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"disqusTitle": "Ty Segall, Lucinda Williams, Anderson .Paak Kick Off 2016's Musical Highlights",
"title": "Ty Segall, Lucinda Williams, Anderson .Paak Kick Off 2016's Musical Highlights",
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"content": "\u003cp>There's no question 2015 was a fantastic year for California music, with groundbreaking albums from Kendrick Lamar, Kamasi Washington and Julia Holter among notable, acclaimed releases.\u003c/p>\n\u003cp>Can 2016 possibly live up to that? Well, we’re off to a good start, with compelling work from three distinctive artists -- two \u003cem>California Report\u003c/em> favorites and an exciting newcomer -- among the highlights so far.\u003c/p>\n\u003cp>\u003cstrong>Ty Segall, 'Emotional Mugger'\u003c/strong>\u003c/p>\n\u003cp>Following his acclaimed, wide-ranging 2014 tour de force “Manipulator,” the ever-prolific Orange County rock sprite \u003ca href=\"http://emotionalmugger.com\" target=\"_blank\">Ty Segall \u003c/a>scratched an itch last year with an album collecting his versions of some T. Rex songs titled — what else could it possibly be? — “Ty Rex.”\u003c/p>\n\u003cp>With “Emotional Mugger,” the proper “Manipulator” follow-up, he shows that the foray into the glam icon’s canon was no mere whim, but rather an exploration of his current headspace. The chunky guitar riffs, the nicely naughty demeanor, the celebration of youth, the preening, it’s all here, Segall-style.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The album opens with a reference to a Marc Bolan glam-era contemporary, Roxy Music, with footsteps to a car and an engine starting, much as opens Roxy’s “Love is a Drug.” Not that anything here has the Roxy suave, though one could glean a little of the early Roxy experiments with Brian Eno in some of the sonic weirdness.\u003c/p>\n\u003cp>And ironically, the song that may be the most Bolan-esque, most redolent of London ’71, is “California Hills” — though the dark turns it takes and the little bursts of double-time weirdness in the middle are pure Segall. And the bass line of the title track (medleyed with the very glam “Leopard Priestess”) is very much in keeping with the T./Ty tone. Maybe T. Rex by way of the Residents.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xY_6-YTjMrw\u003c/p>\n\u003cp>“Candy” — “Candy I want, want your candy” — leans menacing in “Breakfast Eggs.” The sweet-stuff reference returns in “Candy Sam,” the very title suggesting T. Rex’s “Telegram Sam.” And with song there’s no pretense to anything that’s not a Bolan tribute. As such, it’s one of the most engaging, fully realized songs on the album. Though after “Squealer Two” there’s “W.U.O.T.W.S,” a somewhat random-sounding collage (I kept waiting for someone to say, “Number 9 … Number 9 …”). Perversely, perhaps, the album ends with “Magazine,” which \u003ci>is\u003c/i> the most realized song on the album, a psychedelic dream and the least Bolan-esque of them all, hinting at the “Manipulator” type range that never really materializes on this album.\u003c/p>\n\u003cp>Which is OK. This is no “Manipulator” and not meant to be, no career statement, or at least not a big one. Rather it’s another stop on the way, a little fun and strangeness, some rock ’n’ roll jollies, some studio goofing around, nothing to be taken too seriously. Oh wait, maybe that \u003ci>is\u003c/i> a statement.\u003c/p>\n\u003cp>\u003cstrong>Lucinda Williams, 'The Ghosts of Highway 20'\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://lucindawilliams.com/?fp=true\" target=\"_blank\">Lucinda Williams\u003c/a> has covered a lot of ground, musically and emotionally, in 35 years or so of recording. But nothing before has been quite like where she goes at the end of this two-CD exploration. The closing “Faith and Grace” plays on for nearly 13 minutes, by the end becoming more a prayer than a song, as guitarist Bill Frisell surrounds Williams’ repeated testaments with curlicues and sparks, like a Van Gogh night sky.\u003c/p>\n\u003cp>“Faith and Grace will help me run this race,” she sings. And clearly she’s needed it to get through this journey, which started, more than 80 minutes earlier, with words of pure desolation, in the song “Dust”: “There’s a sadness so deep the sun seems black.”\u003c/p>\n\u003cp>Lighthearted romp this is not. But the ride that comes from there to grace is a rewarding one. Well, it’s Lucinda Williams, so you knew that already.\u003c/p>\n\u003cfigure id=\"attachment_10849063\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10849063\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/01/LW-800x488.jpg\" alt=\"Lucinda Williams\" width=\"800\" height=\"488\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/01/LW-800x488.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/LW-400x244.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/LW-768x469.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/LW-1440x879.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/LW.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/LW-1180x720.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/LW-960x586.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lucinda Williams \u003ccite>(Photo: David McCalister)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The Ghosts of Highway 20,” Williams’ second consecutive double-CD, following 2014’s bracingly ambitious “Down Where the Spirit Meets the Bone,” \u003ci>is \u003c/i>a ride — figuratively along the road that marked her youth in the South, literally through her memories. But as with all of Williams’ best, and this is very much among her best, “Highway 20” is really about the person she is now, wrestling to come to terms with where the road has led her, and most profoundly with losses along the way.\u003c/p>\n\u003cp>On the one hand, it’s a tour of the South of her youth, the places she lived and saw growing up, so the gothic hues come with the territory. On the other hand, it’s as personal an exploration of emotions and the very fabric of her being as she’s ever done — which is saying a lot.\u003c/p>\n\u003cp>And it comes with some of the most evocative, involving music she’s ever made. For most of the album, the music centers on the dynamic pairing of guitarists Frisell (one of the most inventive figures in modern jazz, at once lyrical and challenging) and longtime Williams associate Greg Leisz (who plays both conventional guitar and steel, for which he is best known, and also co-produced the album with Williams and Tom Overby). Their prodding interplay both illuminates and elaborates the complex emotions, not necessarily relieving the darkness, but giving it character and shape as they serpentine through songs that are allowed to stretch as called for.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Vu1kBnR01VM\u003c/p>\n\u003cp>“Death Came,” a wrenching lament for her mother, who died in 2004, is as stark an examination of loss as she’s ever done, which is also saying something. Williams’ talent for distilling complex emotions to the barest perfect words and images, is at its fullest effect here as she places herself between the tangible memories and the unanswerable but essentially human questions. The music here is just as stark, a simple waltz, gently scribed by Frisell and Leisz, with only the slightest support from bassist David Sutton and drummer Butch Norton.\u003c/p>\n\u003cp>Death is also there in \u003ca href=\"http://blogs.wsj.com/speakeasy/2016/01/13/lucinda-williams-if-my-love-could-kill/\">“If My Love Could Kill,”\u003c/a> which came from watching her father, poet Miller Williams, fade away with Alzheimer's, a different kind of death. (His real death happened shortly after the release of her last album and the impending loss can be felt throughout it.) Here the emotion is anger, pure and simple. Her voice is rather flat, resigned but seething underneath as she sings, “Murderer of poets…. Destroyer of hope.” Her father is also present in “Dust,” the opening track quoted above, inspired by one of his poems.\u003c/p>\n\u003cp>The words of two other artists also come into play, with “House of Earth,” music written by Williams to unused Woody Guthrie lyrics, and an effectively spare version of Bruce Springsteen’s “Factory.”\u003c/p>\n\u003cp>Through it all, the memories of the places of childhood are the sources of salvation, or at least potential salvation, the touchstones of her life. The very Springsteenian “Louisiana Story,” one of several songs with L.A. guitar ace Leisz replacing Frisell, name-checks some of the places where she lived in that state, sketching some scenes right out of Harper Lee or William Faulkner. “If you were from here, you would fear me to the death along with the ghost of Highway 20,” she warns in the title song, before ending on a more hopeful note: “My saving grace is with the ghost of Highway 20.”\u003c/p>\n\u003cp>\u003cstrong>Anderson .Paak, “Malibu”\u003c/strong>\u003c/p>\n\u003cp>One of the last things you might expect to hear on what is ostensibly a hip-hop album is someone waxing, no pun intended, about surf nostalgia. But there, at the end of “Come Down,” a highlight on the new \u003ca href=\"http://www.andersonpaak.com\" target=\"_blank\">Anderson .Paak\u003c/a> album “Malibu,” a voice intones, “Before Vietnam, when boards were long and hair was short, the center of the surfing world was a place called Malibu.” It’s not .Paak’s voice — it’s from an old documentary or some such. But it’s an intriguing tag that fits an oddly nostalgic thread that runs through the album.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-mlg-fFJZGA\u003c/p>\n\u003cp>Not sure if this is the real Malibu or a metaphor, though it’s worth noting that .Paak was born Brandon Paak Anderson in Oxnard, just a little up Highway 1 from that famed beach locale.\u003c/p>\n\u003cp>So no, this isn't N.W.A. But it's also not the Beach Boys. What it is, is an impressively idiosyncratic artistic statement rightfully earning comparisons with Kendrick Lamar’s “To Pimp a Butterfly” and various projects coming from the Odd Future collective. Not that it sounds like any of them either. The overall tone echoes early ’70s soul — Stevie Wonder ballads, the Spinners — mixed with some curved-mirror weirdness, such as the warped-record wobble behind “Lite Weight.”\u003c/p>\n\u003cp>The bass line and jazzy trumpet in opening “Bird” might bring to mind Sly Stone’s “If You Want Me to Stay,” though there’s also some Prince in here, as there is in the next song, “Heart Don’t Stand a Chance,” with its lower-case sly tone and fuzz-guitar solo. And the lilting “Celebrate” sounds plucked off of early ’70s radio, though the fatalist lyrics sound a bit more now: “You’re doing pretty well, I mean, you’re not dead. So let’s celebrate while we can.” If the era references are not obvious, there’s Wolfman Jack’s voice popping up at the end of the jumping “Parking Lot.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KXdW0g6jAxE\u003c/p>\n\u003cp>But the irresistible “Put Me Through” sounds like a hit for any era from the ’70s on, and more often than not the album is marked by the kind of genre and time-busting music OutKast did at its best. There’s also new confidence here, gained since his 2014 debut, “Venice.” And understandably: This is his first since being tabbed as a rising star by no less than Dr. Dre, who featured him on several tracks from the “Compton” album last year.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Venice? Malibu? What’s next? “Straight Outta Rincon?”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There's no question 2015 was a fantastic year for California music, with groundbreaking albums from Kendrick Lamar, Kamasi Washington and Julia Holter among notable, acclaimed releases.\u003c/p>\n\u003cp>Can 2016 possibly live up to that? Well, we’re off to a good start, with compelling work from three distinctive artists -- two \u003cem>California Report\u003c/em> favorites and an exciting newcomer -- among the highlights so far.\u003c/p>\n\u003cp>\u003cstrong>Ty Segall, 'Emotional Mugger'\u003c/strong>\u003c/p>\n\u003cp>Following his acclaimed, wide-ranging 2014 tour de force “Manipulator,” the ever-prolific Orange County rock sprite \u003ca href=\"http://emotionalmugger.com\" target=\"_blank\">Ty Segall \u003c/a>scratched an itch last year with an album collecting his versions of some T. Rex songs titled — what else could it possibly be? — “Ty Rex.”\u003c/p>\n\u003cp>With “Emotional Mugger,” the proper “Manipulator” follow-up, he shows that the foray into the glam icon’s canon was no mere whim, but rather an exploration of his current headspace. The chunky guitar riffs, the nicely naughty demeanor, the celebration of youth, the preening, it’s all here, Segall-style.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The album opens with a reference to a Marc Bolan glam-era contemporary, Roxy Music, with footsteps to a car and an engine starting, much as opens Roxy’s “Love is a Drug.” Not that anything here has the Roxy suave, though one could glean a little of the early Roxy experiments with Brian Eno in some of the sonic weirdness.\u003c/p>\n\u003cp>And ironically, the song that may be the most Bolan-esque, most redolent of London ’71, is “California Hills” — though the dark turns it takes and the little bursts of double-time weirdness in the middle are pure Segall. And the bass line of the title track (medleyed with the very glam “Leopard Priestess”) is very much in keeping with the T./Ty tone. Maybe T. Rex by way of the Residents.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/xY_6-YTjMrw'\n title='//www.youtube.com/embed/xY_6-YTjMrw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Candy” — “Candy I want, want your candy” — leans menacing in “Breakfast Eggs.” The sweet-stuff reference returns in “Candy Sam,” the very title suggesting T. Rex’s “Telegram Sam.” And with song there’s no pretense to anything that’s not a Bolan tribute. As such, it’s one of the most engaging, fully realized songs on the album. Though after “Squealer Two” there’s “W.U.O.T.W.S,” a somewhat random-sounding collage (I kept waiting for someone to say, “Number 9 … Number 9 …”). Perversely, perhaps, the album ends with “Magazine,” which \u003ci>is\u003c/i> the most realized song on the album, a psychedelic dream and the least Bolan-esque of them all, hinting at the “Manipulator” type range that never really materializes on this album.\u003c/p>\n\u003cp>Which is OK. This is no “Manipulator” and not meant to be, no career statement, or at least not a big one. Rather it’s another stop on the way, a little fun and strangeness, some rock ’n’ roll jollies, some studio goofing around, nothing to be taken too seriously. Oh wait, maybe that \u003ci>is\u003c/i> a statement.\u003c/p>\n\u003cp>\u003cstrong>Lucinda Williams, 'The Ghosts of Highway 20'\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://lucindawilliams.com/?fp=true\" target=\"_blank\">Lucinda Williams\u003c/a> has covered a lot of ground, musically and emotionally, in 35 years or so of recording. But nothing before has been quite like where she goes at the end of this two-CD exploration. The closing “Faith and Grace” plays on for nearly 13 minutes, by the end becoming more a prayer than a song, as guitarist Bill Frisell surrounds Williams’ repeated testaments with curlicues and sparks, like a Van Gogh night sky.\u003c/p>\n\u003cp>“Faith and Grace will help me run this race,” she sings. And clearly she’s needed it to get through this journey, which started, more than 80 minutes earlier, with words of pure desolation, in the song “Dust”: “There’s a sadness so deep the sun seems black.”\u003c/p>\n\u003cp>Lighthearted romp this is not. But the ride that comes from there to grace is a rewarding one. Well, it’s Lucinda Williams, so you knew that already.\u003c/p>\n\u003cfigure id=\"attachment_10849063\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10849063\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/01/LW-800x488.jpg\" alt=\"Lucinda Williams\" width=\"800\" height=\"488\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/01/LW-800x488.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/LW-400x244.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/LW-768x469.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/LW-1440x879.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/LW.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/LW-1180x720.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/01/LW-960x586.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lucinda Williams \u003ccite>(Photo: David McCalister)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The Ghosts of Highway 20,” Williams’ second consecutive double-CD, following 2014’s bracingly ambitious “Down Where the Spirit Meets the Bone,” \u003ci>is \u003c/i>a ride — figuratively along the road that marked her youth in the South, literally through her memories. But as with all of Williams’ best, and this is very much among her best, “Highway 20” is really about the person she is now, wrestling to come to terms with where the road has led her, and most profoundly with losses along the way.\u003c/p>\n\u003cp>On the one hand, it’s a tour of the South of her youth, the places she lived and saw growing up, so the gothic hues come with the territory. On the other hand, it’s as personal an exploration of emotions and the very fabric of her being as she’s ever done — which is saying a lot.\u003c/p>\n\u003cp>And it comes with some of the most evocative, involving music she’s ever made. For most of the album, the music centers on the dynamic pairing of guitarists Frisell (one of the most inventive figures in modern jazz, at once lyrical and challenging) and longtime Williams associate Greg Leisz (who plays both conventional guitar and steel, for which he is best known, and also co-produced the album with Williams and Tom Overby). Their prodding interplay both illuminates and elaborates the complex emotions, not necessarily relieving the darkness, but giving it character and shape as they serpentine through songs that are allowed to stretch as called for.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Vu1kBnR01VM'\n title='//www.youtube.com/embed/Vu1kBnR01VM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Death Came,” a wrenching lament for her mother, who died in 2004, is as stark an examination of loss as she’s ever done, which is also saying something. Williams’ talent for distilling complex emotions to the barest perfect words and images, is at its fullest effect here as she places herself between the tangible memories and the unanswerable but essentially human questions. The music here is just as stark, a simple waltz, gently scribed by Frisell and Leisz, with only the slightest support from bassist David Sutton and drummer Butch Norton.\u003c/p>\n\u003cp>Death is also there in \u003ca href=\"http://blogs.wsj.com/speakeasy/2016/01/13/lucinda-williams-if-my-love-could-kill/\">“If My Love Could Kill,”\u003c/a> which came from watching her father, poet Miller Williams, fade away with Alzheimer's, a different kind of death. (His real death happened shortly after the release of her last album and the impending loss can be felt throughout it.) Here the emotion is anger, pure and simple. Her voice is rather flat, resigned but seething underneath as she sings, “Murderer of poets…. Destroyer of hope.” Her father is also present in “Dust,” the opening track quoted above, inspired by one of his poems.\u003c/p>\n\u003cp>The words of two other artists also come into play, with “House of Earth,” music written by Williams to unused Woody Guthrie lyrics, and an effectively spare version of Bruce Springsteen’s “Factory.”\u003c/p>\n\u003cp>Through it all, the memories of the places of childhood are the sources of salvation, or at least potential salvation, the touchstones of her life. The very Springsteenian “Louisiana Story,” one of several songs with L.A. guitar ace Leisz replacing Frisell, name-checks some of the places where she lived in that state, sketching some scenes right out of Harper Lee or William Faulkner. “If you were from here, you would fear me to the death along with the ghost of Highway 20,” she warns in the title song, before ending on a more hopeful note: “My saving grace is with the ghost of Highway 20.”\u003c/p>\n\u003cp>\u003cstrong>Anderson .Paak, “Malibu”\u003c/strong>\u003c/p>\n\u003cp>One of the last things you might expect to hear on what is ostensibly a hip-hop album is someone waxing, no pun intended, about surf nostalgia. But there, at the end of “Come Down,” a highlight on the new \u003ca href=\"http://www.andersonpaak.com\" target=\"_blank\">Anderson .Paak\u003c/a> album “Malibu,” a voice intones, “Before Vietnam, when boards were long and hair was short, the center of the surfing world was a place called Malibu.” It’s not .Paak’s voice — it’s from an old documentary or some such. But it’s an intriguing tag that fits an oddly nostalgic thread that runs through the album.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/-mlg-fFJZGA'\n title='//www.youtube.com/embed/-mlg-fFJZGA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Not sure if this is the real Malibu or a metaphor, though it’s worth noting that .Paak was born Brandon Paak Anderson in Oxnard, just a little up Highway 1 from that famed beach locale.\u003c/p>\n\u003cp>So no, this isn't N.W.A. But it's also not the Beach Boys. What it is, is an impressively idiosyncratic artistic statement rightfully earning comparisons with Kendrick Lamar’s “To Pimp a Butterfly” and various projects coming from the Odd Future collective. Not that it sounds like any of them either. The overall tone echoes early ’70s soul — Stevie Wonder ballads, the Spinners — mixed with some curved-mirror weirdness, such as the warped-record wobble behind “Lite Weight.”\u003c/p>\n\u003cp>The bass line and jazzy trumpet in opening “Bird” might bring to mind Sly Stone’s “If You Want Me to Stay,” though there’s also some Prince in here, as there is in the next song, “Heart Don’t Stand a Chance,” with its lower-case sly tone and fuzz-guitar solo. And the lilting “Celebrate” sounds plucked off of early ’70s radio, though the fatalist lyrics sound a bit more now: “You’re doing pretty well, I mean, you’re not dead. So let’s celebrate while we can.” If the era references are not obvious, there’s Wolfman Jack’s voice popping up at the end of the jumping “Parking Lot.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/KXdW0g6jAxE'\n title='//www.youtube.com/embed/KXdW0g6jAxE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But the irresistible “Put Me Through” sounds like a hit for any era from the ’70s on, and more often than not the album is marked by the kind of genre and time-busting music OutKast did at its best. There’s also new confidence here, gained since his 2014 debut, “Venice.” And understandably: This is his first since being tabbed as a rising star by no less than Dr. Dre, who featured him on several tracks from the “Compton” album last year.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"officialWebsiteLink": "/californiareport",
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"order": 8
},
"link": "/californiareport",
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},
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"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
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},
"closealltabs": {
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"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. This podcast feed is usually updated twice a week and is always un-edited.",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"officialWebsiteLink": "http://freakonomics.com/",
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"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
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},
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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},
"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
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