Murray Bowles, Legendary Bay Area Punk Photographer, Dies at 68
Is L.A. Losing Its Smell? Future Is Uncertain for All-Ages Punk Club
Documentary Reveals L.A.'s Secretive Backyard Latino Punk Scene
L.A.'s Punk History Comes to Light in 'Under the Big Black Sun'
The Improbable Transformation of a Punk Pioneer
Sponsored
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She hosted and produced the KQED podcast \u003cem>The Leap\u003c/em>, about people making dramatic, risky changes\u003cem>. \u003c/em>Previously, Judy was a KQED reporter, focusing on criminal justice and prison issues.\r\n\r\n ","avatar":"https://secure.gravatar.com/avatar/01fc051793f13e2d205dc0377bb17c44?s=600&d=blank&r=g","twitter":null,"facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"news","roles":["editor"]},{"site":"forum","roles":["editor"]}],"headData":{"title":"Judy Campbell | KQED","description":"lead producer, Forum with Alexis Madrigal","ogImgSrc":"https://secure.gravatar.com/avatar/01fc051793f13e2d205dc0377bb17c44?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/01fc051793f13e2d205dc0377bb17c44?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/jcampbell"}},"breakingNewsReducer":{},"campaignFinanceReducer":{},"firebase":{"requesting":{},"requested":{},"timestamps":{},"data":{},"ordered":{},"auth":{"isLoaded":false,"isEmpty":true},"authError":null,"profile":{"isLoaded":false,"isEmpty":true},"listeners":{"byId":{},"allIds":[]},"isInitializing":false,"errors":[]},"navBarReducer":{"navBarId":"news","fullView":true,"showPlayer":false},"navMenuReducer":{"menus":[{"key":"menu1","items":[{"name":"News","link":"/","type":"title"},{"name":"Politics","link":"/politics"},{"name":"Science","link":"/science"},{"name":"Education","link":"/educationnews"},{"name":"Housing","link":"/housing"},{"name":"Immigration","link":"/immigration"},{"name":"Criminal Justice","link":"/criminaljustice"},{"name":"Silicon Valley","link":"/siliconvalley"},{"name":"Forum","link":"/forum"},{"name":"The California Report","link":"/californiareport"}]},{"key":"menu2","items":[{"name":"Arts & Culture","link":"/arts","type":"title"},{"name":"Critics’ Picks","link":"/thedolist"},{"name":"Cultural Commentary","link":"/artscommentary"},{"name":"Food & Drink","link":"/food"},{"name":"Bay Area Hip-Hop","link":"/bayareahiphop"},{"name":"Rebel Girls","link":"/rebelgirls"},{"name":"Arts Video","link":"/artsvideos"}]},{"key":"menu3","items":[{"name":"Podcasts","link":"/podcasts","type":"title"},{"name":"Bay Curious","link":"/podcasts/baycurious"},{"name":"Rightnowish","link":"/podcasts/rightnowish"},{"name":"The Bay","link":"/podcasts/thebay"},{"name":"On Our Watch","link":"/podcasts/onourwatch"},{"name":"Mindshift","link":"/podcasts/mindshift"},{"name":"Consider This","link":"/podcasts/considerthis"},{"name":"Political Breakdown","link":"/podcasts/politicalbreakdown"}]},{"key":"menu4","items":[{"name":"Live Radio","link":"/radio","type":"title"},{"name":"TV","link":"/tv","type":"title"},{"name":"Events","link":"/events","type":"title"},{"name":"For Educators","link":"/education","type":"title"},{"name":"Support KQED","link":"/support","type":"title"},{"name":"About","link":"/about","type":"title"},{"name":"Help Center","link":"https://kqed-helpcenter.kqed.org/s","type":"title"}]}]},"pagesReducer":{},"postsReducer":{"stream_live":{"type":"live","id":"stream_live","audioUrl":"https://streams.kqed.org/kqedradio","title":"Live Stream","excerpt":"Live Stream information currently unavailable.","link":"/radio","featImg":"","label":{"name":"KQED Live","link":"/"}},"stream_kqedNewscast":{"type":"posts","id":"stream_kqedNewscast","audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1","title":"KQED Newscast","featImg":"","label":{"name":"88.5 FM","link":"/"}},"arts_13871151":{"type":"posts","id":"arts_13871151","meta":{"index":"posts_1591205157","site":"arts","id":"13871151","score":null,"sort":[1575939692000]},"guestAuthors":[],"slug":"murray-bowles-legendary-bay-area-punk-photographer-dies-at-68","title":"Murray Bowles, Legendary Bay Area Punk Photographer, Dies at 68","publishDate":1575939692,"format":"standard","headTitle":"Murray Bowles, Legendary Bay Area Punk Photographer, Dies at 68 | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Murray Bowles, the photographer who chronicled the characters, chaos and energy of the Bay Area’s punk scene for over three decades, died at his home in Sacramento on Sunday. He was 68.\u003c/p>\n\u003cp>Often seen in the middle of swirling crowds, one arm lifting his camera into the air, Bowles created tens of thousands of images that captured the close-up intensity of a punk show. Many of his photos became defining images, particularly in the East Bay punk scene, and his photos graced magazines, record artwork and film documentaries.\u003c/p>\n\u003cp>“One of the great rites of passage of being a teenage Berkeley punk rocker was finally getting into one of Murray’s pictures,” said close friend Anna Brown. “It meant that you were in.”\u003c/p>\n\u003cfigure id=\"attachment_13232566\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-800x533.jpg\" alt=\"Billie Joe Armstrong (third from right) sings with Operation Ivy onstage at 924 Gilman, circa 1988.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13232566\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Billie Joe Armstrong (third from right) sings with Operation Ivy onstage at 924 Gilman, circa 1988. \u003ccite>(Photo: Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bowles photographed thousands of bands, including many at Berkeley punk club 924 Gilman during the 1980s and 1990s. Along with bands like Crucifix, Filth, Crimpshrine and Fang, some of Bowles’ most iconic early photos capture young bands that went on to become globally known, like Operation Ivy, Neurosis, and Green Day.\u003c/p>\n\u003cp>But Bowles preferred the warehouses and basements.\u003c/p>\n\u003cfigure id=\"attachment_13871168\" class=\"wp-caption alignright\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Richie.Murray.jpg\" alt=\"Murray Bowles depicted on the cover of Green Day's album 'Dookie.'\" width=\"1080\" height=\"1080\" class=\"size-full wp-image-13871168\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray-1020x1020.jpg 1020w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">Murray Bowles depicted on the cover of Green Day’s album ‘Dookie.’ \u003ccite>(Richie Bucher)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He was right in there with the gritty basement shows, with kids, just sweaty, wild and free,” Brown said. “And I think that one of the things that’s so great about Murrays’ pictures is that sort of joyfulness. Even if was the most violent, negative band, the pictures came across as really sweet.”\u003c/p>\n\u003cp>Bowles was such a ubiquitous presence at Bay Area punk shows that he was included by artist Richie Bucher \u003ca href=\"https://www.instagram.com/p/B51xw5phoJrsez1PWqTuOOzRAFGOnbtN0ESHKc0/\" rel=\"noopener noreferrer\" target=\"_blank\">on the cover\u003c/a> of Green Day’s 1994 breakthrough album \u003cem>Dookie\u003c/em>, in his signature point-and-shoot pose. \u003c/p>\n\u003cp>“For me, he’s the most important part of that drawing,” said Bucher, who initially wanted to include everyone in the Berkeley punk scene in the tableau, an impossible task. “I don’t know if I thought about it at the time, but I realize now that by putting him in there, I wasn’t leaving anybody out. Because everybody from our scene could connect to him.”\u003c/p>\n\u003cp>“Murray, you are a legend,” wrote Green Day’s Billie Joe Armstrong \u003ca href=\"https://www.instagram.com/p/B51rOYnHlA4/\" rel=\"noopener noreferrer\" target=\"_blank\">on Instagram\u003c/a> on Monday. “I remember seeing your photos up on the walls at Gilman the first time I ever went there. Amazing photographer, musician. The nicest man and a great friend to the punks. East Bay punk has a heavy heart today.”\u003c/p>\n\u003cp>\u003cstrong>\u003cem>[See a giant collection of Murray Bowles’ photos \u003ca href=\"https://www.facebook.com/profile.php?id=100005407748464&sk=media_set&set=a.211229612400629&type=3\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>.]\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Questions about the future of Bowles’ archive have already been addressed. Brown said that, with Bowles, she’s planned for decades to publish a book of his photographs, a project she still hopes to see to fruition. Bowles selected all the images before he died, and helped with an outline for the book. \u003c/p>\n\u003cp>Corbett Redford, director of the documentary \u003cem>\u003ca href=\"https://www.kqed.org/arts/13239750/the-definitive-documentary-on-east-bay-punk-is-coming-pit-warning\" rel=\"noopener noreferrer\" target=\"_blank\">Turn It Around: The Story of East Bay Punk\u003c/a>\u003c/em>, said that having access to Bowles’ archive was a crucial component to the film. “He was so generous to give [his archive] to us. We would not have a documentary if it was not for him.”\u003c/p>\n\u003cfigure id=\"attachment_13871189\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/DavidHayes.Murray-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13871189\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Murray Bowles (R) with Very Small Records founder David Hayes. \u003ccite>(Courtesy Corbett Redford)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was through the making of \u003cem>Turn It Around\u003c/em> that 25 years of Bowles’ photos were finally preserved. Redford tells the story of driving to Bowles’ San Jose home with fanzine editor Robert Eggplant and Tim Armstrong from the band Rancid. There, the three went through decades of old photos and negatives.\u003c/p>\n\u003cp>“It was all gathering dust in his closet—30,000 negatives that were pretty disorganized,” Redford said. The three loaded all of Bowles’ negatives into the trunk, and drove back to Oakland to be cleaned and digitized over time by Caoimhe Carty, the film’s online editor. \u003c/p>\n\u003cp>“When I was driving back, I had what I felt was the Tiffany Diamond in the trunk,” Redford said. “I kept thinking, ‘Please don’t get in an accident. If I do, the entire history is gone.’”\u003c/p>\n\u003cfigure id=\"attachment_13243294\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-800x533.jpg\" alt=\"Green Day with first drummer John Kiffmeyer at Gilman, circa 1990.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13243294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Green Day with first drummer John Kiffmeyer at Gilman, circa 1990. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bowles was raised in San Gabriel, California, and learned photography from his grandfather. Upon graduating from UC Berkeley in 1976, he found work as a computer programmer in San Jose, but an assignment to photograph a show for the fanzine \u003cem>Ripper\u003c/em> got him hooked on the action of punk. “I started bringing my camera to every show I went to,” he told \u003cem>Maximum RocknRoll\u003c/em> in \u003ca href=\"http://maximumrocknroll.com/murray-bowles/\" rel=\"noopener noreferrer\" target=\"_blank\">a 2009 interview\u003c/a>. “It was addictive.”\u003c/p>\n\u003cp>Bowles initially distributed his photos by bringing a box of them to shows and selling them for 15 cents each to cover development costs, eventually raising the price to a quarter. It became a tradition among punks to scrape together change and buy pictures of themselves at shows from the week prior. In 1987, \u003cem>Maximum RockNRoll\u003c/em> published a special issue dedicated to Bowles’ photography, titled \u003cem>If Life is a Bowl of Cherries, Why am I in the Pit?\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13871178\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/GBH.Bowles-800x596.jpg\" alt=\"A stagediver at a GBH show in the early 1980s. \" width=\"800\" height=\"596\" class=\"size-medium wp-image-13871178\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/GBH.Bowles.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/GBH.Bowles-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/GBH.Bowles-768x572.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A stagediver at a GBH show in the early 1980s, from ‘If Life is a Bowl of Cherries, Why am I in the Pit?’. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Later, Bowles maintained an \u003ca href=\"https://www.instagram.com/murraybowles/?hl=en\" rel=\"noopener noreferrer\" target=\"_blank\">active Instagram account\u003c/a>, posting pictures from shows along with his other hobbies: food, beer, bicycling, nature. He also played the viola for several bands, as well as the Peninsula Symphony and the occasional theatre pit orchestra. He worked for Dell Computers until his retirement, when he moved to Sacramento.\u003c/p>\n\u003cp>There, Brown said, he continued to go to underground shows up until the end, always taking photos. “He really captured this side of punk that was not cliché,” Brown said. “He really got it.”\u003c/p>\n\u003cfigure id=\"attachment_13871203\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/MurrayViola-2.jpg\" alt=\"Murray Bowles, playing his viola.\" width=\"600\" height=\"400\" class=\"size-full wp-image-13871203\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayViola-2.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayViola-2-160x107.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Murray Bowles, playing his viola. \u003ccite>(Courtesy Corbett Redford)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Matt Saincome, founder of the punk satire site The Hard Times, remembered Bowles for his commitment and tenacity.\u003c/p>\n\u003cp>“My friends and I, we threw a show at a barn in Clayton when I was 16,” Saincome said. “There were 12 people there, out in the middle of nowhere, up this mountain, it didn’t even have an address. Absolutely no one came. No popular bands. And all of a sudden, Murray popped up. It’s me and 12 of my friends, and then him… His dedication to punk went so far that he wasn’t just going to a couple venues here and there. He said, ‘I’m gonna drive up this mountain in Clayton, to a barn with cows and chickens.’”\u003c/p>\n\u003cfigure id=\"attachment_13871194\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-800x530.jpg\" alt=\"Murray Bowles at Sibley Park, in the East Bay hills.\" width=\"800\" height=\"530\" class=\"size-medium wp-image-13871194\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-1200x796.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Murray Bowles at Sibley Park, in the East Bay hills. \u003ccite>(Anna Brown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Saincome echoed the sentiment that Bowles chronicled people, music and moments that would otherwise be forgotten, with an eye for people’s humanity. “If you’re a Bay Area punk kid, you can go to \u003ca href=\"https://pbase.com/murraybowles/\" rel=\"noopener noreferrer\" target=\"_blank\">his website\u003c/a> and watch yourself grow up in real time through his photos,” Saincome said.\u003c/p>\n\u003cp>“Just the fact that it was him taking your picture—it made you feel legitimate, and valuable, and part of something,” said Bucher. “I had trouble feeling part of anything. But if Murray’s there, then it’s hard not to feel included.”\u003c/p>\n\u003cp>As Becca Bolo, a Gilman regular in the 1990s, put it, “Murray was an incredibly talented person who gave us the gift of seeing ourselves as the beautiful humans that we are.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"Shooting from the crowd, Bowles captured the intimate energy of punk's brightest figures.","status":"publish","parent":0,"modified":1705021706,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":26,"wordCount":1321},"headData":{"title":"Murray Bowles, Legendary Bay Area Punk Photographer, Dies at 68 | KQED","description":"Shooting from the crowd, Bowles captured the intimate energy of punk's brightest figures.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13871151/murray-bowles-legendary-bay-area-punk-photographer-dies-at-68","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Murray Bowles, the photographer who chronicled the characters, chaos and energy of the Bay Area’s punk scene for over three decades, died at his home in Sacramento on Sunday. He was 68.\u003c/p>\n\u003cp>Often seen in the middle of swirling crowds, one arm lifting his camera into the air, Bowles created tens of thousands of images that captured the close-up intensity of a punk show. Many of his photos became defining images, particularly in the East Bay punk scene, and his photos graced magazines, record artwork and film documentaries.\u003c/p>\n\u003cp>“One of the great rites of passage of being a teenage Berkeley punk rocker was finally getting into one of Murray’s pictures,” said close friend Anna Brown. “It meant that you were in.”\u003c/p>\n\u003cfigure id=\"attachment_13232566\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-800x533.jpg\" alt=\"Billie Joe Armstrong (third from right) sings with Operation Ivy onstage at 924 Gilman, circa 1988.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13232566\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Billie Joe Armstrong (third from right) sings with Operation Ivy onstage at 924 Gilman, circa 1988. \u003ccite>(Photo: Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bowles photographed thousands of bands, including many at Berkeley punk club 924 Gilman during the 1980s and 1990s. Along with bands like Crucifix, Filth, Crimpshrine and Fang, some of Bowles’ most iconic early photos capture young bands that went on to become globally known, like Operation Ivy, Neurosis, and Green Day.\u003c/p>\n\u003cp>But Bowles preferred the warehouses and basements.\u003c/p>\n\u003cfigure id=\"attachment_13871168\" class=\"wp-caption alignright\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Richie.Murray.jpg\" alt=\"Murray Bowles depicted on the cover of Green Day's album 'Dookie.'\" width=\"1080\" height=\"1080\" class=\"size-full wp-image-13871168\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray-1020x1020.jpg 1020w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">Murray Bowles depicted on the cover of Green Day’s album ‘Dookie.’ \u003ccite>(Richie Bucher)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He was right in there with the gritty basement shows, with kids, just sweaty, wild and free,” Brown said. “And I think that one of the things that’s so great about Murrays’ pictures is that sort of joyfulness. Even if was the most violent, negative band, the pictures came across as really sweet.”\u003c/p>\n\u003cp>Bowles was such a ubiquitous presence at Bay Area punk shows that he was included by artist Richie Bucher \u003ca href=\"https://www.instagram.com/p/B51xw5phoJrsez1PWqTuOOzRAFGOnbtN0ESHKc0/\" rel=\"noopener noreferrer\" target=\"_blank\">on the cover\u003c/a> of Green Day’s 1994 breakthrough album \u003cem>Dookie\u003c/em>, in his signature point-and-shoot pose. \u003c/p>\n\u003cp>“For me, he’s the most important part of that drawing,” said Bucher, who initially wanted to include everyone in the Berkeley punk scene in the tableau, an impossible task. “I don’t know if I thought about it at the time, but I realize now that by putting him in there, I wasn’t leaving anybody out. Because everybody from our scene could connect to him.”\u003c/p>\n\u003cp>“Murray, you are a legend,” wrote Green Day’s Billie Joe Armstrong \u003ca href=\"https://www.instagram.com/p/B51rOYnHlA4/\" rel=\"noopener noreferrer\" target=\"_blank\">on Instagram\u003c/a> on Monday. “I remember seeing your photos up on the walls at Gilman the first time I ever went there. Amazing photographer, musician. The nicest man and a great friend to the punks. East Bay punk has a heavy heart today.”\u003c/p>\n\u003cp>\u003cstrong>\u003cem>[See a giant collection of Murray Bowles’ photos \u003ca href=\"https://www.facebook.com/profile.php?id=100005407748464&sk=media_set&set=a.211229612400629&type=3\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>.]\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Questions about the future of Bowles’ archive have already been addressed. Brown said that, with Bowles, she’s planned for decades to publish a book of his photographs, a project she still hopes to see to fruition. Bowles selected all the images before he died, and helped with an outline for the book. \u003c/p>\n\u003cp>Corbett Redford, director of the documentary \u003cem>\u003ca href=\"https://www.kqed.org/arts/13239750/the-definitive-documentary-on-east-bay-punk-is-coming-pit-warning\" rel=\"noopener noreferrer\" target=\"_blank\">Turn It Around: The Story of East Bay Punk\u003c/a>\u003c/em>, said that having access to Bowles’ archive was a crucial component to the film. “He was so generous to give [his archive] to us. We would not have a documentary if it was not for him.”\u003c/p>\n\u003cfigure id=\"attachment_13871189\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/DavidHayes.Murray-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13871189\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Murray Bowles (R) with Very Small Records founder David Hayes. \u003ccite>(Courtesy Corbett Redford)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was through the making of \u003cem>Turn It Around\u003c/em> that 25 years of Bowles’ photos were finally preserved. Redford tells the story of driving to Bowles’ San Jose home with fanzine editor Robert Eggplant and Tim Armstrong from the band Rancid. There, the three went through decades of old photos and negatives.\u003c/p>\n\u003cp>“It was all gathering dust in his closet—30,000 negatives that were pretty disorganized,” Redford said. The three loaded all of Bowles’ negatives into the trunk, and drove back to Oakland to be cleaned and digitized over time by Caoimhe Carty, the film’s online editor. \u003c/p>\n\u003cp>“When I was driving back, I had what I felt was the Tiffany Diamond in the trunk,” Redford said. “I kept thinking, ‘Please don’t get in an accident. If I do, the entire history is gone.’”\u003c/p>\n\u003cfigure id=\"attachment_13243294\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-800x533.jpg\" alt=\"Green Day with first drummer John Kiffmeyer at Gilman, circa 1990.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13243294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Green Day with first drummer John Kiffmeyer at Gilman, circa 1990. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bowles was raised in San Gabriel, California, and learned photography from his grandfather. Upon graduating from UC Berkeley in 1976, he found work as a computer programmer in San Jose, but an assignment to photograph a show for the fanzine \u003cem>Ripper\u003c/em> got him hooked on the action of punk. “I started bringing my camera to every show I went to,” he told \u003cem>Maximum RocknRoll\u003c/em> in \u003ca href=\"http://maximumrocknroll.com/murray-bowles/\" rel=\"noopener noreferrer\" target=\"_blank\">a 2009 interview\u003c/a>. “It was addictive.”\u003c/p>\n\u003cp>Bowles initially distributed his photos by bringing a box of them to shows and selling them for 15 cents each to cover development costs, eventually raising the price to a quarter. It became a tradition among punks to scrape together change and buy pictures of themselves at shows from the week prior. In 1987, \u003cem>Maximum RockNRoll\u003c/em> published a special issue dedicated to Bowles’ photography, titled \u003cem>If Life is a Bowl of Cherries, Why am I in the Pit?\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13871178\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/GBH.Bowles-800x596.jpg\" alt=\"A stagediver at a GBH show in the early 1980s. \" width=\"800\" height=\"596\" class=\"size-medium wp-image-13871178\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/GBH.Bowles.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/GBH.Bowles-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/GBH.Bowles-768x572.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A stagediver at a GBH show in the early 1980s, from ‘If Life is a Bowl of Cherries, Why am I in the Pit?’. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Later, Bowles maintained an \u003ca href=\"https://www.instagram.com/murraybowles/?hl=en\" rel=\"noopener noreferrer\" target=\"_blank\">active Instagram account\u003c/a>, posting pictures from shows along with his other hobbies: food, beer, bicycling, nature. He also played the viola for several bands, as well as the Peninsula Symphony and the occasional theatre pit orchestra. He worked for Dell Computers until his retirement, when he moved to Sacramento.\u003c/p>\n\u003cp>There, Brown said, he continued to go to underground shows up until the end, always taking photos. “He really captured this side of punk that was not cliché,” Brown said. “He really got it.”\u003c/p>\n\u003cfigure id=\"attachment_13871203\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/MurrayViola-2.jpg\" alt=\"Murray Bowles, playing his viola.\" width=\"600\" height=\"400\" class=\"size-full wp-image-13871203\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayViola-2.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayViola-2-160x107.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Murray Bowles, playing his viola. \u003ccite>(Courtesy Corbett Redford)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Matt Saincome, founder of the punk satire site The Hard Times, remembered Bowles for his commitment and tenacity.\u003c/p>\n\u003cp>“My friends and I, we threw a show at a barn in Clayton when I was 16,” Saincome said. “There were 12 people there, out in the middle of nowhere, up this mountain, it didn’t even have an address. Absolutely no one came. No popular bands. And all of a sudden, Murray popped up. It’s me and 12 of my friends, and then him… His dedication to punk went so far that he wasn’t just going to a couple venues here and there. He said, ‘I’m gonna drive up this mountain in Clayton, to a barn with cows and chickens.’”\u003c/p>\n\u003cfigure id=\"attachment_13871194\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-800x530.jpg\" alt=\"Murray Bowles at Sibley Park, in the East Bay hills.\" width=\"800\" height=\"530\" class=\"size-medium wp-image-13871194\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-1200x796.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Murray Bowles at Sibley Park, in the East Bay hills. \u003ccite>(Anna Brown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Saincome echoed the sentiment that Bowles chronicled people, music and moments that would otherwise be forgotten, with an eye for people’s humanity. “If you’re a Bay Area punk kid, you can go to \u003ca href=\"https://pbase.com/murraybowles/\" rel=\"noopener noreferrer\" target=\"_blank\">his website\u003c/a> and watch yourself grow up in real time through his photos,” Saincome said.\u003c/p>\n\u003cp>“Just the fact that it was him taking your picture—it made you feel legitimate, and valuable, and part of something,” said Bucher. “I had trouble feeling part of anything. But if Murray’s there, then it’s hard not to feel included.”\u003c/p>\n\u003cp>As Becca Bolo, a Gilman regular in the 1990s, put it, “Murray was an incredibly talented person who gave us the gift of seeing ourselves as the beautiful humans that we are.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\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/13871151/murray-bowles-legendary-bay-area-punk-photographer-dies-at-68","authors":["185"],"categories":["arts_835","arts_69","arts_235","arts_1564","arts_70"],"tags":["arts_1118","arts_1543","arts_822","arts_913"],"featImg":"arts_13871186","label":"arts"},"news_11011301":{"type":"posts","id":"news_11011301","meta":{"index":"posts_1591205157","site":"news","id":"11011301","score":null,"sort":[1468052145000]},"guestAuthors":[],"slug":"is-l-a-losing-its-smell-future-is-uncertain-for-all-ages-punk-club","title":"Is L.A. Losing Its Smell? Future Is Uncertain for All-Ages Punk Club","publishDate":1468052145,"format":"image","headTitle":"The California Report | KQED News","labelTerm":{"term":72,"site":"news"},"content":"\u003cp>For kids under 18 who want to see great bands play for a few bucks, the options in Los Angeles are limited to a handful of warehouse spaces, backyards or strip mall venues. Most underground all-ages music spots never last more than a few years -- a combination of rising rent prices, the challenge of getting permits and licenses, and police interventions.\u003c/p>\n\u003cp>Yet downtown L.A.’s \u003ca href=\"http://www.thesmell.org/\">The Smell\u003c/a> has been open since 1998, spawning a local music scene and launching bands like No Age, HEALTH, Abe Vigoda, Mika Miko and dozens of others. The venue has developed a fierce loyalty among young purveyors of noise, punk and underground music, and its policy of not allowing drugs or alcohol makes it a safe hangout for teenagers.\u003c/p>\n\u003cp>“This is somewhere that kids can come and be together, and I think that’s really cool,” said Violet Romero, 19, singer and bass player of the local band Celebrity Crush.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/272821770\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>So it’s understandable that there was a huge outpouring of support from the local music community when news broke over Memorial Day weekend that The Smell’s owner, Jim Smith, found a demolition notice posted on the entrance to the club.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The notice from L&R Group of Companies, the parking lot developer that owns Joe’s Auto Parks and WallyPark, stated that an application to demolish The Smell’s one-story building had been filed with the Los Angeles Department of Building and Safety. Other businesses on the block, including the Downtown Independent movie theater and the New Jalisco Bar, a gay Latino dive bar, also received notices.\u003c/p>\n\u003cfigure id=\"attachment_11012480\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg class=\"size-full wp-image-11012480\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/RS20111_demonotice_thesmell-qut.jpg\" alt=\"The Smell posted this photo of the demolition notice to its website.\" width=\"640\" height=\"640\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20111_demonotice_thesmell-qut.jpg 640w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20111_demonotice_thesmell-qut-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20111_demonotice_thesmell-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20111_demonotice_thesmell-qut-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20111_demonotice_thesmell-qut-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20111_demonotice_thesmell-qut-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20111_demonotice_thesmell-qut-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20111_demonotice_thesmell-qut-150x150.jpg 150w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Smell posted this photo of the demolition notice to its website. \u003ccite>(Avishay Artsy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The building was purchased last year and Smith said he started to see immediate changes. His rent changed overnight from $2,375 to $4,000 a month -- an increase of 68 percent.\u003c/p>\n\u003cp>“It seems like there’s a hell of a lot of parking lots on this block,” Smith said. “And I’ve never seen them full, so I just don’t know what the reason is. And it’s like, OK, great, knock down the block, you’ve got plenty of parking, but is there anything left that’s going to draw people down here that are going to want to pay for parking? In that regard, it just doesn’t make any sense.”\u003c/p>\n\u003cp>However, the property owner insists there are no plans to turn The Smell into a parking lot -- or anything else.\u003c/p>\n\u003cp>“As a fellow lover of music, I appreciate the history of The Smell and its impact on the music community,” said Kevin Litwin, chief operating officer for L&R Group of Companies, in an email interview. “As of today, there are no development plans at all for this site or these buildings.”\u003c/p>\n\u003cfigure id=\"attachment_11012529\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11012529\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/RS20112_IMG_1574-qut.jpg\" alt=\"Volunteers take a break from taking donations at the door of The Smell.\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20112_IMG_1574-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20112_IMG_1574-qut-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20112_IMG_1574-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20112_IMG_1574-qut-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20112_IMG_1574-qut-960x640.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Volunteers take a break from taking donations at the door of The Smell. \u003ccite>(Avishay Artsy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Litwin expressed regret over how Smith learned of the demolition notice. In an email sent to Smith, he wrote:\u003c/p>\n\u003cp>“We should have reached out earlier to communicate our intent to all our tenants so that they understood the process. The notice that was posted on your door last Friday was merely a formality to keep our options open. It is required to obtain a demolition permit in the event that it may be needed in the future. We support you and your message of providing a community within Los Angeles. We look forward to continuing our relationship with you. If at some time in the future we decide to develop the properties at that site, we will provide you ample time. If we’re able to help, we will.”\u003c/p>\n\u003cp>On a recent Saturday night, the alley between a parking garage and a row of brick buildings was full of young people. The show was sold out, and attendees stood outside in circles, some smoking cigarettes and others checking their phones, while they waited for the next band to start.\u003c/p>\n\u003cfigure id=\"attachment_11012482\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"wp-image-11012482 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/RS20113_IMG_1539-qut.jpg\" alt=\"Outside The Smell, the all-ages music venue in downtown L. A.\" width=\"1920\" height=\"2880\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20113_IMG_1539-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20113_IMG_1539-qut-400x600.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20113_IMG_1539-qut-800x1200.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20113_IMG_1539-qut-1180x1770.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20113_IMG_1539-qut-960x1440.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Outside The Smell, the all-ages music venue in downtown L.A. \u003ccite>(Avishay Artsy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those just arriving stood in line, then entered and handed over five bucks to a couple of volunteers at a table, who were blowing soap bubbles and eating candy in between affixing wristbands. Another volunteer sold candy bars, bags of chips and water bottles. The walls are spray-painted, and kids sat on busted-out couches or stood in clusters as the music poured out from the stage. As bands filled the small room with raucous, blistering noise, a mosh pit formed and the smell of dozens of sweaty bodies filled the air.\u003c/p>\n\u003cp>The Smell opened around the same time that another all-ages venue, Jabberjaw, closed. Many venues have closed in recent years, or have been threatened with closure. Just a week after The Smell received its demolition notice, another volunteer-run, all-ages venue 2 miles away called Pehrspace received a \u003ca href=\"http://www.laweekly.com/music/pehrspace-evicted-after-a-decade-of-joyful-noise-7009600\">60-day eviction notice\u003c/a>. Church on York, an all-ages space in Highland Park, was shut down in 2014 after being open for one year, because of noise complaints, a lack of permits and underage drinking.\u003c/p>\n\u003cp>Some of the fans of The Smell acknowledged that as rent prices increase in downtown L.A. and across the city, closures are to be expected. “It happened in New York with CBGB’s,” said Adam Weintraub, 17. “It’s kind of inevitable in any city that’s going through change and gentrification. But I think it takes away a huge part of the culture, and it just makes it another bland city. And it takes away a lot of the creative aspects of L.A.”\u003c/p>\n\u003cp>“I like to think that a good city needs an element of danger,” added Baron Rinzler, 18. “But they’re robbing us of all that goodness. Who wants to come to a city that’s gentrified, that’s full of high-rises? That takes the heart out of the city, really.”\u003c/p>\n\u003cfigure id=\"attachment_11012507\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"wp-image-11012507 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/RS20110_IMG_1534-qut.jpg\" alt=\"Gina Basile, 14, and Simon Landau, 15. “It’s very rare to find a place that treats the performers well and allows all ages,” Landau said.\" width=\"1920\" height=\"2880\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20110_IMG_1534-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20110_IMG_1534-qut-400x600.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20110_IMG_1534-qut-800x1200.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20110_IMG_1534-qut-1180x1770.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20110_IMG_1534-qut-960x1440.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Gina Basile, 14, and Simon Landau, 15. 'It’s very rare to find a place that treats the performers well and allows all ages,' Landau said. \u003ccite>(Avishay Artsy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>However, the dislocation of some businesses may be inevitable as downtown changes. “This is an example of the mixed blessing of urban revitalization,” said Dan Rosenfeld, a real estate developer with the Trust for Public Land.\u003c/p>\n\u003cp>“Preserving these ventures is going to be difficult in a purely economic age. The value of the land has increased, rental prices have increased, to some degree the demographics have changed,” Rosenfeld said. “On the other hand, the demand for the cutting edge, for the next and the newest, will not abate. I suspect that cultural venues like The Smell will pop up in other neighborhoods.”\u003c/p>\n\u003cp>Musician Nick Rattigan agrees. His bands, Current Joys and Surf Curse, play regularly at The Smell.\u003c/p>\n\u003cp>“That’s just the nature of DIY venues,” Rattigan said. “It’s amazing that this one was open for as long as it was. Normally they get shut down in one or two years. There are still these kids in L.A. and they still want to play shows and need places to go.”\u003c/p>\n\u003cp>Smith said there are plans in the works to keep the club open, including an effort to have The Smell declared a cultural landmark. That may not save it from demolition, Smith acknowledged, but it could buy time. There are also plans to host benefit concerts and a music festival with some of the more successful bands that have played at The Smell over the years. Smith has also launched a GoFundMe page with a $1.4 million goal.\u003c/p>\n\u003cfigure id=\"attachment_11014268\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/SmellBand-800x512.jpg\" alt=\"The band Celebrity Crush performs inside The Smell.\" width=\"800\" height=\"512\" class=\"size-medium wp-image-11014268\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/07/SmellBand-800x512.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/SmellBand-400x256.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/SmellBand.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/SmellBand-1180x755.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/SmellBand-960x614.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The band Celebrity Crush performs inside The Smell. \u003ccite>(Avishay Artsy/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If The Smell is forced to relocate, Smith said he hopes to find a location close to a Metro station. “Downtown is great because it’s central to transit, and we get people coming here from all over the region -- the [San Fernando] Valley, South L.A., East L.A., San Gabriel Valley, Orange County -- and downtown is kind of central to all of that,” Smith said.\u003c/p>\n\u003cp>Smith’s tenacity and altruism is one of the reasons The Smell has lasted this long, said David Scott Stone, a friend of Smith’s and a patron of the club since it opened. “Jim works full time, and he comes here every night to open up the space, clean the bathroom, kick kids out that are trying to sneak booze into the place,” he said, “It’s an absolute labor of love for him.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>But The Smell has been through this before. It originally opened in North Hollywood in 1998. Within a couple of years, it was priced out -- and moved to its current location downtown.\u003c/p>\n\n","blocks":[],"excerpt":"The venue has developed a fierce loyalty among young purveyors of noise, punk and underground music.","status":"publish","parent":0,"modified":1468177671,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":27,"wordCount":1557},"headData":{"title":"Is L.A. Losing Its Smell? Future Is Uncertain for All-Ages Punk Club | KQED","description":"The venue has developed a fierce loyalty among young purveyors of noise, punk and underground music.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"disqusIdentifier":"11011301 http://ww2.kqed.org/news/?p=11011301","disqusUrl":"https://ww2.kqed.org/news/2016/07/09/is-l-a-losing-its-smell-future-is-uncertain-for-all-ages-punk-club/","disqusTitle":"Is L.A. Losing Its Smell? Future Is Uncertain for All-Ages Punk Club","nprByline":"Avishay Artsy","path":"/news/11011301/is-l-a-losing-its-smell-future-is-uncertain-for-all-ages-punk-club","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>For kids under 18 who want to see great bands play for a few bucks, the options in Los Angeles are limited to a handful of warehouse spaces, backyards or strip mall venues. Most underground all-ages music spots never last more than a few years -- a combination of rising rent prices, the challenge of getting permits and licenses, and police interventions.\u003c/p>\n\u003cp>Yet downtown L.A.’s \u003ca href=\"http://www.thesmell.org/\">The Smell\u003c/a> has been open since 1998, spawning a local music scene and launching bands like No Age, HEALTH, Abe Vigoda, Mika Miko and dozens of others. The venue has developed a fierce loyalty among young purveyors of noise, punk and underground music, and its policy of not allowing drugs or alcohol makes it a safe hangout for teenagers.\u003c/p>\n\u003cp>“This is somewhere that kids can come and be together, and I think that’s really cool,” said Violet Romero, 19, singer and bass player of the local band Celebrity Crush.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/272821770&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/272821770'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>So it’s understandable that there was a huge outpouring of support from the local music community when news broke over Memorial Day weekend that The Smell’s owner, Jim Smith, found a demolition notice posted on the entrance to the club.\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 notice from L&R Group of Companies, the parking lot developer that owns Joe’s Auto Parks and WallyPark, stated that an application to demolish The Smell’s one-story building had been filed with the Los Angeles Department of Building and Safety. Other businesses on the block, including the Downtown Independent movie theater and the New Jalisco Bar, a gay Latino dive bar, also received notices.\u003c/p>\n\u003cfigure id=\"attachment_11012480\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg class=\"size-full wp-image-11012480\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/RS20111_demonotice_thesmell-qut.jpg\" alt=\"The Smell posted this photo of the demolition notice to its website.\" width=\"640\" height=\"640\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20111_demonotice_thesmell-qut.jpg 640w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20111_demonotice_thesmell-qut-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20111_demonotice_thesmell-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20111_demonotice_thesmell-qut-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20111_demonotice_thesmell-qut-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20111_demonotice_thesmell-qut-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20111_demonotice_thesmell-qut-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20111_demonotice_thesmell-qut-150x150.jpg 150w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Smell posted this photo of the demolition notice to its website. \u003ccite>(Avishay Artsy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The building was purchased last year and Smith said he started to see immediate changes. His rent changed overnight from $2,375 to $4,000 a month -- an increase of 68 percent.\u003c/p>\n\u003cp>“It seems like there’s a hell of a lot of parking lots on this block,” Smith said. “And I’ve never seen them full, so I just don’t know what the reason is. And it’s like, OK, great, knock down the block, you’ve got plenty of parking, but is there anything left that’s going to draw people down here that are going to want to pay for parking? In that regard, it just doesn’t make any sense.”\u003c/p>\n\u003cp>However, the property owner insists there are no plans to turn The Smell into a parking lot -- or anything else.\u003c/p>\n\u003cp>“As a fellow lover of music, I appreciate the history of The Smell and its impact on the music community,” said Kevin Litwin, chief operating officer for L&R Group of Companies, in an email interview. “As of today, there are no development plans at all for this site or these buildings.”\u003c/p>\n\u003cfigure id=\"attachment_11012529\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11012529\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/RS20112_IMG_1574-qut.jpg\" alt=\"Volunteers take a break from taking donations at the door of The Smell.\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20112_IMG_1574-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20112_IMG_1574-qut-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20112_IMG_1574-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20112_IMG_1574-qut-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20112_IMG_1574-qut-960x640.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Volunteers take a break from taking donations at the door of The Smell. \u003ccite>(Avishay Artsy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Litwin expressed regret over how Smith learned of the demolition notice. In an email sent to Smith, he wrote:\u003c/p>\n\u003cp>“We should have reached out earlier to communicate our intent to all our tenants so that they understood the process. The notice that was posted on your door last Friday was merely a formality to keep our options open. It is required to obtain a demolition permit in the event that it may be needed in the future. We support you and your message of providing a community within Los Angeles. We look forward to continuing our relationship with you. If at some time in the future we decide to develop the properties at that site, we will provide you ample time. If we’re able to help, we will.”\u003c/p>\n\u003cp>On a recent Saturday night, the alley between a parking garage and a row of brick buildings was full of young people. The show was sold out, and attendees stood outside in circles, some smoking cigarettes and others checking their phones, while they waited for the next band to start.\u003c/p>\n\u003cfigure id=\"attachment_11012482\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"wp-image-11012482 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/RS20113_IMG_1539-qut.jpg\" alt=\"Outside The Smell, the all-ages music venue in downtown L. A.\" width=\"1920\" height=\"2880\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20113_IMG_1539-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20113_IMG_1539-qut-400x600.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20113_IMG_1539-qut-800x1200.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20113_IMG_1539-qut-1180x1770.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20113_IMG_1539-qut-960x1440.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Outside The Smell, the all-ages music venue in downtown L.A. \u003ccite>(Avishay Artsy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those just arriving stood in line, then entered and handed over five bucks to a couple of volunteers at a table, who were blowing soap bubbles and eating candy in between affixing wristbands. Another volunteer sold candy bars, bags of chips and water bottles. The walls are spray-painted, and kids sat on busted-out couches or stood in clusters as the music poured out from the stage. As bands filled the small room with raucous, blistering noise, a mosh pit formed and the smell of dozens of sweaty bodies filled the air.\u003c/p>\n\u003cp>The Smell opened around the same time that another all-ages venue, Jabberjaw, closed. Many venues have closed in recent years, or have been threatened with closure. Just a week after The Smell received its demolition notice, another volunteer-run, all-ages venue 2 miles away called Pehrspace received a \u003ca href=\"http://www.laweekly.com/music/pehrspace-evicted-after-a-decade-of-joyful-noise-7009600\">60-day eviction notice\u003c/a>. Church on York, an all-ages space in Highland Park, was shut down in 2014 after being open for one year, because of noise complaints, a lack of permits and underage drinking.\u003c/p>\n\u003cp>Some of the fans of The Smell acknowledged that as rent prices increase in downtown L.A. and across the city, closures are to be expected. “It happened in New York with CBGB’s,” said Adam Weintraub, 17. “It’s kind of inevitable in any city that’s going through change and gentrification. But I think it takes away a huge part of the culture, and it just makes it another bland city. And it takes away a lot of the creative aspects of L.A.”\u003c/p>\n\u003cp>“I like to think that a good city needs an element of danger,” added Baron Rinzler, 18. “But they’re robbing us of all that goodness. Who wants to come to a city that’s gentrified, that’s full of high-rises? That takes the heart out of the city, really.”\u003c/p>\n\u003cfigure id=\"attachment_11012507\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"wp-image-11012507 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/RS20110_IMG_1534-qut.jpg\" alt=\"Gina Basile, 14, and Simon Landau, 15. “It’s very rare to find a place that treats the performers well and allows all ages,” Landau said.\" width=\"1920\" height=\"2880\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20110_IMG_1534-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20110_IMG_1534-qut-400x600.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20110_IMG_1534-qut-800x1200.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20110_IMG_1534-qut-1180x1770.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20110_IMG_1534-qut-960x1440.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Gina Basile, 14, and Simon Landau, 15. 'It’s very rare to find a place that treats the performers well and allows all ages,' Landau said. \u003ccite>(Avishay Artsy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>However, the dislocation of some businesses may be inevitable as downtown changes. “This is an example of the mixed blessing of urban revitalization,” said Dan Rosenfeld, a real estate developer with the Trust for Public Land.\u003c/p>\n\u003cp>“Preserving these ventures is going to be difficult in a purely economic age. The value of the land has increased, rental prices have increased, to some degree the demographics have changed,” Rosenfeld said. “On the other hand, the demand for the cutting edge, for the next and the newest, will not abate. I suspect that cultural venues like The Smell will pop up in other neighborhoods.”\u003c/p>\n\u003cp>Musician Nick Rattigan agrees. His bands, Current Joys and Surf Curse, play regularly at The Smell.\u003c/p>\n\u003cp>“That’s just the nature of DIY venues,” Rattigan said. “It’s amazing that this one was open for as long as it was. Normally they get shut down in one or two years. There are still these kids in L.A. and they still want to play shows and need places to go.”\u003c/p>\n\u003cp>Smith said there are plans in the works to keep the club open, including an effort to have The Smell declared a cultural landmark. That may not save it from demolition, Smith acknowledged, but it could buy time. There are also plans to host benefit concerts and a music festival with some of the more successful bands that have played at The Smell over the years. Smith has also launched a GoFundMe page with a $1.4 million goal.\u003c/p>\n\u003cfigure id=\"attachment_11014268\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/SmellBand-800x512.jpg\" alt=\"The band Celebrity Crush performs inside The Smell.\" width=\"800\" height=\"512\" class=\"size-medium wp-image-11014268\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/07/SmellBand-800x512.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/SmellBand-400x256.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/SmellBand.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/SmellBand-1180x755.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/SmellBand-960x614.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The band Celebrity Crush performs inside The Smell. \u003ccite>(Avishay Artsy/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If The Smell is forced to relocate, Smith said he hopes to find a location close to a Metro station. “Downtown is great because it’s central to transit, and we get people coming here from all over the region -- the [San Fernando] Valley, South L.A., East L.A., San Gabriel Valley, Orange County -- and downtown is kind of central to all of that,” Smith said.\u003c/p>\n\u003cp>Smith’s tenacity and altruism is one of the reasons The Smell has lasted this long, said David Scott Stone, a friend of Smith’s and a patron of the club since it opened. “Jim works full time, and he comes here every night to open up the space, clean the bathroom, kick kids out that are trying to sneak booze into the place,” he said, “It’s an absolute labor of love for him.”\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>But The Smell has been through this before. It originally opened in North Hollywood in 1998. Within a couple of years, it was priced out -- and moved to its current location downtown.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11011301/is-l-a-losing-its-smell-future-is-uncertain-for-all-ages-punk-club","authors":["byline_news_11011301"],"programs":["news_72"],"categories":["news_223","news_8"],"tags":["news_4","news_18889","news_17286","news_17041"],"featImg":"news_11014266","label":"news_72"},"news_10985167":{"type":"posts","id":"news_10985167","meta":{"index":"posts_1591205157","site":"news","id":"10985167","score":null,"sort":[1465628759000]},"guestAuthors":[],"slug":"documentary-reveals-l-a-s-secretive-backyard-latino-punk-scene","title":"Documentary Reveals L.A.'s Secretive Backyard Latino Punk Scene","publishDate":1465628759,"format":"image","headTitle":"The California Report | KQED News","labelTerm":{"term":72,"site":"news"},"content":"\u003cp>Billy Famine remembers the “old days” of the East L.A. backyard punk scene in the mid-1990s, when he was a teenager.\u003c/p>\n\u003cp>“Back then I just had this fascination with just trashing everything and smashing everything,” says Famine.\u003c/p>\n\u003cp>\"Because you’re young, you're angry, you can break a bone and you just don't care,” says Famine “If you like punk rock, kids that are angry, primal stuff, backyards are like the place to do it. Nobody's going to tell you what to do. They’re going to applaud you.”\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/268544098\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>Famine is in his early 30s now, a punk rock lifer; fan, show organizer and vocalist in the metal-tinged hardcore band \u003ca href=\"https://www.facebook.com/withdrawalsymptomspunk/timeline\">Withdrawal Symptoms\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He’s also among the expansive cast of characters who turn up in Angela Boatwright’s documentary, \"\u003ca href=\"http://lospunksfilm.com/\">Los Punks: We Are All We Have.\u003c/a>\"\u003c/p>\n\u003cfigure id=\"attachment_10985505\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/BillyFamine-800x530.jpg\" alt=\"Billy Famine (R) with fellow members of band Withdrawal Symptoms.\" width=\"800\" height=\"530\" class=\"size-medium wp-image-10985505\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/BillyFamine-800x530.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/BillyFamine-400x265.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/BillyFamine.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/BillyFamine-1180x782.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/BillyFamine-960x636.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Billy Famine (R) with fellow members of band Withdrawal Symptoms. \u003ccite>(Photo: Angela Boatwright)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I was so excited by the music and by the fact they're playing on like dirt hills and backyards and drummers sitting on lawn chairs,” says Boatwright, herself a veteran of punk and metal scenes on the East Coast.\u003c/p>\n\u003cp>She and her crew spent about four years embedded in the East and South Central L.A. punk scene and befriending the people who propel it.\u003c/p>\n\u003cp>“If you have the balls to strap on a guitar and go out there and play for people anywhere, then more power to you because I'm not doing it. Just get your noise out and play. That's the first step,” says Boatwright.\u003c/p>\n\u003cfigure id=\"attachment_10985508\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/PunkRockGirls-800x533.jpg\" alt=\"A group of young women at a backyard show in L.A.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-10985508\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/PunkRockGirls-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/PunkRockGirls-400x266.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/PunkRockGirls.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/PunkRockGirls-1180x786.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/PunkRockGirls-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A group of young women at a backyard show in L.A. \u003ccite>(Photo: Angela Boatwright)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"It’s a way to have a voice and communicate and to go out and play backyard. And you might get $30 for gas and there's a lot of heart, a lot of passion, so to me that felt important and valid and vital,” says the director.\u003c/p>\n\u003cp>The film depicts a scrappy, off-the-grid music underworld, one that doesn’t rely on record labels, conventional venues or established promoters.\u003c/p>\n\u003cfigure id=\"attachment_10985172\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10985172\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/LOS-PUNKX-cxa-800x533.jpg\" alt=\"The band CXA and fans live at backyard show. \" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/LOS-PUNKX-cxa-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/LOS-PUNKX-cxa-400x266.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/LOS-PUNKX-cxa.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/LOS-PUNKX-cxa-1180x786.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/LOS-PUNKX-cxa-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The band CXA and fans live at backyard show. \u003ccite>(Angela Boatwright)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A sprawling dirt backyard in a gritty working-class Latino enclave like Monterey Park or Boyle Heights will do. News of a show spreads via social media and word of mouth.\u003c/p>\n\u003cp>\"Los Punks\" introduces us to kids like April, a 15-year-old backyard show promoter from the south L.A. community of Watts.\u003c/p>\n\u003cp>\"I’m 15,\" giggles April in the film. \"I’m probably like the only one’s that’s like young in the scene.\"\u003c/p>\n\u003cp>Her age may set her apart, but April shares a lot with her contemporaries in the scene: a conflicted home life, working-class background and living in a community rife with grinding poverty and street violence. But \"Los Punks\" also captures a fierce DIY, entrepreneurial spirit and a commitment to the scene and the larger community.\u003c/p>\n\u003cp>So who would let a young kid like Amy transform their dusty backyard into a churning mosh pit for two or three hours on a Saturday night?\u003c/p>\n\u003cfigure id=\"attachment_10985174\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10985174\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/LOS-PUNKS-April-bandana-800x533.jpg\" alt=\"April, a teenage show promoter from Watts who is profiled in Los Punks. \" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/LOS-PUNKS-April-bandana.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/LOS-PUNKS-April-bandana-400x267.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">April, a teenage show promoter from Watts who is profiled in 'Los Punks.'\u003c/figcaption>\u003c/figure>\n\u003cp>Billy Famine says most times it’s just regular people. Working moms and dads, migrant families from Mexico or Nicaragua.\u003c/p>\n\u003cp>“And someone’s like, 'Hey, would you like to make some money on the side, because you have a nice backyard. We’re going to give you a cut and hopefully everything goes well,' \" explains Famine.\u003c/p>\n\u003cp>“But there are times the house owners are just like; wait, what? This is what you were planning? Was I supposed to tell my neighbors this was going to happen because I think they’re gonna call the cops!”\u003c/p>\n\u003cfigure id=\"attachment_10985176\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10985176\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/ROOSTER-on-knees-PTSD-live-800x530.jpg\" alt=\"Rooster Cabrillo (on knees) performing with his now-defunct band PTSD. \" width=\"800\" height=\"530\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/ROOSTER-on-knees-PTSD-live-800x530.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/ROOSTER-on-knees-PTSD-live-400x265.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/ROOSTER-on-knees-PTSD-live.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/ROOSTER-on-knees-PTSD-live-1180x782.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/ROOSTER-on-knees-PTSD-live-960x637.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rooster Cabrillo (on knees) performing with his now-defunct band PTSD. \u003ccite>(Angela Boatwright)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong> \u003c/strong>Shows rarely tip past 11 p.m. or midnight. But run-ins with neighbors do happen. \"Los Punks\" captures all of it. Most times, though, the neighbors are pretty cool, says Rooster Cabrillo, vocalist of the band \u003ca href=\"https://www.facebook.com/freedombombs123/info/?tab=page_info\">PTSD. \u003c/a>\u003c/p>\n\u003cp>“We had this lady and she didn't speak any English. And she’s like, well I just don't want them sitting on the side because they knocking bottles over,” recalls Cabrillo. “You guys can have your party, I just really don't really want to call the cops because I’m afraid of them.”\u003c/p>\n\u003cp>Cabrillo is in his early 20s. He was born in Sinaloa, Mexico. He crossed into the U.S. with his parents without papers when he was a child. He’s also gay. Writing and performing music, he says, helped him come out -- not just as gay and undocumented but also as an advocate for his community.\u003c/p>\n\u003cp>“A lot of our songs have to do with mental illness, drug abuse. We even have a song about being queer. I’m queer and undocumented, and so our environments can really mess with our heads,” says Cabrillo.\u003c/p>\n\u003cfigure id=\"attachment_10985179\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10985179\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/ROOSTER-close-up-800x530.jpg\" alt=\"PTSD vocalist Rooster Cabrillo in performance makeup. \" width=\"800\" height=\"530\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/ROOSTER-close-up-800x530.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/ROOSTER-close-up-400x265.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/ROOSTER-close-up.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/ROOSTER-close-up-1180x782.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/ROOSTER-close-up-960x637.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">PTSD vocalist Rooster Cabrillo in performance makeup. \u003ccite>(Angela Boatwright)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Director Boatwright reveals who these young people are the morning after a show; struggles with parents, unemployment, mental health or substance abuse, and how they can find a way forward within the scene.\u003c/p>\n\u003cp>“A million things that can make you angry as young person, you can find solace in punk, hardcore or metal or whatever you like,” says Boatwright. “So I prefer to let the punk explain where they are coming from themselves.”\u003c/p>\n\u003cp>Sitting just a few feet away from Boatwright during this interview, Rooster Cabrillo hesitantly expresses some apprehension over the film, financed, by Orange County-based apparel and lifestyle company \u003ca href=\"http://livingoffthewall.vans.com/angela-boatwright/\" target=\"_blank\">Vans.\u003c/a>\u003c/p>\n\u003cp>“We have a huge problem with gentrification in Boyle Heights right now,” explains Cabrillo. “There’s a lot of folks that love making movies that are from East L.A., who go to backyard shows, and it would have been cool to see them get an opportunity to tell that story for themselves.\"\u003c/p>\n\u003cfigure id=\"attachment_10985182\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10985182\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/LOS-PUNKS-pit-slam-1-800x533.jpg\" alt=\"A moshpit in full force at backyard punk show somewhere in L.A. \" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/LOS-PUNKS-pit-slam-1-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/LOS-PUNKS-pit-slam-1-400x266.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/LOS-PUNKS-pit-slam-1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/LOS-PUNKS-pit-slam-1-1180x786.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/LOS-PUNKS-pit-slam-1-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A mosh pit in full force at backyard punk show somewhere in L.A.\u003c/figcaption>\u003c/figure>\n\u003cp>Boatwright says she’s aware of some of the grumbling over the film within the scene, but believes \"Los Punks\" can actually help open up discussions of issues like gentrification.\u003c/p>\n\u003cp>“The positive thing that I see coming out of this is that there are some really important discussions being started because of this,” says Boatwright. “And I think if that benefits them to have those dialogues and to better their community, I think that’s great. Then my job has been done.”\u003c/p>\n\u003cp>Even with more scrutiny from the “outside” world, the scene is unlikely to diminish.\u003c/p>\n\u003cp>In one telling scene from the movie, the cops break up a backyard show after calls of an alleged stabbing, which turned out to be false. But the kids and the bands were sent packing anyway.\u003c/p>\n\u003cp>Within minutes though, the text messages are flying back and forth. Another backyard is secured at 83\u003csup>rd\u003c/sup> and San Pedro. Gear is hauled off to the new location and the blast of music resumes, roaring up and out over the rooftops of South L.A.\u003c/p>\n\u003cfigure id=\"attachment_10985181\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-10985181 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/LOS-PUNKS-corrupted-youth-800x533.jpg\" alt=\"he band Corrupted Youth, a lynchpin in the East and South L.A. backyard punk scene. \" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/LOS-PUNKS-corrupted-youth-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/LOS-PUNKS-corrupted-youth-400x266.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/LOS-PUNKS-corrupted-youth.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/LOS-PUNKS-corrupted-youth-1180x786.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/LOS-PUNKS-corrupted-youth-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The band Corrupted Youth, a linchpin in the East and South L.A. backyard punk scene. \u003ccite>(Angela Boatwright)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\"Los Punks: We Are All We Have\" screens at \u003c/em>\u003cem>San Francisco Doc Fest \u003c/em>\u003cem>Sunday June 12 and Wednesday June 15 at the Roxie Theatre. The film is also available for download now on iTunes.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The filmmaker and her crew spent about four years embedded in the East and South Central L.A. punk scene and befriending the people who propel it.","status":"publish","parent":0,"modified":1465611918,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":34,"wordCount":1339},"headData":{"title":"Documentary Reveals L.A.'s Secretive Backyard Latino Punk Scene | KQED","description":"The filmmaker and her crew spent about four years embedded in the East and South Central L.A. punk scene and befriending the people who propel it.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"disqusIdentifier":"10985167 http://ww2.kqed.org/news/?p=10985167","disqusUrl":"https://ww2.kqed.org/news/2016/06/11/documentary-reveals-l-a-s-secretive-backyard-latino-punk-scene/","disqusTitle":"Documentary Reveals L.A.'s Secretive Backyard Latino Punk Scene","path":"/news/10985167/documentary-reveals-l-a-s-secretive-backyard-latino-punk-scene","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Billy Famine remembers the “old days” of the East L.A. backyard punk scene in the mid-1990s, when he was a teenager.\u003c/p>\n\u003cp>“Back then I just had this fascination with just trashing everything and smashing everything,” says Famine.\u003c/p>\n\u003cp>\"Because you’re young, you're angry, you can break a bone and you just don't care,” says Famine “If you like punk rock, kids that are angry, primal stuff, backyards are like the place to do it. Nobody's going to tell you what to do. They’re going to applaud you.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/268544098&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/268544098'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Famine is in his early 30s now, a punk rock lifer; fan, show organizer and vocalist in the metal-tinged hardcore band \u003ca href=\"https://www.facebook.com/withdrawalsymptomspunk/timeline\">Withdrawal Symptoms\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>He’s also among the expansive cast of characters who turn up in Angela Boatwright’s documentary, \"\u003ca href=\"http://lospunksfilm.com/\">Los Punks: We Are All We Have.\u003c/a>\"\u003c/p>\n\u003cfigure id=\"attachment_10985505\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/BillyFamine-800x530.jpg\" alt=\"Billy Famine (R) with fellow members of band Withdrawal Symptoms.\" width=\"800\" height=\"530\" class=\"size-medium wp-image-10985505\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/BillyFamine-800x530.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/BillyFamine-400x265.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/BillyFamine.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/BillyFamine-1180x782.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/BillyFamine-960x636.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Billy Famine (R) with fellow members of band Withdrawal Symptoms. \u003ccite>(Photo: Angela Boatwright)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I was so excited by the music and by the fact they're playing on like dirt hills and backyards and drummers sitting on lawn chairs,” says Boatwright, herself a veteran of punk and metal scenes on the East Coast.\u003c/p>\n\u003cp>She and her crew spent about four years embedded in the East and South Central L.A. punk scene and befriending the people who propel it.\u003c/p>\n\u003cp>“If you have the balls to strap on a guitar and go out there and play for people anywhere, then more power to you because I'm not doing it. Just get your noise out and play. That's the first step,” says Boatwright.\u003c/p>\n\u003cfigure id=\"attachment_10985508\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/PunkRockGirls-800x533.jpg\" alt=\"A group of young women at a backyard show in L.A.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-10985508\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/PunkRockGirls-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/PunkRockGirls-400x266.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/PunkRockGirls.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/PunkRockGirls-1180x786.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/PunkRockGirls-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A group of young women at a backyard show in L.A. \u003ccite>(Photo: Angela Boatwright)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"It’s a way to have a voice and communicate and to go out and play backyard. And you might get $30 for gas and there's a lot of heart, a lot of passion, so to me that felt important and valid and vital,” says the director.\u003c/p>\n\u003cp>The film depicts a scrappy, off-the-grid music underworld, one that doesn’t rely on record labels, conventional venues or established promoters.\u003c/p>\n\u003cfigure id=\"attachment_10985172\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10985172\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/LOS-PUNKX-cxa-800x533.jpg\" alt=\"The band CXA and fans live at backyard show. \" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/LOS-PUNKX-cxa-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/LOS-PUNKX-cxa-400x266.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/LOS-PUNKX-cxa.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/LOS-PUNKX-cxa-1180x786.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/LOS-PUNKX-cxa-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The band CXA and fans live at backyard show. \u003ccite>(Angela Boatwright)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A sprawling dirt backyard in a gritty working-class Latino enclave like Monterey Park or Boyle Heights will do. News of a show spreads via social media and word of mouth.\u003c/p>\n\u003cp>\"Los Punks\" introduces us to kids like April, a 15-year-old backyard show promoter from the south L.A. community of Watts.\u003c/p>\n\u003cp>\"I’m 15,\" giggles April in the film. \"I’m probably like the only one’s that’s like young in the scene.\"\u003c/p>\n\u003cp>Her age may set her apart, but April shares a lot with her contemporaries in the scene: a conflicted home life, working-class background and living in a community rife with grinding poverty and street violence. But \"Los Punks\" also captures a fierce DIY, entrepreneurial spirit and a commitment to the scene and the larger community.\u003c/p>\n\u003cp>So who would let a young kid like Amy transform their dusty backyard into a churning mosh pit for two or three hours on a Saturday night?\u003c/p>\n\u003cfigure id=\"attachment_10985174\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10985174\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/LOS-PUNKS-April-bandana-800x533.jpg\" alt=\"April, a teenage show promoter from Watts who is profiled in Los Punks. \" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/LOS-PUNKS-April-bandana.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/LOS-PUNKS-April-bandana-400x267.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">April, a teenage show promoter from Watts who is profiled in 'Los Punks.'\u003c/figcaption>\u003c/figure>\n\u003cp>Billy Famine says most times it’s just regular people. Working moms and dads, migrant families from Mexico or Nicaragua.\u003c/p>\n\u003cp>“And someone’s like, 'Hey, would you like to make some money on the side, because you have a nice backyard. We’re going to give you a cut and hopefully everything goes well,' \" explains Famine.\u003c/p>\n\u003cp>“But there are times the house owners are just like; wait, what? This is what you were planning? Was I supposed to tell my neighbors this was going to happen because I think they’re gonna call the cops!”\u003c/p>\n\u003cfigure id=\"attachment_10985176\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10985176\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/ROOSTER-on-knees-PTSD-live-800x530.jpg\" alt=\"Rooster Cabrillo (on knees) performing with his now-defunct band PTSD. \" width=\"800\" height=\"530\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/ROOSTER-on-knees-PTSD-live-800x530.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/ROOSTER-on-knees-PTSD-live-400x265.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/ROOSTER-on-knees-PTSD-live.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/ROOSTER-on-knees-PTSD-live-1180x782.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/ROOSTER-on-knees-PTSD-live-960x637.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rooster Cabrillo (on knees) performing with his now-defunct band PTSD. \u003ccite>(Angela Boatwright)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong> \u003c/strong>Shows rarely tip past 11 p.m. or midnight. But run-ins with neighbors do happen. \"Los Punks\" captures all of it. Most times, though, the neighbors are pretty cool, says Rooster Cabrillo, vocalist of the band \u003ca href=\"https://www.facebook.com/freedombombs123/info/?tab=page_info\">PTSD. \u003c/a>\u003c/p>\n\u003cp>“We had this lady and she didn't speak any English. And she’s like, well I just don't want them sitting on the side because they knocking bottles over,” recalls Cabrillo. “You guys can have your party, I just really don't really want to call the cops because I’m afraid of them.”\u003c/p>\n\u003cp>Cabrillo is in his early 20s. He was born in Sinaloa, Mexico. He crossed into the U.S. with his parents without papers when he was a child. He’s also gay. Writing and performing music, he says, helped him come out -- not just as gay and undocumented but also as an advocate for his community.\u003c/p>\n\u003cp>“A lot of our songs have to do with mental illness, drug abuse. We even have a song about being queer. I’m queer and undocumented, and so our environments can really mess with our heads,” says Cabrillo.\u003c/p>\n\u003cfigure id=\"attachment_10985179\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10985179\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/ROOSTER-close-up-800x530.jpg\" alt=\"PTSD vocalist Rooster Cabrillo in performance makeup. \" width=\"800\" height=\"530\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/ROOSTER-close-up-800x530.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/ROOSTER-close-up-400x265.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/ROOSTER-close-up.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/ROOSTER-close-up-1180x782.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/ROOSTER-close-up-960x637.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">PTSD vocalist Rooster Cabrillo in performance makeup. \u003ccite>(Angela Boatwright)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Director Boatwright reveals who these young people are the morning after a show; struggles with parents, unemployment, mental health or substance abuse, and how they can find a way forward within the scene.\u003c/p>\n\u003cp>“A million things that can make you angry as young person, you can find solace in punk, hardcore or metal or whatever you like,” says Boatwright. “So I prefer to let the punk explain where they are coming from themselves.”\u003c/p>\n\u003cp>Sitting just a few feet away from Boatwright during this interview, Rooster Cabrillo hesitantly expresses some apprehension over the film, financed, by Orange County-based apparel and lifestyle company \u003ca href=\"http://livingoffthewall.vans.com/angela-boatwright/\" target=\"_blank\">Vans.\u003c/a>\u003c/p>\n\u003cp>“We have a huge problem with gentrification in Boyle Heights right now,” explains Cabrillo. “There’s a lot of folks that love making movies that are from East L.A., who go to backyard shows, and it would have been cool to see them get an opportunity to tell that story for themselves.\"\u003c/p>\n\u003cfigure id=\"attachment_10985182\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10985182\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/LOS-PUNKS-pit-slam-1-800x533.jpg\" alt=\"A moshpit in full force at backyard punk show somewhere in L.A. \" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/LOS-PUNKS-pit-slam-1-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/LOS-PUNKS-pit-slam-1-400x266.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/LOS-PUNKS-pit-slam-1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/LOS-PUNKS-pit-slam-1-1180x786.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/LOS-PUNKS-pit-slam-1-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A mosh pit in full force at backyard punk show somewhere in L.A.\u003c/figcaption>\u003c/figure>\n\u003cp>Boatwright says she’s aware of some of the grumbling over the film within the scene, but believes \"Los Punks\" can actually help open up discussions of issues like gentrification.\u003c/p>\n\u003cp>“The positive thing that I see coming out of this is that there are some really important discussions being started because of this,” says Boatwright. “And I think if that benefits them to have those dialogues and to better their community, I think that’s great. Then my job has been done.”\u003c/p>\n\u003cp>Even with more scrutiny from the “outside” world, the scene is unlikely to diminish.\u003c/p>\n\u003cp>In one telling scene from the movie, the cops break up a backyard show after calls of an alleged stabbing, which turned out to be false. But the kids and the bands were sent packing anyway.\u003c/p>\n\u003cp>Within minutes though, the text messages are flying back and forth. Another backyard is secured at 83\u003csup>rd\u003c/sup> and San Pedro. Gear is hauled off to the new location and the blast of music resumes, roaring up and out over the rooftops of South L.A.\u003c/p>\n\u003cfigure id=\"attachment_10985181\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-10985181 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/LOS-PUNKS-corrupted-youth-800x533.jpg\" alt=\"he band Corrupted Youth, a lynchpin in the East and South L.A. backyard punk scene. \" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/LOS-PUNKS-corrupted-youth-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/LOS-PUNKS-corrupted-youth-400x266.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/LOS-PUNKS-corrupted-youth.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/LOS-PUNKS-corrupted-youth-1180x786.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/LOS-PUNKS-corrupted-youth-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The band Corrupted Youth, a linchpin in the East and South L.A. backyard punk scene. \u003ccite>(Angela Boatwright)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\"Los Punks: We Are All We Have\" screens at \u003c/em>\u003cem>San Francisco Doc Fest \u003c/em>\u003cem>Sunday June 12 and Wednesday June 15 at the Roxie Theatre. The film is also available for download now on iTunes.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/10985167/documentary-reveals-l-a-s-secretive-backyard-latino-punk-scene","authors":["2600"],"programs":["news_72"],"categories":["news_223"],"tags":["news_18142","news_4","news_1425","news_18889","news_17286","news_17041"],"featImg":"news_10985468","label":"news_72"},"news_10973520":{"type":"posts","id":"news_10973520","meta":{"index":"posts_1591205157","site":"news","id":"10973520","score":null,"sort":[1464819328000]},"guestAuthors":[],"slug":"l-a-s-punk-history-comes-to-light-in-under-the-big-black-sun","title":"L.A.'s Punk History Comes to Light in 'Under the Big Black Sun'","publishDate":1464819328,"format":"standard","headTitle":"The California Report | KQED News","labelTerm":{"term":72,"site":"news"},"content":"\u003cp>In 1976, musician John Doe set out from his home in Baltimore, bound for Los Angeles. He was behind the wheel of “a yellow 1970 International Travelall with a 1960 Fender Jazz ass, a Traynor bass amp, records, stereo, clothes, a few pots, pans and dishes,” offers Doe. “No furniture that I can recall and probably $1,500, which seemed like a lot.”\u003c/p>\n\u003cp>It would prove to be an eventful move. Within the next year, he would meet Exene Cervenka, Billy Zoom and DJ Bonebrake. Together they would form the band X, a group that would play an integral part in the germinating L.A. punk scene. Almost 40 years later, that vibrant, creative, influential period is the focus of \"Under the Big Black Sun: A Personal History of L.A. Punk,\" a book wrangled together by Doe and music industry veteran Tom DeSavia.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/266809431\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>The chapters are written by the musicians, scene makers and music critics who populated the surprisingly small scene centered in Hollywood around a vortex of low-rent apartments, dingy clubs and discount liquor stores. It was the unholy union of fading L.A. noir and the kinetic, upstart world of punk.\u003c/p>\n\u003cp>“So these people had to talk about what the city looked like and what it felt like and what it smelled like,” says Doe of the contributors. And what did L.A. punk smell like in 1977?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Sweat, beer, a little bit of throw up on the side. Just a smattering of vomit! You know what? Punk rock smelled like Los Angeles and that was dusty and there was sun and when it rained it was beautiful and it was the same kind of smell that you got from any good book.”\u003c/p>\n\u003cfigure id=\"attachment_10974433\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/DeSaviaDoe-800x542.jpg\" alt='\"Under the Big Black Sun\" co-authors Tom DeSavia (L) and John Doe.' width=\"800\" height=\"542\" class=\"size-medium wp-image-10974433\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/DeSaviaDoe-800x542.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/DeSaviaDoe-400x271.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/DeSaviaDoe.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/DeSaviaDoe-1180x799.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/DeSaviaDoe-960x650.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">\"Under the Big Black Sun\" co-authors Tom DeSavia (L) and John Doe. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Named for the 1982 X song “Under the Big Black Sun,” the book was the brainchild of DeSavia, a self-confessed “record nerd” from the Valley.\u003c/p>\n\u003cp>“I was not in the punk scene,” he says. “I was a fan, I went with other kids to the shows, I bought the albums, I was a consumer.” He witnessed his first show in ’82. He was 15, he was wearing an argyle sweater and it changed his life.\u003c/p>\n\u003cp>“First time I saw X I was terrified,” recalls DeSavia. “I thought I was going to get pummeled. And then at some point everything refocused and I watched it and I got completely hypnotized by it and the poison seeped in. I remember standing out back and seeing John load some gear that night and thinking he was just the coolest guy on the planet.\"\u003c/p>\n\u003caside class=\"pullquote alignright\">'I quickly found out 90 percent of what I thought I knew was wrong, and everything had a better story than I could have ever imagined.'\u003ccite>Tom DeSavia\u003c/cite>\u003c/aside>\n\u003cp>Fast forward to 1996.\u003c/p>\n\u003cp>“I went to work for Elektra records and the first project I worked on there was something I begged to do, which was an X anthology called 'Beyond and Back.' ” While co-producing the album with the band, he became friends with the coolest guy on the planet.\u003c/p>\n\u003cp>He started asking questions about the golden years of the L.A. punk world, which was fast becoming a footnote to New York and London’s scenes.\u003c/p>\n\u003cp>“And I quickly found out 90 percent of what I thought I knew was wrong, and everything had a better story than I could have ever imagined,” DeSavia says. “So at that moment I was like, 'John, you got to write a book.' He had no interest.”\u003c/p>\n\u003cp>“I didn’t want to do the work,” admits Doe. “It's hard. It's discipline. I'm not the most disciplined person. So, in a bolt of inspiration, I thought, ‘I know, I'll get other people to write, 'cause I'm also not comfortable with being the authority and the historian. So everybody has their truth.”\u003c/p>\n\u003cfigure id=\"attachment_10974437\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/Exene-800x513.jpg\" alt=\"Exene Cervenka of X performing at a show in 1980.\" width=\"800\" height=\"513\" class=\"size-medium wp-image-10974437\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/Exene-800x513.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Exene-400x256.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Exene.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Exene-1180x756.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Exene-960x615.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Exene Cervenka of X performing at a show in 1980. \u003ccite>(UCLA Library Special Collections/Flickr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Forty years ago, Hollywood was filthy, cheap, and dangerous, which made it the perfect spawning ground for punk rock. And in late ’70’s Los Angeles, the term “punk” threw a wide embrace that included the raw, edgy power of bands like Fear to the blues and rockabilly infusion of the Blasters to the Go-Go’s hooky power pop. The only rule was to be outside the mainstream.\u003c/p>\n\u003cp>Pleasant Gehman, who refers to herself as “an aging punk rock lady,” was a fixture on the scene. She published the fanzine Lobotomy, and wrote for most of the local publications that delved into the scene.\u003c/p>\n\u003cp>“In those days it felt really communal,” she says, “so whatever you did, you were doing it with a lot of people.” Gehman -- the only author in the book who still lives in Hollywood proper, in view of the iconic sign on the hill -- reveals a time travel glimpse of that communal scene.\u003c/p>\n\u003cfigure id=\"attachment_10974498\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/PleasantG-800x466.jpg\" alt=\"Pleasant Gehman, still a Hollywood resident, was a fixture of the early punk scene.\" width=\"800\" height=\"466\" class=\"size-medium wp-image-10974498\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/PleasantG-800x466.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/PleasantG-400x233.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/PleasantG.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/PleasantG-1180x688.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/PleasantG-960x560.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pleasant Gehman, still a Hollywood resident, was a fixture of the early punk scene. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It's Saturday night in 1977, and I would be in a room either at somebody's apartment, like Joan Jett's apartment across the street from the Whisky, or at the Canterbury [an apartment building notorious for its punk tenants] with a bunch of other people,” she recalls. “We’d all be putting on makeup, all putting on different badges and primping and drinking and gossiping and screaming and yelling.\"\u003c/p>\n\u003cp>\"There'd be the Clash or the Damned playing on the stereo and we'd all be getting ready to go out. The feeling of excitement was so insane that now, about 40 years later, I still can't differentiate whether it was my own adolescent excitement or if it really was that electric. It just felt different than any other time in my life.”\u003c/p>\n\u003cp>Fueled by all those yelling, primping, drinking people, bands and audiences were often interchangeable, something San Pedro’s Minutemen discovered when they first ventured north on the 110 freeway to investigate rumors of something happening.\u003c/p>\n\u003cp>“There's this scene up in Hollywood where people write their own songs. We're like, whoa!” bassist Mike Watt says. \u003c/p>\n\u003cp>\"We go up there and the Bags and the Weirdos were playing four bands for four bucks at the Whisky. And you didn't sit, actually the guy playing could be standing next to you, they’re like taking turns. And you could tell dudes were just learning, too. And no fear! I looked at D. Boone and go, we can do this! You get something going with like-minded people who don't fit in, and you make a kind of parallel universe.\"\u003c/p>\n\u003cfigure id=\"attachment_10974503\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/Minutemen-800x503.jpg\" alt=\"The Minutemen in 1982.\" width=\"800\" height=\"503\" class=\"size-medium wp-image-10974503\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/Minutemen-800x503.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Minutemen-400x251.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Minutemen.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Minutemen-1180x741.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Minutemen-960x603.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Minutemen in 1982. \u003ccite>(UCLA Library Special Collections/Flickr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Wasn't it a great time?!” says vocalist Teresa Covarrubias. “It really felt like something different was happening.”\u003c/p>\n\u003cp>Covarrubias and her group, The Brat, came from East L.A., an area of largely Mexican-American neighborhoods across the Los Angeles River from Hollywood, and a long way from punk rock.\u003c/p>\n\u003cp>“In East L.A. in Boyle Heights, that community is very isolated in a way, as far as what gets in there and popular culture, so I really felt alone,” says Covarrubias. “I was really the only person I knew who was aware of that type of music. It was a great epiphany, to know that this was a way for you to get your voice heard, and that punk vehicle -- which was very in your face and aggressive -- just seemed perfect for the situation I was in at that time.”\u003c/p>\n\u003cp>“It just seemed like there wasn't a lot of limits,” she continues. “It kind of blew the whole performance thing wide open and changed what it meant to be onstage. You didn't have to be a virtuoso on guitar, it was more like the spirit behind it and the heart behind what you wanted to do, and the expression. Just the act of expressing yourself, you know?\"\u003c/p>\n\u003cfigure id=\"attachment_10974517\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/TheBrat80-800x569.jpg\" alt=\"The Brat in 1980, with Robert Soto, Rudy Brat, Teresa Covarrubias, Sid Medina and Lou Soto.\" width=\"800\" height=\"569\" class=\"size-medium wp-image-10974517\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/TheBrat80-800x569.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/TheBrat80-400x285.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/TheBrat80.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/TheBrat80-1180x840.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/TheBrat80-960x683.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Brat in 1980, with Robert Soto, Rudy Brat, Teresa Covarrubias, Sid Medina and Lou Soto. \u003ccite>(TheBrat.net)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Along with acts like Los Lobos and Robert “El Vez” Lopez, The Brat was redefining the East L.A. stereotype of what Covarrubias says was “all about gangs and violence.”\u003c/p>\n\u003cp>“When people would look at Chicano music or that culture, there was a certain thing that they expected to see,” she continues. “And I think us doing this music that was not as traditional was kind of invigorating because it wasn't what people expected.”\u003c/p>\n\u003cp>Hailing from the foreign land of blue-collar Downey, a whopping 20 miles from Hollywood and Vine, the roots-fueled Blasters at first found themselves stonewalled by unresponsive club bookers, says songwriter and guitarist Dave Alvin.\u003c/p>\n\u003cp>“The nuts and bolts of breaking into Hollywood from Downey or wherever was difficult,” Alvin says. “In those days I was the guy driving around from club to club with a little demo cassette saying, 'Uh, we got a band, we sorta play blues and rockabilly, ya know ...' and I would get rejected constantly.”\u003c/p>\n\u003cp>The musicians, on the other hand, were a big supportive family.\u003c/p>\n\u003caside class=\"pullquote alignright\">'When people would look at Chicano music there was a certain thing that they expected to see. And I think us doing this music... was kind of invigorating because it wasn’t what people expected.'\u003ccite>Teresa Covarrubias, The Brat\u003c/cite>\u003c/aside>\n\u003cp>“The scene was very, very diverse. It accepted women, it accepted gays, it accepted straights, you had a lot of phony anarchists and communists, you even had one or two Republicans. Every race, every gender, every political persuasion, every everything was united by the music and that was a great thing.”\u003c/p>\n\u003cp>Back to X, and back to John Doe.\u003c/p>\n\u003cp>“This is where I'm going to get a little spiritual on you,” he says, a dark and fancy beer at his elbow. “I think if you can envision something and see something and imagine it, you can do it. A lot of people saw themselves in the future doing stuff, saw themselves on stage doing stuff, saw themselves inhabiting this character that they invented. I wasn't born John Doe, but I created John Doe out of something. I think if you see it and you feel it and you just know it, you'll find a way to get there. And I think that's what we did.”\u003c/p>\n\u003cfigure id=\"attachment_10974388\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/BigBlackSunBook-800x619.jpg\" alt='Tom DeSavia, co-author of \"Under the Big Black Sun: A Personal History of L.A. Punk.\"' width=\"800\" height=\"619\" class=\"size-medium wp-image-10974388\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/BigBlackSunBook-800x619.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/BigBlackSunBook-400x310.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/BigBlackSunBook.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/BigBlackSunBook-1180x913.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/BigBlackSunBook-960x743.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tom DeSavia, co-author of \"Under the Big Black Sun: A Personal History of L.A. Punk.\" \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Singer-songwriter Exene Cervenka -- Doe’s partner in X for 39 years and counting -- sums it up in her chapter in the audio version of \"Under the Big Black Sun\":\u003c/p>\n\u003cblockquote>\u003cp>\nWe were a living spectacle that terrified and confused the traffic on Sunset and Vine, that broke the TV, replaced the radio, infiltrated the record companies, became the big stories the media was forced to tell, and maybe gave the government a bit of a scare. But the best thing we had going for us was originality. Nothing quite like L.A. punk had ever existed, or would, ever again.\n\u003c/p>\u003c/blockquote>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It was a moment in time that began with a handful of bands on a handful of stages, and ended when those bands either fell apart or got bigger. But the voices in this book never let you forget one thing: It was all a hell of a lot of fun.\u003c/p>\n\n","blocks":[],"excerpt":"A new book co-authored by John Doe of X features chapters written by musicians, scene makers and music critics who populated the early L.A. punk scene.","status":"publish","parent":0,"modified":1464819815,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":39,"wordCount":2035},"headData":{"title":"L.A.'s Punk History Comes to Light in 'Under the Big Black Sun' | KQED","description":"A new book co-authored by John Doe of X features chapters written by musicians, scene makers and music critics who populated the early L.A. punk scene.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"disqusIdentifier":"10973520 http://ww2.kqed.org/news/?p=10973520","disqusUrl":"https://ww2.kqed.org/news/2016/06/01/l-a-s-punk-history-comes-to-light-in-under-the-big-black-sun/","disqusTitle":"L.A.'s Punk History Comes to Light in 'Under the Big Black Sun'","nprByline":"\u003cstrong>Peter Gilstrap\u003c/strong>","path":"/news/10973520/l-a-s-punk-history-comes-to-light-in-under-the-big-black-sun","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 1976, musician John Doe set out from his home in Baltimore, bound for Los Angeles. He was behind the wheel of “a yellow 1970 International Travelall with a 1960 Fender Jazz ass, a Traynor bass amp, records, stereo, clothes, a few pots, pans and dishes,” offers Doe. “No furniture that I can recall and probably $1,500, which seemed like a lot.”\u003c/p>\n\u003cp>It would prove to be an eventful move. Within the next year, he would meet Exene Cervenka, Billy Zoom and DJ Bonebrake. Together they would form the band X, a group that would play an integral part in the germinating L.A. punk scene. Almost 40 years later, that vibrant, creative, influential period is the focus of \"Under the Big Black Sun: A Personal History of L.A. Punk,\" a book wrangled together by Doe and music industry veteran Tom DeSavia.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/266809431&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/266809431'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The chapters are written by the musicians, scene makers and music critics who populated the surprisingly small scene centered in Hollywood around a vortex of low-rent apartments, dingy clubs and discount liquor stores. It was the unholy union of fading L.A. noir and the kinetic, upstart world of punk.\u003c/p>\n\u003cp>“So these people had to talk about what the city looked like and what it felt like and what it smelled like,” says Doe of the contributors. And what did L.A. punk smell like in 1977?\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>“Sweat, beer, a little bit of throw up on the side. Just a smattering of vomit! You know what? Punk rock smelled like Los Angeles and that was dusty and there was sun and when it rained it was beautiful and it was the same kind of smell that you got from any good book.”\u003c/p>\n\u003cfigure id=\"attachment_10974433\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/DeSaviaDoe-800x542.jpg\" alt='\"Under the Big Black Sun\" co-authors Tom DeSavia (L) and John Doe.' width=\"800\" height=\"542\" class=\"size-medium wp-image-10974433\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/DeSaviaDoe-800x542.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/DeSaviaDoe-400x271.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/DeSaviaDoe.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/DeSaviaDoe-1180x799.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/DeSaviaDoe-960x650.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">\"Under the Big Black Sun\" co-authors Tom DeSavia (L) and John Doe. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Named for the 1982 X song “Under the Big Black Sun,” the book was the brainchild of DeSavia, a self-confessed “record nerd” from the Valley.\u003c/p>\n\u003cp>“I was not in the punk scene,” he says. “I was a fan, I went with other kids to the shows, I bought the albums, I was a consumer.” He witnessed his first show in ’82. He was 15, he was wearing an argyle sweater and it changed his life.\u003c/p>\n\u003cp>“First time I saw X I was terrified,” recalls DeSavia. “I thought I was going to get pummeled. And then at some point everything refocused and I watched it and I got completely hypnotized by it and the poison seeped in. I remember standing out back and seeing John load some gear that night and thinking he was just the coolest guy on the planet.\"\u003c/p>\n\u003caside class=\"pullquote alignright\">'I quickly found out 90 percent of what I thought I knew was wrong, and everything had a better story than I could have ever imagined.'\u003ccite>Tom DeSavia\u003c/cite>\u003c/aside>\n\u003cp>Fast forward to 1996.\u003c/p>\n\u003cp>“I went to work for Elektra records and the first project I worked on there was something I begged to do, which was an X anthology called 'Beyond and Back.' ” While co-producing the album with the band, he became friends with the coolest guy on the planet.\u003c/p>\n\u003cp>He started asking questions about the golden years of the L.A. punk world, which was fast becoming a footnote to New York and London’s scenes.\u003c/p>\n\u003cp>“And I quickly found out 90 percent of what I thought I knew was wrong, and everything had a better story than I could have ever imagined,” DeSavia says. “So at that moment I was like, 'John, you got to write a book.' He had no interest.”\u003c/p>\n\u003cp>“I didn’t want to do the work,” admits Doe. “It's hard. It's discipline. I'm not the most disciplined person. So, in a bolt of inspiration, I thought, ‘I know, I'll get other people to write, 'cause I'm also not comfortable with being the authority and the historian. So everybody has their truth.”\u003c/p>\n\u003cfigure id=\"attachment_10974437\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/Exene-800x513.jpg\" alt=\"Exene Cervenka of X performing at a show in 1980.\" width=\"800\" height=\"513\" class=\"size-medium wp-image-10974437\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/Exene-800x513.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Exene-400x256.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Exene.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Exene-1180x756.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Exene-960x615.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Exene Cervenka of X performing at a show in 1980. \u003ccite>(UCLA Library Special Collections/Flickr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Forty years ago, Hollywood was filthy, cheap, and dangerous, which made it the perfect spawning ground for punk rock. And in late ’70’s Los Angeles, the term “punk” threw a wide embrace that included the raw, edgy power of bands like Fear to the blues and rockabilly infusion of the Blasters to the Go-Go’s hooky power pop. The only rule was to be outside the mainstream.\u003c/p>\n\u003cp>Pleasant Gehman, who refers to herself as “an aging punk rock lady,” was a fixture on the scene. She published the fanzine Lobotomy, and wrote for most of the local publications that delved into the scene.\u003c/p>\n\u003cp>“In those days it felt really communal,” she says, “so whatever you did, you were doing it with a lot of people.” Gehman -- the only author in the book who still lives in Hollywood proper, in view of the iconic sign on the hill -- reveals a time travel glimpse of that communal scene.\u003c/p>\n\u003cfigure id=\"attachment_10974498\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/PleasantG-800x466.jpg\" alt=\"Pleasant Gehman, still a Hollywood resident, was a fixture of the early punk scene.\" width=\"800\" height=\"466\" class=\"size-medium wp-image-10974498\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/PleasantG-800x466.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/PleasantG-400x233.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/PleasantG.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/PleasantG-1180x688.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/PleasantG-960x560.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pleasant Gehman, still a Hollywood resident, was a fixture of the early punk scene. \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It's Saturday night in 1977, and I would be in a room either at somebody's apartment, like Joan Jett's apartment across the street from the Whisky, or at the Canterbury [an apartment building notorious for its punk tenants] with a bunch of other people,” she recalls. “We’d all be putting on makeup, all putting on different badges and primping and drinking and gossiping and screaming and yelling.\"\u003c/p>\n\u003cp>\"There'd be the Clash or the Damned playing on the stereo and we'd all be getting ready to go out. The feeling of excitement was so insane that now, about 40 years later, I still can't differentiate whether it was my own adolescent excitement or if it really was that electric. It just felt different than any other time in my life.”\u003c/p>\n\u003cp>Fueled by all those yelling, primping, drinking people, bands and audiences were often interchangeable, something San Pedro’s Minutemen discovered when they first ventured north on the 110 freeway to investigate rumors of something happening.\u003c/p>\n\u003cp>“There's this scene up in Hollywood where people write their own songs. We're like, whoa!” bassist Mike Watt says. \u003c/p>\n\u003cp>\"We go up there and the Bags and the Weirdos were playing four bands for four bucks at the Whisky. And you didn't sit, actually the guy playing could be standing next to you, they’re like taking turns. And you could tell dudes were just learning, too. And no fear! I looked at D. Boone and go, we can do this! You get something going with like-minded people who don't fit in, and you make a kind of parallel universe.\"\u003c/p>\n\u003cfigure id=\"attachment_10974503\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/Minutemen-800x503.jpg\" alt=\"The Minutemen in 1982.\" width=\"800\" height=\"503\" class=\"size-medium wp-image-10974503\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/Minutemen-800x503.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Minutemen-400x251.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Minutemen.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Minutemen-1180x741.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/Minutemen-960x603.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Minutemen in 1982. \u003ccite>(UCLA Library Special Collections/Flickr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Wasn't it a great time?!” says vocalist Teresa Covarrubias. “It really felt like something different was happening.”\u003c/p>\n\u003cp>Covarrubias and her group, The Brat, came from East L.A., an area of largely Mexican-American neighborhoods across the Los Angeles River from Hollywood, and a long way from punk rock.\u003c/p>\n\u003cp>“In East L.A. in Boyle Heights, that community is very isolated in a way, as far as what gets in there and popular culture, so I really felt alone,” says Covarrubias. “I was really the only person I knew who was aware of that type of music. It was a great epiphany, to know that this was a way for you to get your voice heard, and that punk vehicle -- which was very in your face and aggressive -- just seemed perfect for the situation I was in at that time.”\u003c/p>\n\u003cp>“It just seemed like there wasn't a lot of limits,” she continues. “It kind of blew the whole performance thing wide open and changed what it meant to be onstage. You didn't have to be a virtuoso on guitar, it was more like the spirit behind it and the heart behind what you wanted to do, and the expression. Just the act of expressing yourself, you know?\"\u003c/p>\n\u003cfigure id=\"attachment_10974517\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/TheBrat80-800x569.jpg\" alt=\"The Brat in 1980, with Robert Soto, Rudy Brat, Teresa Covarrubias, Sid Medina and Lou Soto.\" width=\"800\" height=\"569\" class=\"size-medium wp-image-10974517\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/TheBrat80-800x569.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/TheBrat80-400x285.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/TheBrat80.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/TheBrat80-1180x840.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/TheBrat80-960x683.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Brat in 1980, with Robert Soto, Rudy Brat, Teresa Covarrubias, Sid Medina and Lou Soto. \u003ccite>(TheBrat.net)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Along with acts like Los Lobos and Robert “El Vez” Lopez, The Brat was redefining the East L.A. stereotype of what Covarrubias says was “all about gangs and violence.”\u003c/p>\n\u003cp>“When people would look at Chicano music or that culture, there was a certain thing that they expected to see,” she continues. “And I think us doing this music that was not as traditional was kind of invigorating because it wasn't what people expected.”\u003c/p>\n\u003cp>Hailing from the foreign land of blue-collar Downey, a whopping 20 miles from Hollywood and Vine, the roots-fueled Blasters at first found themselves stonewalled by unresponsive club bookers, says songwriter and guitarist Dave Alvin.\u003c/p>\n\u003cp>“The nuts and bolts of breaking into Hollywood from Downey or wherever was difficult,” Alvin says. “In those days I was the guy driving around from club to club with a little demo cassette saying, 'Uh, we got a band, we sorta play blues and rockabilly, ya know ...' and I would get rejected constantly.”\u003c/p>\n\u003cp>The musicians, on the other hand, were a big supportive family.\u003c/p>\n\u003caside class=\"pullquote alignright\">'When people would look at Chicano music there was a certain thing that they expected to see. And I think us doing this music... was kind of invigorating because it wasn’t what people expected.'\u003ccite>Teresa Covarrubias, The Brat\u003c/cite>\u003c/aside>\n\u003cp>“The scene was very, very diverse. It accepted women, it accepted gays, it accepted straights, you had a lot of phony anarchists and communists, you even had one or two Republicans. Every race, every gender, every political persuasion, every everything was united by the music and that was a great thing.”\u003c/p>\n\u003cp>Back to X, and back to John Doe.\u003c/p>\n\u003cp>“This is where I'm going to get a little spiritual on you,” he says, a dark and fancy beer at his elbow. “I think if you can envision something and see something and imagine it, you can do it. A lot of people saw themselves in the future doing stuff, saw themselves on stage doing stuff, saw themselves inhabiting this character that they invented. I wasn't born John Doe, but I created John Doe out of something. I think if you see it and you feel it and you just know it, you'll find a way to get there. And I think that's what we did.”\u003c/p>\n\u003cfigure id=\"attachment_10974388\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/BigBlackSunBook-800x619.jpg\" alt='Tom DeSavia, co-author of \"Under the Big Black Sun: A Personal History of L.A. Punk.\"' width=\"800\" height=\"619\" class=\"size-medium wp-image-10974388\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/BigBlackSunBook-800x619.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/BigBlackSunBook-400x310.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/BigBlackSunBook.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/BigBlackSunBook-1180x913.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/BigBlackSunBook-960x743.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tom DeSavia, co-author of \"Under the Big Black Sun: A Personal History of L.A. Punk.\" \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Singer-songwriter Exene Cervenka -- Doe’s partner in X for 39 years and counting -- sums it up in her chapter in the audio version of \"Under the Big Black Sun\":\u003c/p>\n\u003cblockquote>\u003cp>\nWe were a living spectacle that terrified and confused the traffic on Sunset and Vine, that broke the TV, replaced the radio, infiltrated the record companies, became the big stories the media was forced to tell, and maybe gave the government a bit of a scare. But the best thing we had going for us was originality. Nothing quite like L.A. punk had ever existed, or would, ever again.\n\u003c/p>\u003c/blockquote>\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>It was a moment in time that began with a handful of bands on a handful of stages, and ended when those bands either fell apart or got bigger. But the voices in this book never let you forget one thing: It was all a hell of a lot of fun.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/10973520/l-a-s-punk-history-comes-to-light-in-under-the-big-black-sun","authors":["byline_news_10973520"],"programs":["news_72"],"categories":["news_223"],"tags":["news_18880","news_160","news_4","news_1425","news_18889","news_17286"],"featImg":"news_10974391","label":"news_72"},"news_10762583":{"type":"posts","id":"news_10762583","meta":{"index":"posts_1591205157","site":"news","id":"10762583","score":null,"sort":[1447805730000]},"guestAuthors":[],"slug":"20151117the-leap-episode-four-james-williamson-stooges-iggy-pop","title":"The Improbable Transformation of a Punk Pioneer","publishDate":1447805730,"format":"audio","headTitle":"The Leap | KQED News","labelTerm":{"term":18606,"site":"news"},"content":"\u003cp>James Williamson became a punk rock legend as part of the 1970s band The Stooges. He wrote the songs and played guitar on the iconic album \"\u003ca href=\"http://www.allmusic.com/album/raw-power-mw0000202295\">Raw Power\u003c/a>,\" which changed the course of music. But, a few years into it, he just walked away. He put down the guitar for more than three decades. What did he end up doing? Not what you’d expect. Take a listen.\u003c/p>\n\u003cp>\u003ci>To learn more about Williamson's troubled musical past, \u003ca href=\"http://ww2.kqed.org/arts/2015/11/17/heaviness-is-guaranteed-a-conversation-with-james-williamson/\" target=\"_blank\" rel=\"noopener noreferrer\">read Kevin L. Jones' interview with the guitarist\u003c/a> on KQED Arts.)\u003c/i>\u003c/p>\n\u003cp>[kqed_gallery link=\"none\" size=\"full\" ids=\"10761318,10761319,10761320\"]\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/09/theleap-logo-200.png\">\u003cimg class=\"alignleft wp-image-5415\" src=\"http://i1.wp.com/ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/10/TheLEAP-iTune-1400x1400-01-e1444097330587.png\" alt=\"theleap-logo-200\" width=\"150\" height=\"82\">\u003c/a>\u003c/p>\n\u003ch3>Subscribe to The Leap\u003c/h3>\n\u003cp>Don't miss an episode!\u003cbr>\n\u003ca href=\"https://itunes.apple.com/us/podcast/the-leap/id1046668171\">Subscribe in iTunes\u003c/a> | \u003ca href=\"https://ww2.kqed.org/news/programs/the-leap/feed\">RSS\u003c/a> | \u003ca href=\"http://ww2.kqed.org/news/programs/the-leap\">Website\u003c/a>\u003c/p>\n\u003chr>\n\u003cp>Support for The Leap is provided by:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"http://www.act-sf.org\">\u003cimg src=\"http://u.s.kqed.net/2015/09/21/actlogo250.jpg\" alt=\"\" width=\"200\">\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.operasj.org/\">\u003cimg src=\"http://u.s.kqed.net/2015/09/21/operasjlogo250.jpg\" alt=\"\" width=\"200\">\u003c/a>\u003c/p>\n\n","blocks":[],"excerpt":"James Williamson became a punk rock legend as part the 1970s band The Stooges. But, a few years into it, he just walked away. ","status":"publish","parent":0,"modified":1527192843,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":10,"wordCount":121},"headData":{"title":"The Improbable Transformation of a Punk Pioneer | KQED","description":"James Williamson became a punk rock legend as part the 1970s band The Stooges. But, a few years into it, he just walked away. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"disqusIdentifier":"10762583 http://ww2.kqed.org/news/?p=10762583","disqusUrl":"https://ww2.kqed.org/news/2015/11/17/20151117the-leap-episode-four-james-williamson-stooges-iggy-pop/","disqusTitle":"The Improbable Transformation of a Punk Pioneer","audioUrl":"https://www.kqed.org/.stream/mp3splice/radio/theleap/2015/11/TheLeap4.mp3","customPermalink":"2015/11/17/the-leap-episode-four-james-williamson-stooges-iggy-pop/","WpOldSlug":"episode-4-the-improbable-transformation-of-a-punk-pioneer-2","nprStoryId":"464914625","path":"/news/10762583/20151117the-leap-episode-four-james-williamson-stooges-iggy-pop","audioDuration":1522000,"audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>James Williamson became a punk rock legend as part of the 1970s band The Stooges. He wrote the songs and played guitar on the iconic album \"\u003ca href=\"http://www.allmusic.com/album/raw-power-mw0000202295\">Raw Power\u003c/a>,\" which changed the course of music. But, a few years into it, he just walked away. He put down the guitar for more than three decades. What did he end up doing? Not what you’d expect. Take a listen.\u003c/p>\n\u003cp>\u003ci>To learn more about Williamson's troubled musical past, \u003ca href=\"http://ww2.kqed.org/arts/2015/11/17/heaviness-is-guaranteed-a-conversation-with-james-williamson/\" target=\"_blank\" rel=\"noopener noreferrer\">read Kevin L. Jones' interview with the guitarist\u003c/a> on KQED Arts.)\u003c/i>\u003c/p>\n\u003cp>[kqed_gallery link=\"none\" size=\"full\" ids=\"10761318,10761319,10761320\"]\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/about/wp-content/uploads/sites/19/2015/09/theleap-logo-200.png\">\u003cimg class=\"alignleft wp-image-5415\" src=\"http://i1.wp.com/ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/10/TheLEAP-iTune-1400x1400-01-e1444097330587.png\" alt=\"theleap-logo-200\" width=\"150\" height=\"82\">\u003c/a>\u003c/p>\n\u003ch3>Subscribe to The Leap\u003c/h3>\n\u003cp>Don't miss an episode!\u003cbr>\n\u003ca href=\"https://itunes.apple.com/us/podcast/the-leap/id1046668171\">Subscribe in iTunes\u003c/a> | \u003ca href=\"https://ww2.kqed.org/news/programs/the-leap/feed\">RSS\u003c/a> | \u003ca href=\"http://ww2.kqed.org/news/programs/the-leap\">Website\u003c/a>\u003c/p>\n\u003chr>\n\u003cp>Support for The Leap is provided by:\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>\u003ca href=\"http://www.act-sf.org\">\u003cimg src=\"http://u.s.kqed.net/2015/09/21/actlogo250.jpg\" alt=\"\" width=\"200\">\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.operasj.org/\">\u003cimg src=\"http://u.s.kqed.net/2015/09/21/operasjlogo250.jpg\" alt=\"\" width=\"200\">\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/10762583/20151117the-leap-episode-four-james-williamson-stooges-iggy-pop","authors":["11094","210"],"programs":["news_72","news_18606"],"categories":["news_223"],"tags":["news_1425","news_18889"],"featImg":"news_10761402","label":"news_18606"}},"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/2023/08/possible-5gxfizEbKOJ-pbF5ASgxrs_.1400x1400.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/2021/10/ATC_1400.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://ww2.kqed.org/news/wp-content/uploads/sites/10/powerpress/1440_0018_AmericanSuburb_iTunesTile_01.jpg","officialWebsiteLink":"/news/series/american-suburb-podcast","meta":{"site":"news","source":"kqed","order":"13"},"link":"/news/series/american-suburb-podcast/","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328","tuneIn":"https://tunein.com/radio/American-Suburb-p1086805/","rss":"https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"}},"baycurious":{"id":"baycurious","title":"Bay Curious","tagline":"Exploring the Bay Area, one question at a time","info":"KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.","imageSrc":"https://ww2.kqed.org/news/wp-content/uploads/sites/10/powerpress/1440_0017_BayCurious_iTunesTile_01.jpg","imageAlt":"\"KQED Bay Curious","officialWebsiteLink":"/news/series/baycurious","meta":{"site":"news","source":"kqed","order":"4"},"link":"/podcasts/baycurious","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/bay-curious/id1172473406","npr":"https://www.npr.org/podcasts/500557090/bay-curious","rss":"https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA","stitcher":"https://www.stitcher.com/podcast/kqed/bay-curious","spotify":"https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"}},"bbc-world-service":{"id":"bbc-world-service","title":"BBC World Service","info":"The day's top stories from BBC News compiled twice daily in the week, once at weekends.","airtime":"MON-FRI 9pm-10pm, TUE-FRI 1am-2am","imageSrc":"https://ww2.kqed.org/app/uploads/2021/10/BBC_1400.jpg","officialWebsiteLink":"https://www.bbc.co.uk/sounds/play/live:bbc_world_service","meta":{"site":"news","source":"BBC World Service"},"link":"/radio/program/bbc-world-service","subscribe":{"apple":"https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2","tuneIn":"https://tunein.com/radio/BBC-World-Service-p455581/","rss":"https://podcasts.files.bbci.co.uk/p02nq0gn.rss"}},"code-switch-life-kit":{"id":"code-switch-life-kit","title":"Code Switch / Life Kit","info":"\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />","airtime":"SUN 9pm-10pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2021/12/CodeSwitchLifeKit_StationGraphics_300x300EmailGraphic.png","meta":{"site":"radio","source":"npr"},"link":"/radio/program/code-switch-life-kit","subscribe":{"apple":"https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy","spotify":"https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV","rss":"https://feeds.npr.org/510312/podcast.xml"}},"commonwealth-club":{"id":"commonwealth-club","title":"Commonwealth Club of California Podcast","info":"The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. 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