"","ogImgId":"","twTitle":"Legendary SF Punk Band Frightwig Returns With 40th Anniversary Album","twDescription":"","twImgId":"","socialTitle":"Frightwig ‘We Need to Talk’: San Francisco Punks Return Strong %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Frightwig, Legendary SF Punk Band, Is Still Smashing the Patriarchy at 40","datePublished":"2023-09-26T18:30:55.000Z","dateModified":"2024-01-11T20:02:02.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13935330/frightwig-40th-anniversary-album-san-francisco-punk-rock-riot-grrrl","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13902953","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>In 1993, at the height of grunge’s powers, Nirvana hit the stage at New York City’s Sony Studios and recorded one of the most beloved \u003cem>MTV Unplugged\u003c/em> sets of all time. Videos of the performance continue to garner tens of millions of views on YouTube. What few people might notice, however, is the white T-shirt \u003ca href=\"https://www.kqed.org/pop/11767/did-our-idol-worship-drive-kurt-cobain-to-suicide\">Kurt Cobain\u003c/a> wears under his iconic green cardigan. It’s a \u003ca href=\"http://frightwig.org/\">Frightwig\u003c/a> shirt, worn to honor the all-female San Francisco punk band that smashed barriers in the ’80s underground scene.\u003c/p>\n\u003cp>Frightwig was an undeniable influence on bands like L7, Faith No More, the Melvins and, in particular, Hole. Courtney Love once said: “Me, Kat [Bjelland from Babes in Toyland], and Jennifer Finch [from L7] all watched Frightwig on the same night and all decided to start bands the next day. Frightwig are the true grandmothers of riot grrrl.”\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/P7lbJ0Oi6Jc'\n title='//www.youtube.com/embed/P7lbJ0Oi6Jc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Well, \u003ca href=\"https://www.kqed.org/arts/13911761/the-linda-lindas-npr-tiny-desk-la-public-library-racist-sexist-boy\" target=\"_blank\" rel=\"noopener\">riot grrl is back\u003c/a> — and so are its godmothers. In its original incarnation, Frightwig released two albums — \u003cem>Cat Farm Faboo \u003c/em>(Subterranean Records) and \u003cem>Faster, Frightwig, Kill! Kill!\u003c/em> (Caroline) — plus a couple of EPs. Now, 40 years after the outspoken band first formed, they’re releasing a new album, \u003cem>We\u003c/em> \u003cem>Need to Talk. \u003c/em>The record sees original bassist/vocalist Deanna Mitchell and guitarist/vocalist \u003ca href=\"http://mamamiadbruzzi.com/home/\">Mia d’Bruzzi\u003c/a> joined by guitarist Rebecca Sevrin (in Frightwig since 1986), drummer Tina Fagnani and keyboardist \u003ca href=\"https://en.wikipedia.org/wiki/Eric_Drew_Feldman\">Eric Drew Feldman\u003c/a>. They’ll celebrate the album release with a show at Bottom of the Hill on Friday, Sept. 29.\u003c/p>\n\u003cp>\u003cem>We Need to Talk\u003c/em> includes Frightwig’s 2014 single, the fiercely feminist “War on Women,” and swings frenetically between overtly political content (like “Redistribution of Wealth” and “Hot Air Rising”) and the deeply personal. “\u003ca href=\"https://www.youtube.com/watch?v=e-EFJgPlqNg&t=284s\">What Is Love?\u003c/a>” for example, is a rip-roaring ode to single life that starts with a proverbial “toilet full of boyfriends” and ends in a furious crescendo that includes lines repurposed (and drenched in sarcasm) from the Rolling Stones’ “\u003ca href=\"https://www.youtube.com/watch?v=krxU5Y9lCS8\">You Can’t Always Get What You Want\u003c/a>” and The Beatles’ “\u003ca href=\"https://www.youtube.com/watch?v=nGbWU8S3vzs\">She Loves You\u003c/a>.”\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>Elsewhere on the 11-tracker, there’s “Aging Sux,” a frenzied 43-second anthem of empowerment for anyone wishing to age ungracefully, and “Ride Your Bike,” a catchy, humor-imbued ass-shaker. In contrast, “Shine Your Light” is a five-minute ballad written and sung by original Frightwig drummer Cecilia Kuhn, who passed away from cancer in 2017. “Shine Your Light” will be released as a 7″ single adorned with Kuhn’s face and middle finger, still proudly held aloft.\u003c/p>\n\u003cfigure id=\"attachment_13935332\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935332\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/LAB51006_Frightwig_Cecillia-7-inchCoverHighRez.jpg\" alt=\"An illustration of a blonde woman, rendered in the style of Alfonse Mucha, wearing a crown of flowers and holding her right middle finger aloft.\" width=\"640\" height=\"639\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/LAB51006_Frightwig_Cecillia-7-inchCoverHighRez.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/LAB51006_Frightwig_Cecillia-7-inchCoverHighRez-160x160.jpg 160w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">“Shine Your Light” by Frightwig honors drummer Cecilia Kuhn who died in 2017. \u003ccite>(Courtesy of Deanna Mitchell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Frightwig were one of those bands that slammed open a lot of doors for others, but never quite got the props they deserved themselves. \u003cem>We Need to Talk\u003c/em> is an opportunity to right that wrong.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Frightwig’s ‘We Need to Talk’ is out via \u003ca href=\"https://label51recordings.com/\">Label 51 Recordings\u003c/a> on Friday, Sept. 29. To celebrate the release, the band plays \u003ca href=\"http://www.bottomofthehill.com/iC202309.html\">Bottom of the Hill\u003c/a> that night, with openers \u003ca href=\"https://www.instagram.com/falseflagsf/\">False Flag\u003c/a> and \u003ca href=\"https://www.instagram.com/chakifunkwizard/?hl=en\">Chaki\u003c/a>. A free show will also take place at the Golden Gate Park Bandshell on Oct. 7.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13935330/frightwig-40th-anniversary-album-san-francisco-punk-rock-riot-grrrl","authors":["11242"],"programs":["arts_140"],"categories":["arts_1","arts_11615","arts_69","arts_75"],"tags":["arts_10278","arts_913","arts_1146","arts_585"],"featImg":"arts_13935349","label":"arts_140"},"arts_13933480":{"type":"posts","id":"arts_13933480","meta":{"index":"posts_1591205157","site":"arts","id":"13933480","score":null,"sort":[1692385770000]},"guestAuthors":[],"slug":"a-beautiful-city-comedian-chris-estrada-on-sf-and-the-iconic-punch-line","title":"‘A Beautiful City’: Comedian Chris Estrada on SF and the Iconic Punch Line","publishDate":1692385770,"format":"standard","headTitle":"‘A Beautiful City’: Comedian Chris Estrada on SF and the Iconic Punch Line | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>\u003ca href=\"https://www.instagram.com/chrisestradacomic/?hl=en\">Chris Estrada\u003c/a> loves wandering around San Francisco.\u003c/p>\n\u003cp>Standing on the corner of Columbus and Vallejo with a slicked-back gentlemen’s cut and a crisp, black T-shirt, the Los Angeles-born stand-up comedian is arguably one of today’s funniest entertainers. [pullquote size=\"medium\" align=\"right\" citation=\"Comedian Chris Estrada\"]‘I truly love walking around San Francisco just because it’s such a beautiful city.’[/pullquote] He’s also the star and co-creator of the widely acclaimed TV series \u003cem>This Fool\u003c/em>, now in its second season on Hulu. While actors and writers, including Estrada, continue to \u003ca href=\"https://www.kqed.org/news/11956178/its-now-or-never-writers-and-actors-see-conflict-with-big-tech-as-existential\">strike over labor disputes\u003c/a>, the 39-year-old is making audiences laugh in person at some of the best comedy clubs in the country, including a \u003ca href=\"https://www.punchlinecomedyclub.com/\">current run at the Punch Line\u003c/a> in San Francisco.\u003c/p>\n\u003cp>“I truly love walking around San Francisco just because it’s such a beautiful city,” said Estrada while visiting Molinari Delicatessen for a quick lunch on Thursday afternoon. “We’re right down the street from City Lights. I love City Lights. It’s one of my favorite bookstores in the country.”\u003c/p>\n\u003cp>He’s also a fan of Mr. Bings in North Beach and the quieter side of the Sunset because it’s right by the water (he loves the fog). Estrada’s no stranger to the Punch Line, where he’s previously been an opener, and he’s performed at Cobb’s and Comedy Central’s Clusterfest at the Civic Center.\u003c/p>\n\u003cp>This time, however, Estrada makes his headline debut at the venue where the likes of comedy figures such as the late Robin Williams, Dana Carvey and Dave Chappelle have all stood on stage making audiences laugh through the decades.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This weekend, Estrada isn’t alone. He’s tapped local comedian Allison Hooker as host, and L.A.-based comic Zack Chapaloni to warm up the crowd.\u003c/p>\n\u003cp>Estrada’s comedy style is both personal and universal. He can write a joke with details that instantly resonate with Latinos, and still have the entire audience laughing. He wants everyone in on the joke.\u003c/p>\n\u003cp>He also draws on his own life: the absurdity of missing the thrill of toxic relationships, or how being nice is an “ugly people quality” while calling himself “an ugly fool with a heart of gold.”\u003c/p>\n\u003cp>Making audiences erupt in laughter at clubs like the Punch Line this past week is something Estrada said he’s been working toward for the last decade — and it feels good.\u003c/p>\n\u003cp>“That club is really special. It’s just beautiful in there. To me, it’s one of the perfect clubs in the country,” Estrada said. “It’s low ceilings. It’s incredibly intimate. It fits about 180, maybe 200 [people], which is nice. It’s just small, wide and that backdrop is iconic. That painted backdrop of San Francisco — I love it.”\u003c/p>\n\u003ch2>‘I just kept going and going’\u003c/h2>\n\u003cp>Losing a nighttime job as a valet for the Beverly Hilton changed the trajectory of Estrada’s life. Having grown up in working-class neighborhoods like Inglewood and South Central, he often jokes that he always held “three shitty jobs” that would pay him the equivalent of one shitty job.\u003c/p>\n\u003cp>When he lost the valet gig — parking luxury cars at star-studded events like the Golden Globes — his nights suddenly freed up. Estrada worked up the nerve to finally give his stand-up comedy dreams a chance.\u003c/p>\n\u003cfigure id=\"attachment_13933490\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933490\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/RS68038_230817-ComedianChrisEstrada-12-BL-qut.jpg\" alt=\"A man in a blue jacket sits inside a bookstore with a full bookshelf behind him.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68038_230817-ComedianChrisEstrada-12-BL-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68038_230817-ComedianChrisEstrada-12-BL-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68038_230817-ComedianChrisEstrada-12-BL-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68038_230817-ComedianChrisEstrada-12-BL-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68038_230817-ComedianChrisEstrada-12-BL-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68038_230817-ComedianChrisEstrada-12-BL-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Comedian Chris Estrada hangs out at City Lights Bookstore in San Francisco’s North Beach neighborhood on Aug. 17, 2023, during a headlining run at the Punchline comedy club. \u003ccite>(Beth LeBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I went and I had a decent set the first time. And then, I was like, ‘Fuck it. I don’t have anything to do at night anymore so I’m just going to keep doing this,’” he said. “I kept doing it blindly. I just kept going and going.”\u003c/p>\n\u003cp>He said headlining the Punch Line feels like a real stepping stone, especially when he reflects on the trips he used to make to San Francisco from Los Angeles just to watch performances and get a feel for the local scene.\u003c/p>\n\u003cp>“The clubs out here, the people out here, they’re pretty savvy, comedically,” he said. “Audiences, they’re just a sharp, city audience.”\u003c/p>\n\u003ch2>Getting inspiration from Bay Area punk\u003c/h2>\n\u003cp>Besides his affinity for stand-up, Estrada is also a huge music enthusiast. He admits to driving out of his way to places like Going Underground Records in downtown Bakersfield just to pick up a rare album. He loves Joe Strummer, and often wears punk and hardcore T-shirts from local and national bands. So it’s no surprise to learn that Estrada is well-versed in Bay Area punk bands and long-lost music venues in San Francisco. [pullquote size=\"medium\" align=\"right\" citation=\"Comedian Chris Estrada\"]‘San Francisco itself has such a history of punk music. I also love Dead Kennedys. I love Spazz, an old powerviolence band. There are so many Bay Area punk bands that I love.’[/pullquote] “I also like to walk around and look for old punk venues that don’t exist anymore. There was this Filipino place out here in the ’70s called Mabuhay Gardens and they used to rent out its place to punk shows,” he said. “There was another place not too far from here called the Deaf Club. It was a club for deaf people and then a lot of punk bands used to perform there. I always look around for these places.”\u003c/p>\n\u003cp>He’s a fan of Berkeley-formed hardcore punk band Spitboy, and said drummer \u003ca href=\"https://www.kqed.org/arts/11470573/the-struggles-and-victories-of-a-chicana-woman-in-a-hardcore-band\">Michelle Cruz Gonzales\u003c/a> attended one of his Punch Line shows this week. He enjoys The Avengers, The Dils and Crime. He also recommends new bands like Oakland punks Deseos Primitivos, who he found on Bandcamp and whose album he immediately bought at a record store in downtown L.A.\u003c/p>\n\u003cp>“San Francisco itself has such a history of punk music,” he said. “I also love Dead Kennedys. I love Spazz, an old powerviolence band. There are so many Bay Area punk bands that I love.”\u003c/p>\n\u003cp>Music accompanies Estrada on the road, bringing him comfort on long drives and flights while on tour. It’s also what gets him in the right mindset before he takes the stage. [aside label='More on Bay Area Music' tag='bay-area-punk'] “There’s a song, it’s not like an energetic song, it’s called ‘\u003ca href=\"https://youtu.be/3Ifb_Zs0X9s\">State of the Art\u003c/a>’ by Jesse Malin. Then, there’s another song called ‘\u003ca href=\"https://youtu.be/3MUGAxpI0Bc\">Ante Up’\u003c/a> by a hip-hop group called M.O.P. — and that just has such a strong energy,” he said. “‘Ante Up,’ because it’s such an amped-up, hyped song, it’s about robbing rappers, it just gets me in a really good mood when I need it. But when I feel anxiety, the other one calms me down.”\u003c/p>\n\u003cp>With his last remaining performances at the Punch Line, Estrada hopes to win over people in the crowd who aren’t as familiar with his stand-up career. He recognizes that Hollywood fame only lasts a few seasons for many in the industry. It’s comedy he’s betting on — and he aims to leave audiences across the country wanting an encore.\u003c/p>\n\u003cp>“Because of \u003cem>This Fool\u003c/em>, most people are coming to see me because of that. Some of them don’t know me as a stand-up comedian. I don’t know how long I’ll have the show. Maybe we’ll have a third season, maybe we won’t. Who knows? At some point, it ends,” Estrada said.\u003c/p>\n\u003cp>“I don’t want [audiences] to keep coming because they know the show,” he added. “I want a large part of them to keep coming because they know me as a comedian.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/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>\u003cem>Chris Estrada performs at the Punch Line in San Francisco through Aug. 19. \u003c/em>\u003ca href=\"https://www.punchlinecomedyclub.com/\">\u003cem>Details here\u003c/em>\u003c/a>\u003cem>. \u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"Ahead of his headlining shows at the famed comedy club, the star of Hulu's 'This Fool' shares his favorite SF treasures. ","status":"publish","parent":0,"modified":1705005131,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":26,"wordCount":1434},"headData":{"title":"Chris Estrada on Headlining the Punch Line and His Favorite SF Treasures | KQED","description":"Ahead of his headlining shows at the famed comedy club, the star of Hulu's 'This Fool' shares his favorite SF treasures. ","ogTitle":"‘A Beautiful City’: Comedian Chris Estrada on SF and the Iconic Punch Line","ogDescription":"","ogImgId":"","twTitle":"‘A Beautiful City’: Comedian Chris Estrada on SF and the Iconic Punch Line","twDescription":"","twImgId":"","socialTitle":"Chris Estrada on Headlining the Punch Line and His Favorite SF Treasures %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"‘A Beautiful City’: Comedian Chris Estrada on SF and the Iconic Punch Line","datePublished":"2023-08-18T19:09:30.000Z","dateModified":"2024-01-11T20:32:11.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13933480/a-beautiful-city-comedian-chris-estrada-on-sf-and-the-iconic-punch-line","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.instagram.com/chrisestradacomic/?hl=en\">Chris Estrada\u003c/a> loves wandering around San Francisco.\u003c/p>\n\u003cp>Standing on the corner of Columbus and Vallejo with a slicked-back gentlemen’s cut and a crisp, black T-shirt, the Los Angeles-born stand-up comedian is arguably one of today’s funniest entertainers. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"‘I truly love walking around San Francisco just because it’s such a beautiful city.’","name":"pullquote","attributes":{"named":{"size":"medium","align":"right","citation":"Comedian Chris Estrada","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp> He’s also the star and co-creator of the widely acclaimed TV series \u003cem>This Fool\u003c/em>, now in its second season on Hulu. While actors and writers, including Estrada, continue to \u003ca href=\"https://www.kqed.org/news/11956178/its-now-or-never-writers-and-actors-see-conflict-with-big-tech-as-existential\">strike over labor disputes\u003c/a>, the 39-year-old is making audiences laugh in person at some of the best comedy clubs in the country, including a \u003ca href=\"https://www.punchlinecomedyclub.com/\">current run at the Punch Line\u003c/a> in San Francisco.\u003c/p>\n\u003cp>“I truly love walking around San Francisco just because it’s such a beautiful city,” said Estrada while visiting Molinari Delicatessen for a quick lunch on Thursday afternoon. “We’re right down the street from City Lights. I love City Lights. It’s one of my favorite bookstores in the country.”\u003c/p>\n\u003cp>He’s also a fan of Mr. Bings in North Beach and the quieter side of the Sunset because it’s right by the water (he loves the fog). Estrada’s no stranger to the Punch Line, where he’s previously been an opener, and he’s performed at Cobb’s and Comedy Central’s Clusterfest at the Civic Center.\u003c/p>\n\u003cp>This time, however, Estrada makes his headline debut at the venue where the likes of comedy figures such as the late Robin Williams, Dana Carvey and Dave Chappelle have all stood on stage making audiences laugh through the decades.\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>This weekend, Estrada isn’t alone. He’s tapped local comedian Allison Hooker as host, and L.A.-based comic Zack Chapaloni to warm up the crowd.\u003c/p>\n\u003cp>Estrada’s comedy style is both personal and universal. He can write a joke with details that instantly resonate with Latinos, and still have the entire audience laughing. He wants everyone in on the joke.\u003c/p>\n\u003cp>He also draws on his own life: the absurdity of missing the thrill of toxic relationships, or how being nice is an “ugly people quality” while calling himself “an ugly fool with a heart of gold.”\u003c/p>\n\u003cp>Making audiences erupt in laughter at clubs like the Punch Line this past week is something Estrada said he’s been working toward for the last decade — and it feels good.\u003c/p>\n\u003cp>“That club is really special. It’s just beautiful in there. To me, it’s one of the perfect clubs in the country,” Estrada said. “It’s low ceilings. It’s incredibly intimate. It fits about 180, maybe 200 [people], which is nice. It’s just small, wide and that backdrop is iconic. That painted backdrop of San Francisco — I love it.”\u003c/p>\n\u003ch2>‘I just kept going and going’\u003c/h2>\n\u003cp>Losing a nighttime job as a valet for the Beverly Hilton changed the trajectory of Estrada’s life. Having grown up in working-class neighborhoods like Inglewood and South Central, he often jokes that he always held “three shitty jobs” that would pay him the equivalent of one shitty job.\u003c/p>\n\u003cp>When he lost the valet gig — parking luxury cars at star-studded events like the Golden Globes — his nights suddenly freed up. Estrada worked up the nerve to finally give his stand-up comedy dreams a chance.\u003c/p>\n\u003cfigure id=\"attachment_13933490\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933490\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/RS68038_230817-ComedianChrisEstrada-12-BL-qut.jpg\" alt=\"A man in a blue jacket sits inside a bookstore with a full bookshelf behind him.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68038_230817-ComedianChrisEstrada-12-BL-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68038_230817-ComedianChrisEstrada-12-BL-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68038_230817-ComedianChrisEstrada-12-BL-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68038_230817-ComedianChrisEstrada-12-BL-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68038_230817-ComedianChrisEstrada-12-BL-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68038_230817-ComedianChrisEstrada-12-BL-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Comedian Chris Estrada hangs out at City Lights Bookstore in San Francisco’s North Beach neighborhood on Aug. 17, 2023, during a headlining run at the Punchline comedy club. \u003ccite>(Beth LeBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I went and I had a decent set the first time. And then, I was like, ‘Fuck it. I don’t have anything to do at night anymore so I’m just going to keep doing this,’” he said. “I kept doing it blindly. I just kept going and going.”\u003c/p>\n\u003cp>He said headlining the Punch Line feels like a real stepping stone, especially when he reflects on the trips he used to make to San Francisco from Los Angeles just to watch performances and get a feel for the local scene.\u003c/p>\n\u003cp>“The clubs out here, the people out here, they’re pretty savvy, comedically,” he said. “Audiences, they’re just a sharp, city audience.”\u003c/p>\n\u003ch2>Getting inspiration from Bay Area punk\u003c/h2>\n\u003cp>Besides his affinity for stand-up, Estrada is also a huge music enthusiast. He admits to driving out of his way to places like Going Underground Records in downtown Bakersfield just to pick up a rare album. He loves Joe Strummer, and often wears punk and hardcore T-shirts from local and national bands. So it’s no surprise to learn that Estrada is well-versed in Bay Area punk bands and long-lost music venues in San Francisco. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"‘San Francisco itself has such a history of punk music. I also love Dead Kennedys. I love Spazz, an old powerviolence band. There are so many Bay Area punk bands that I love.’","name":"pullquote","attributes":{"named":{"size":"medium","align":"right","citation":"Comedian Chris Estrada","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp> “I also like to walk around and look for old punk venues that don’t exist anymore. There was this Filipino place out here in the ’70s called Mabuhay Gardens and they used to rent out its place to punk shows,” he said. “There was another place not too far from here called the Deaf Club. It was a club for deaf people and then a lot of punk bands used to perform there. I always look around for these places.”\u003c/p>\n\u003cp>He’s a fan of Berkeley-formed hardcore punk band Spitboy, and said drummer \u003ca href=\"https://www.kqed.org/arts/11470573/the-struggles-and-victories-of-a-chicana-woman-in-a-hardcore-band\">Michelle Cruz Gonzales\u003c/a> attended one of his Punch Line shows this week. He enjoys The Avengers, The Dils and Crime. He also recommends new bands like Oakland punks Deseos Primitivos, who he found on Bandcamp and whose album he immediately bought at a record store in downtown L.A.\u003c/p>\n\u003cp>“San Francisco itself has such a history of punk music,” he said. “I also love Dead Kennedys. I love Spazz, an old powerviolence band. There are so many Bay Area punk bands that I love.”\u003c/p>\n\u003cp>Music accompanies Estrada on the road, bringing him comfort on long drives and flights while on tour. It’s also what gets him in the right mindset before he takes the stage. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"label":"More on Bay Area Music ","tag":"bay-area-punk"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp> “There’s a song, it’s not like an energetic song, it’s called ‘\u003ca href=\"https://youtu.be/3Ifb_Zs0X9s\">State of the Art\u003c/a>’ by Jesse Malin. Then, there’s another song called ‘\u003ca href=\"https://youtu.be/3MUGAxpI0Bc\">Ante Up’\u003c/a> by a hip-hop group called M.O.P. — and that just has such a strong energy,” he said. “‘Ante Up,’ because it’s such an amped-up, hyped song, it’s about robbing rappers, it just gets me in a really good mood when I need it. But when I feel anxiety, the other one calms me down.”\u003c/p>\n\u003cp>With his last remaining performances at the Punch Line, Estrada hopes to win over people in the crowd who aren’t as familiar with his stand-up career. He recognizes that Hollywood fame only lasts a few seasons for many in the industry. It’s comedy he’s betting on — and he aims to leave audiences across the country wanting an encore.\u003c/p>\n\u003cp>“Because of \u003cem>This Fool\u003c/em>, most people are coming to see me because of that. Some of them don’t know me as a stand-up comedian. I don’t know how long I’ll have the show. Maybe we’ll have a third season, maybe we won’t. Who knows? At some point, it ends,” Estrada said.\u003c/p>\n\u003cp>“I don’t want [audiences] to keep coming because they know the show,” he added. “I want a large part of them to keep coming because they know me as a comedian.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/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>\u003cem>Chris Estrada performs at the Punch Line in San Francisco through Aug. 19. \u003c/em>\u003ca href=\"https://www.punchlinecomedyclub.com/\">\u003cem>Details here\u003c/em>\u003c/a>\u003cem>. \u003c/em>\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\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13933480/a-beautiful-city-comedian-chris-estrada-on-sf-and-the-iconic-punch-line","authors":["11852"],"categories":["arts_1","arts_968"],"tags":["arts_6425","arts_9964","arts_549","arts_13501","arts_5234","arts_1256","arts_4681","arts_5732","arts_3986","arts_913","arts_3432"],"featImg":"arts_13933444","label":"arts"},"arts_13930570":{"type":"posts","id":"arts_13930570","meta":{"index":"posts_1591205157","site":"arts","id":"13930570","score":null,"sort":[1687556803000]},"guestAuthors":[],"slug":"hit-girls-bay-area-punk-avengers-frightwig-penelope-houston-jen-larson-sfpl","title":"‘Hit Girls’ Explores Early, Female-Led Bay Area Punk at the San Francisco Library","publishDate":1687556803,"format":"standard","headTitle":"‘Hit Girls’ Explores Early, Female-Led Bay Area Punk at the San Francisco Library | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>In January, 2023, Jen B. Larson released \u003ca href=\"https://bookshop.org/p/books/hit-girls-women-of-punk-in-the-usa-1975-1983-jen-b-larson/17273216?ean=9781627311236\">\u003cem>Hit Girls: Women of Punk in the USA, 1975-1983\u003c/em>\u003c/a>. The book was a comprehensive overview of the under-sung female artists who lit up punk scenes across America in the genre’s earliest days. Broken down by region, the “West Coast (North)” section of the book compiled some of the Bay Area’s most influential women, including members of Avengers, Frightwig, The Nuns, Romeo Void, Mary Monday and the Bitches and many more.\u003c/p>\n\u003cp>[aside postid='arts_13902953']This week, in support of \u003cem>Hit Girls,\u003c/em> Larson is appearing at the San Francisco Public Library in conversation with \u003ca href=\"http://frightwig.org/?page_id=36\">Frightwig\u003c/a>‘s Deanna Mitchell and Avengers’ \u003ca href=\"https://www.penelope.net/\">Penelope Houston\u003c/a>. (They will be moderated by \u003ca href=\"https://www.sfai.edu/bios/nicholas-gamso\">Nicholas Gamso\u003c/a>.) Houston is no stranger to the venue; she’s both a longtime library employee and the person responsible for starting a punk rock archive at the San Francisco History Center. (Houston also recently showcased some of her own art on the sixth floor, featuring \u003ca href=\"https://www.kqed.org/arts/13926347/identities-penelope-houston-xandra-ibarra-mugshots-sfpl\">historic mugshots from San Francisco\u003c/a>.)\u003c/p>\n\u003cp>[aside postid='arts_13928586']Together, the women will be sharing anecdotes and discussing what the Bay Area punk community was like in its earliest days, as well as examining its influence on later periods of punk and riot grrrl. A slideshow will highlight other female punk artists of the period, as well as fans and figures from the scene. Larson will also expand on the making of \u003cem>Hit Girls\u003c/em> and what she learned in the writing, research and interview process.\u003c/p>\n\u003cdiv>\n\u003cp>As \u003cem>Hit Girls\u003c/em> emphasizes repeatedly in its pages, the earliest days of punk, particularly in San Francisco, were some of the most open, experimental and beautifully chaotic times for the genre. The combination of Mitchell and Houston’s firsthand experiences with Larson’s expertise is sure to make this a fascinating look back at what made it all so special.\u003c/p>\n\u003cp>As musician and actress \u003ca href=\"https://en.wikipedia.org/wiki/Ann_Magnuson\">Ann Magnuson\u003c/a> wrote so passionately in the foreword to \u003cem>Hit Girls\u003c/em>:\u003c/p>\n\u003cblockquote>\u003cp>[These artists] were dismembering the old concepts of womanhood — to a primal beat … It was as if all the female Beatles fans screaming in the stands at Shea Stadium fled the bleachers, trampled the cops and rushed the stage, pushing aside the Fab Four, grabbing their instruments and proclaiming ‘I don’t wanna hold your hand, I wanna play your guitar.’ Danger is still in the air.\u003c/p>\u003c/blockquote>\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\u003c/div>\n\u003cdiv>\n\u003cp>\u003cem>Jen B. Larson will be in conversation with Deanna Mitchell and Penelope Houston at the San Francisco Public Library (100 Larkin St.) on Thursday, June 29 at 3:30 p.m. \u003ca href=\"https://sfpl.org/events/2023/06/29/panel-hit-girls-women-punk-usa-1975-1983\">Details here\u003c/a>. Houston’s band Avengers will be performing at Mosswood Meltdown (Mosswood Park, Oakland) on Sunday, July 2. \u003ca href=\"https://mosswoodmeltdown.com/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Avengers and Frightwig members will discuss their experiences of early Bay Area punk with author Jen Larson on June 29.","status":"publish","parent":0,"modified":1705005344,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":10,"wordCount":457},"headData":{"title":"Event: ‘Hit Girls’ at SFPL Explores the Women of Early Punk | KQED","description":"Avengers and Frightwig members will discuss their experiences of early Bay Area punk with author Jen Larson on June 29.","ogTitle":"‘Hit Girls’ Explores Early, Female-Led Bay Area Punk at the San Francisco Library","ogDescription":"","ogImgId":"","twTitle":"‘Hit Girls’ Explores Early, Female-Led Bay Area Punk at the San Francisco Library","twDescription":"","twImgId":"","socialTitle":"Event: ‘Hit Girls’ at SFPL Explores the Women of Early Punk %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"‘Hit Girls’ Explores Early, Female-Led Bay Area Punk at the San Francisco Library","datePublished":"2023-06-23T21:46:43.000Z","dateModified":"2024-01-11T20:35:44.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13930570/hit-girls-bay-area-punk-avengers-frightwig-penelope-houston-jen-larson-sfpl","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In January, 2023, Jen B. Larson released \u003ca href=\"https://bookshop.org/p/books/hit-girls-women-of-punk-in-the-usa-1975-1983-jen-b-larson/17273216?ean=9781627311236\">\u003cem>Hit Girls: Women of Punk in the USA, 1975-1983\u003c/em>\u003c/a>. The book was a comprehensive overview of the under-sung female artists who lit up punk scenes across America in the genre’s earliest days. Broken down by region, the “West Coast (North)” section of the book compiled some of the Bay Area’s most influential women, including members of Avengers, Frightwig, The Nuns, Romeo Void, Mary Monday and the Bitches and many more.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13902953","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>This week, in support of \u003cem>Hit Girls,\u003c/em> Larson is appearing at the San Francisco Public Library in conversation with \u003ca href=\"http://frightwig.org/?page_id=36\">Frightwig\u003c/a>‘s Deanna Mitchell and Avengers’ \u003ca href=\"https://www.penelope.net/\">Penelope Houston\u003c/a>. (They will be moderated by \u003ca href=\"https://www.sfai.edu/bios/nicholas-gamso\">Nicholas Gamso\u003c/a>.) Houston is no stranger to the venue; she’s both a longtime library employee and the person responsible for starting a punk rock archive at the San Francisco History Center. (Houston also recently showcased some of her own art on the sixth floor, featuring \u003ca href=\"https://www.kqed.org/arts/13926347/identities-penelope-houston-xandra-ibarra-mugshots-sfpl\">historic mugshots from San Francisco\u003c/a>.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13928586","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Together, the women will be sharing anecdotes and discussing what the Bay Area punk community was like in its earliest days, as well as examining its influence on later periods of punk and riot grrrl. A slideshow will highlight other female punk artists of the period, as well as fans and figures from the scene. Larson will also expand on the making of \u003cem>Hit Girls\u003c/em> and what she learned in the writing, research and interview process.\u003c/p>\n\u003cdiv>\n\u003cp>As \u003cem>Hit Girls\u003c/em> emphasizes repeatedly in its pages, the earliest days of punk, particularly in San Francisco, were some of the most open, experimental and beautifully chaotic times for the genre. The combination of Mitchell and Houston’s firsthand experiences with Larson’s expertise is sure to make this a fascinating look back at what made it all so special.\u003c/p>\n\u003cp>As musician and actress \u003ca href=\"https://en.wikipedia.org/wiki/Ann_Magnuson\">Ann Magnuson\u003c/a> wrote so passionately in the foreword to \u003cem>Hit Girls\u003c/em>:\u003c/p>\n\u003cblockquote>\u003cp>[These artists] were dismembering the old concepts of womanhood — to a primal beat … It was as if all the female Beatles fans screaming in the stands at Shea Stadium fled the bleachers, trampled the cops and rushed the stage, pushing aside the Fab Four, grabbing their instruments and proclaiming ‘I don’t wanna hold your hand, I wanna play your guitar.’ Danger is still in the air.\u003c/p>\u003c/blockquote>\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\u003c/div>\n\u003cdiv>\n\u003cp>\u003cem>Jen B. Larson will be in conversation with Deanna Mitchell and Penelope Houston at the San Francisco Public Library (100 Larkin St.) on Thursday, June 29 at 3:30 p.m. \u003ca href=\"https://sfpl.org/events/2023/06/29/panel-hit-girls-women-punk-usa-1975-1983\">Details here\u003c/a>. Houston’s band Avengers will be performing at Mosswood Meltdown (Mosswood Park, Oakland) on Sunday, July 2. \u003ca href=\"https://mosswoodmeltdown.com/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003c/div>\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>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13930570/hit-girls-bay-area-punk-avengers-frightwig-penelope-houston-jen-larson-sfpl","authors":["11242"],"programs":["arts_140"],"categories":["arts_1","arts_73","arts_11615","arts_69"],"tags":["arts_11374","arts_9964","arts_10278","arts_977","arts_913","arts_585"],"featImg":"arts_13930875","label":"arts_140"},"arts_13928586":{"type":"posts","id":"arts_13928586","meta":{"index":"posts_1591205157","site":"arts","id":"13928586","score":null,"sort":[1683234691000]},"guestAuthors":[],"slug":"las-vegas-punk-rock-museum-has-a-treasure-trove-of-bay-area-treats","title":"Las Vegas’ Punk Rock Museum Has a Treasure Trove of Bay Area Treats","publishDate":1683234691,"format":"standard","headTitle":"Las Vegas’ Punk Rock Museum Has a Treasure Trove of Bay Area Treats | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Las Vegas, Nevada. Late Saturday afternoon inside the newly opened \u003ca href=\"https://www.thepunkrockmuseum.com/\">Punk Rock Museum\u003c/a>. Eugene Hütz, frontman for \u003ca href=\"https://www.gogolbordello.com/\">Gogol Bordello\u003c/a>, is giving a tour of the building to 20 or so fans. Nearing the end of the ground floor’s maze of memorabilia rooms, Hütz makes a casual reference to GG Allin — one of the most nihilistic and controversial figures in punk’s history. Immediately, all the power in the building suddenly goes out.\u003c/p>\n\u003cp>“Oh my God,” one woman on the tour says. “Did the ghost of GG Allin just f–king do that?!”\u003c/p>\n\u003cp>[aside postid='arts_13928196']It’s not a setup. Nobody who works at the museum has any idea what’s going on. Employees grab flashlights, check fuse boxes and scurry in different directions trying to figure out what the problem is. Right on cue, NOFX frontman and museum co-founder “Fat” Mike Burkett emerges from the on-site bar, the \u003ca href=\"https://www.thepunkrockmuseum.com/the-triple-down-bar\">Triple Down\u003c/a> (named in honor of legendary Vegas punk venue the \u003ca href=\"https://www.facebook.com/DoubleDownLV/\">Doubledown Saloon\u003c/a>), and offers everyone free shots.\u003c/p>\n\u003cp>Museum visitors pile into the bar while Fat Mike holds court. He may not be beloved by the entire punk scene — thanks to a number of \u003ca href=\"https://www.theguardian.com/music/2010/mar/29/fat-mike-nofx-spiked-fans-drink-urine\">controversies over the years\u003c/a> — but today’s visitors are clearly excited to be in his proximity for the 25 minutes or so it takes to get the lights back on. Only one visitor leaves early, visibly irritated by the inability to finish her visit or buy merch at the on-site gift shop.\u003c/p>\n\u003cfigure id=\"attachment_13928645\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928645\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/lookout-gd-scaled-e1683159357667-800x495.jpg\" alt='Photo 1: A pink sandwich board that says \"Lookout! Records drop in\" with a black, shabby guitar. Photo 2: A colorful Green Day poster featuring a cartoon bear wearing a hat and shirt next to a pale blue, sticker covered guitar.' width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/lookout-gd-scaled-e1683159357667-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/lookout-gd-scaled-e1683159357667-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/lookout-gd-scaled-e1683159357667-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/lookout-gd-scaled-e1683159357667-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/lookout-gd-scaled-e1683159357667-1536x950.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/lookout-gd-scaled-e1683159357667.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L) Vintage Lookout! Records signage, alongside the guitar Tim Armstrong played in Operation Ivy, and (R) a vintage Green Day concert poster with one of Billie Joe Armstrong’s “Blue” guitars. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When the lights are on, The Punk Rock Museum is a thoughtfully curated collection of punk memorabilia organized by both time period and region. The Bay Area is represented consistently, starting with portraits of \u003ca href=\"https://rancidrancid.com/\">Rancid\u003c/a> and No Use For a Name frontman \u003ca href=\"https://en.wikipedia.org/wiki/Tony_Sly\">Tony Sly\u003c/a> in the entrance hall. Around the way sits a cabinet of historic ephemera (including posters, flyers, instruments, outfits and photos) relating to San Francisco bands like \u003ca href=\"https://en.wikipedia.org/wiki/The_Nuns\">The Nuns\u003c/a>, \u003ca href=\"https://en.wikipedia.org/wiki/Avengers_(band)\">Avengers\u003c/a>, \u003ca href=\"https://en.wikipedia.org/wiki/Flipper_(band)\">Flipper\u003c/a>, \u003ca href=\"http://frightwig.org/\">Frightwig\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Crime_(band)\">Crime\u003c/a>. All of which is accompanied by original artwork by \u003ca href=\"https://www.winstonsmith.com/\">Winston Smith\u003c/a> — best known for his album artwork for \u003ca href=\"http://www.deadkennedys.com/\">Dead Kennedys\u003c/a> — and classic issues of legendary San Francisco punk fanzine, \u003ca href=\"https://www.maximumrocknroll.com/\">Maximum Rocknroll\u003c/a>. Elsewhere, a cabinet marked “Punk’s Big Break” includes homages to other local favorites like Green Day, Operation Ivy and Rancid.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As is to be expected at a museum co-founded by Fat Mike, there is a ton of NOFX and Fat Wreck Chords memorabilia. This includes an entire wall of photography, album artwork and old mail order flyers, along with a No Use For a Name setlist written on a longboard, plus a whole corner dedicated to Japanese Fat band \u003ca href=\"https://en.wikipedia.org/wiki/Hi-Standard\">Hi-Standard\u003c/a>. Most delightfully, a handwritten Fat Wreck record contract sits framed on a wall. There’s also a sloppily penned interview by NOFX that was sent to a fanzine before the age of the internet. Sample text: “We just like to go on tour a lot. We want to go to Europe this summer and eat good food. We are also concerned about crabs.”\u003c/p>\n\u003cp>Indeed, there is a dizzying array of punk rock collectibles in this 12,000-square-foot black box of a building — some of which are bizarre to say the least. Joe Strummer’s last bag of weed, labeled “Joe Strummer’s San Francisco Stash, 2005,” sits half-submerged in a tin foil wrapper. A handwritten letter to a fan by The Damned’s Captain Sensible is present. Pennywise’s garage practice space is here in its entirety, after bassist Fletcher Dragge emptied it, hauled its contents to Nevada, and rebuilt the entire thing in the museum.\u003c/p>\n\u003cfigure id=\"attachment_13928646\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928646\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/20230503_173954-scaled-e1683161047994-800x657.jpg\" alt=\"A room with a security chain running in front of it contains musical equipment, a grimy carpet and numerous flyers and posters.\" width=\"800\" height=\"657\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/20230503_173954-scaled-e1683161047994-800x657.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/20230503_173954-scaled-e1683161047994-1020x838.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/20230503_173954-scaled-e1683161047994-160x131.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/20230503_173954-scaled-e1683161047994-768x631.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/20230503_173954-scaled-e1683161047994-1536x1262.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/20230503_173954-scaled-e1683161047994.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pennywise’s practice space as moved and rebuilt by bassist and museum co-founder Fletcher Dragge. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the blackout during KQED’s visit reflects, the opening of The Punk Rock Museum has not been smooth sailing. Its original opening, slated for January, was delayed because the museum hadn’t come together in time. Then the scheduled March opening got pushed back after a failed fire inspection. Though the museum is open and operating now, some of its advertised attractions — a wedding chapel and on-site tattoo shop — remain closed. It’s also impossible not to notice various inconsistencies when it comes to photo credits. (Some walls simply have none at all.) An entire wall of leather jackets — presumably donated by famous musicians — remains unlabeled.\u003c/p>\n\u003cp>[aside postid='arts_13927278']There are a variety of reasons for the ongoing chaos at the museum. First and foremost, this supremely ambitious entity has been put together by a tiny team of 12 punks, almost none of whom have any experience in setting up a museum. In addition to Fat Mike and Dragge, the team includes former Less Than Jake drummer \u003ca href=\"https://en.wikipedia.org/wiki/Vinnie_Fiorello\">Vinnie Fiorello\u003c/a>, Warped Tour manager \u003ca href=\"https://www.instagram.com/brixton23/?hl=en\">Lisa Brownlee\u003c/a>, rock photographer \u003ca href=\"https://www.facebook.com/LisaJohnsonRockPhotographer/\">Lisa Johnson\u003c/a> and production manager \u003ca href=\"https://www.instagram.com/lockneck/?hl=en\">Mona Whetzel\u003c/a>.\u003c/p>\n\u003cp>The most experienced team member is San Jose-born \u003ca href=\"https://www.bryanrayturcotte.com/\">Bryan Ray Turcotte\u003c/a>, a jack of all trades who has worked in publishing, music journalism, music production and museum curation. The museum’s setup was funded by punks too, including Obey artist \u003ca href=\"https://obeygiant.com/\">Shepard Fairey\u003c/a>, Foo Fighters guitarist \u003ca href=\"https://en.wikipedia.org/wiki/Pat_Smear\">Pat Smear\u003c/a>, and skateboarding legend \u003ca href=\"https://en.wikipedia.org/wiki/Tony_Hawk\">Tony Hawk\u003c/a>. (Hawk \u003ca href=\"https://www.instagram.com/p/CrgNwWfO6rL/?hl=en\">paid the museum a visit\u003c/a> two days before KQED and apparently, bedlam ensued.)\u003c/p>\n\u003cfigure id=\"attachment_13928661\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928661\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/20230429_175235-scaled-e1683230579390-800x600.jpg\" alt=\"A young man with long black, dressed in tattered black jeans, t-shirt and studded belt stands arms outstretched and smiling in a practice space. He is holding up a pink guitar.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/20230429_175235-scaled-e1683230579390-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/20230429_175235-scaled-e1683230579390-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/20230429_175235-scaled-e1683230579390-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/20230429_175235-scaled-e1683230579390-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/20230429_175235-scaled-e1683230579390-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/20230429_175235-scaled-e1683230579390.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Punk Museum guide Alan holds up a donated guitar from Rancid’s Tim Armstong in the on-site ‘Jam Room.’ \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Punk Rock Museum reflects punk’s DIY ethos to a tee, as well as the tight communities that hold the scene together. That community has supported the museum opening with valuable donations and few questions asked. Donors have the option of loaning their property to the museum for a fixed period or handing it over, in perpetuity. When that happens, donors must sign a contract stating that they are granting the museum: “Absolute and unconditional ownership of the property described herein.” They agree to “assign to the museum full powers of management, access, display, conservation and disposition at its sole discretion.”\u003c/p>\n\u003cp>The museum’s appeal to the punk and hardcore community has been strong since even the earliest days of set-up began back in 2021. Now the doors are finally open, prominent musicians are lining up to guide fans around the property. In May alone, members of Sick of it All, Social Distortion, The Casualties, Bad Religion, Less Than Jake and The Vandals are all giving tours. (Regular tickets to the museum cost $30. Tickets with tours are $100. Fees are in addition in both cases.)\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>To be clear: the average lay person, or even anyone looking for critical, intellectual discussion of punk history, will not find it at the Punk Rock Museum. It wastes no time explaining why punk started or who the genre is for, and really provides little information alongside the mountains of memorabilia it has collected. No, this museum, like so many of the dingy rooms from whence punk sprang, assumes that you are there because you already know. And in many ways, that will make it a more appealing proposition for punk fans everywhere — ongoing screw-ups and all.\u003c/p>\n\n","blocks":[],"excerpt":"Fat Mike's latest project doesn't have its act together just yet — but that's how you know it's run by actual punks.","status":"publish","parent":0,"modified":1705005545,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":1271},"headData":{"title":"The Punk Museum Review: Las Vegas Attraction Appeals to Fans | KQED","description":"Fat Mike's latest project doesn't have its act together just yet — but that's how you know it's run by actual punks.","ogTitle":"Las Vegas’ Punk Rock Museum Has a Treasure Trove of Bay Area Treats","ogDescription":"","ogImgId":"","twTitle":"Las Vegas’ Punk Rock Museum Has a Treasure Trove of Bay Area Treats","twDescription":"","twImgId":"","socialTitle":"The Punk Museum Review: Las Vegas Attraction Appeals to Fans %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Las Vegas’ Punk Rock Museum Has a Treasure Trove of Bay Area Treats","datePublished":"2023-05-04T21:11:31.000Z","dateModified":"2024-01-11T20:39:05.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13928586/las-vegas-punk-rock-museum-has-a-treasure-trove-of-bay-area-treats","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Las Vegas, Nevada. Late Saturday afternoon inside the newly opened \u003ca href=\"https://www.thepunkrockmuseum.com/\">Punk Rock Museum\u003c/a>. Eugene Hütz, frontman for \u003ca href=\"https://www.gogolbordello.com/\">Gogol Bordello\u003c/a>, is giving a tour of the building to 20 or so fans. Nearing the end of the ground floor’s maze of memorabilia rooms, Hütz makes a casual reference to GG Allin — one of the most nihilistic and controversial figures in punk’s history. Immediately, all the power in the building suddenly goes out.\u003c/p>\n\u003cp>“Oh my God,” one woman on the tour says. “Did the ghost of GG Allin just f–king do that?!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13928196","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>It’s not a setup. Nobody who works at the museum has any idea what’s going on. Employees grab flashlights, check fuse boxes and scurry in different directions trying to figure out what the problem is. Right on cue, NOFX frontman and museum co-founder “Fat” Mike Burkett emerges from the on-site bar, the \u003ca href=\"https://www.thepunkrockmuseum.com/the-triple-down-bar\">Triple Down\u003c/a> (named in honor of legendary Vegas punk venue the \u003ca href=\"https://www.facebook.com/DoubleDownLV/\">Doubledown Saloon\u003c/a>), and offers everyone free shots.\u003c/p>\n\u003cp>Museum visitors pile into the bar while Fat Mike holds court. He may not be beloved by the entire punk scene — thanks to a number of \u003ca href=\"https://www.theguardian.com/music/2010/mar/29/fat-mike-nofx-spiked-fans-drink-urine\">controversies over the years\u003c/a> — but today’s visitors are clearly excited to be in his proximity for the 25 minutes or so it takes to get the lights back on. Only one visitor leaves early, visibly irritated by the inability to finish her visit or buy merch at the on-site gift shop.\u003c/p>\n\u003cfigure id=\"attachment_13928645\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928645\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/lookout-gd-scaled-e1683159357667-800x495.jpg\" alt='Photo 1: A pink sandwich board that says \"Lookout! Records drop in\" with a black, shabby guitar. Photo 2: A colorful Green Day poster featuring a cartoon bear wearing a hat and shirt next to a pale blue, sticker covered guitar.' width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/lookout-gd-scaled-e1683159357667-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/lookout-gd-scaled-e1683159357667-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/lookout-gd-scaled-e1683159357667-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/lookout-gd-scaled-e1683159357667-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/lookout-gd-scaled-e1683159357667-1536x950.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/lookout-gd-scaled-e1683159357667.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L) Vintage Lookout! Records signage, alongside the guitar Tim Armstrong played in Operation Ivy, and (R) a vintage Green Day concert poster with one of Billie Joe Armstrong’s “Blue” guitars. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When the lights are on, The Punk Rock Museum is a thoughtfully curated collection of punk memorabilia organized by both time period and region. The Bay Area is represented consistently, starting with portraits of \u003ca href=\"https://rancidrancid.com/\">Rancid\u003c/a> and No Use For a Name frontman \u003ca href=\"https://en.wikipedia.org/wiki/Tony_Sly\">Tony Sly\u003c/a> in the entrance hall. Around the way sits a cabinet of historic ephemera (including posters, flyers, instruments, outfits and photos) relating to San Francisco bands like \u003ca href=\"https://en.wikipedia.org/wiki/The_Nuns\">The Nuns\u003c/a>, \u003ca href=\"https://en.wikipedia.org/wiki/Avengers_(band)\">Avengers\u003c/a>, \u003ca href=\"https://en.wikipedia.org/wiki/Flipper_(band)\">Flipper\u003c/a>, \u003ca href=\"http://frightwig.org/\">Frightwig\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Crime_(band)\">Crime\u003c/a>. All of which is accompanied by original artwork by \u003ca href=\"https://www.winstonsmith.com/\">Winston Smith\u003c/a> — best known for his album artwork for \u003ca href=\"http://www.deadkennedys.com/\">Dead Kennedys\u003c/a> — and classic issues of legendary San Francisco punk fanzine, \u003ca href=\"https://www.maximumrocknroll.com/\">Maximum Rocknroll\u003c/a>. Elsewhere, a cabinet marked “Punk’s Big Break” includes homages to other local favorites like Green Day, Operation Ivy and Rancid.\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>As is to be expected at a museum co-founded by Fat Mike, there is a ton of NOFX and Fat Wreck Chords memorabilia. This includes an entire wall of photography, album artwork and old mail order flyers, along with a No Use For a Name setlist written on a longboard, plus a whole corner dedicated to Japanese Fat band \u003ca href=\"https://en.wikipedia.org/wiki/Hi-Standard\">Hi-Standard\u003c/a>. Most delightfully, a handwritten Fat Wreck record contract sits framed on a wall. There’s also a sloppily penned interview by NOFX that was sent to a fanzine before the age of the internet. Sample text: “We just like to go on tour a lot. We want to go to Europe this summer and eat good food. We are also concerned about crabs.”\u003c/p>\n\u003cp>Indeed, there is a dizzying array of punk rock collectibles in this 12,000-square-foot black box of a building — some of which are bizarre to say the least. Joe Strummer’s last bag of weed, labeled “Joe Strummer’s San Francisco Stash, 2005,” sits half-submerged in a tin foil wrapper. A handwritten letter to a fan by The Damned’s Captain Sensible is present. Pennywise’s garage practice space is here in its entirety, after bassist Fletcher Dragge emptied it, hauled its contents to Nevada, and rebuilt the entire thing in the museum.\u003c/p>\n\u003cfigure id=\"attachment_13928646\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928646\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/20230503_173954-scaled-e1683161047994-800x657.jpg\" alt=\"A room with a security chain running in front of it contains musical equipment, a grimy carpet and numerous flyers and posters.\" width=\"800\" height=\"657\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/20230503_173954-scaled-e1683161047994-800x657.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/20230503_173954-scaled-e1683161047994-1020x838.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/20230503_173954-scaled-e1683161047994-160x131.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/20230503_173954-scaled-e1683161047994-768x631.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/20230503_173954-scaled-e1683161047994-1536x1262.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/20230503_173954-scaled-e1683161047994.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pennywise’s practice space as moved and rebuilt by bassist and museum co-founder Fletcher Dragge. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the blackout during KQED’s visit reflects, the opening of The Punk Rock Museum has not been smooth sailing. Its original opening, slated for January, was delayed because the museum hadn’t come together in time. Then the scheduled March opening got pushed back after a failed fire inspection. Though the museum is open and operating now, some of its advertised attractions — a wedding chapel and on-site tattoo shop — remain closed. It’s also impossible not to notice various inconsistencies when it comes to photo credits. (Some walls simply have none at all.) An entire wall of leather jackets — presumably donated by famous musicians — remains unlabeled.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13927278","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>There are a variety of reasons for the ongoing chaos at the museum. First and foremost, this supremely ambitious entity has been put together by a tiny team of 12 punks, almost none of whom have any experience in setting up a museum. In addition to Fat Mike and Dragge, the team includes former Less Than Jake drummer \u003ca href=\"https://en.wikipedia.org/wiki/Vinnie_Fiorello\">Vinnie Fiorello\u003c/a>, Warped Tour manager \u003ca href=\"https://www.instagram.com/brixton23/?hl=en\">Lisa Brownlee\u003c/a>, rock photographer \u003ca href=\"https://www.facebook.com/LisaJohnsonRockPhotographer/\">Lisa Johnson\u003c/a> and production manager \u003ca href=\"https://www.instagram.com/lockneck/?hl=en\">Mona Whetzel\u003c/a>.\u003c/p>\n\u003cp>The most experienced team member is San Jose-born \u003ca href=\"https://www.bryanrayturcotte.com/\">Bryan Ray Turcotte\u003c/a>, a jack of all trades who has worked in publishing, music journalism, music production and museum curation. The museum’s setup was funded by punks too, including Obey artist \u003ca href=\"https://obeygiant.com/\">Shepard Fairey\u003c/a>, Foo Fighters guitarist \u003ca href=\"https://en.wikipedia.org/wiki/Pat_Smear\">Pat Smear\u003c/a>, and skateboarding legend \u003ca href=\"https://en.wikipedia.org/wiki/Tony_Hawk\">Tony Hawk\u003c/a>. (Hawk \u003ca href=\"https://www.instagram.com/p/CrgNwWfO6rL/?hl=en\">paid the museum a visit\u003c/a> two days before KQED and apparently, bedlam ensued.)\u003c/p>\n\u003cfigure id=\"attachment_13928661\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928661\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/20230429_175235-scaled-e1683230579390-800x600.jpg\" alt=\"A young man with long black, dressed in tattered black jeans, t-shirt and studded belt stands arms outstretched and smiling in a practice space. He is holding up a pink guitar.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/20230429_175235-scaled-e1683230579390-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/20230429_175235-scaled-e1683230579390-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/20230429_175235-scaled-e1683230579390-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/20230429_175235-scaled-e1683230579390-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/20230429_175235-scaled-e1683230579390-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/20230429_175235-scaled-e1683230579390.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Punk Museum guide Alan holds up a donated guitar from Rancid’s Tim Armstong in the on-site ‘Jam Room.’ \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Punk Rock Museum reflects punk’s DIY ethos to a tee, as well as the tight communities that hold the scene together. That community has supported the museum opening with valuable donations and few questions asked. Donors have the option of loaning their property to the museum for a fixed period or handing it over, in perpetuity. When that happens, donors must sign a contract stating that they are granting the museum: “Absolute and unconditional ownership of the property described herein.” They agree to “assign to the museum full powers of management, access, display, conservation and disposition at its sole discretion.”\u003c/p>\n\u003cp>The museum’s appeal to the punk and hardcore community has been strong since even the earliest days of set-up began back in 2021. Now the doors are finally open, prominent musicians are lining up to guide fans around the property. In May alone, members of Sick of it All, Social Distortion, The Casualties, Bad Religion, Less Than Jake and The Vandals are all giving tours. (Regular tickets to the museum cost $30. Tickets with tours are $100. Fees are in addition in both cases.)\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>To be clear: the average lay person, or even anyone looking for critical, intellectual discussion of punk history, will not find it at the Punk Rock Museum. It wastes no time explaining why punk started or who the genre is for, and really provides little information alongside the mountains of memorabilia it has collected. No, this museum, like so many of the dingy rooms from whence punk sprang, assumes that you are there because you already know. And in many ways, that will make it a more appealing proposition for punk fans everywhere — ongoing screw-ups and all.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13928586/las-vegas-punk-rock-museum-has-a-treasure-trove-of-bay-area-treats","authors":["11242"],"categories":["arts_1","arts_835","arts_69"],"tags":["arts_10278","arts_913"],"featImg":"arts_13928669","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. Michel Martin hosts on the weekends.","airtime":"MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/all-things-considered/","meta":{"site":"news","source":"npr"},"link":"/radio/program/all-things-considered"},"american-suburb-podcast":{"id":"american-suburb-podcast","title":"American Suburb: The Podcast","tagline":"The flip side of gentrification, told through one town","info":"Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?","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. 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You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED MindShift: How We Will Learn","officialWebsiteLink":"/mindshift/","meta":{"site":"news","source":"kqed","order":"2"},"link":"/podcasts/mindshift","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5","npr":"https://www.npr.org/podcasts/464615685/mind-shift-podcast","stitcher":"https://www.stitcher.com/podcast/kqed/stories-teachers-share","spotify":"https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"}},"morning-edition":{"id":"morning-edition","title":"Morning Edition","info":"\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. 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On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. 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