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"title": "New Southern California Pop From Quetzal, Spiral Stairs and Kera",
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"content": "\u003cp>\u003cem>We’re heading down south this week to see what’s new in Southern California pop music, including a sultry single from Kera and the Lesbians, a return to recording for Spiral Stairs and an emotional album filled with social commentary from Quetzal. \u003c/em>\u003c/p>\n\u003ch2>Quetzal, ‘The Eternal Getdown’\u003c/h2>\n\u003cp>There’s a lot happening on the new album by veteran East L.A. band \u003ca href=\"http://www.folkways.si.edu/quetzal/eternal-getdown/latin/music/album/smithsonian\">Quetzal\u003c/a>. Writer Deborah R. Vargas came up with this fanciful assessment to start her \u003ca href=\"http://media.smithsonianfolkways.org/liner_notes/smithsonian_folkways/SFW40574.pdf\" target=\"_blank\" rel=\"noopener\">liner-notes essay\u003c/a>: “If indigenous African ancestors of the Americas boarded Parliament’s mothership, the soundtrack for this journey would be ‘The Eternal Getdown.’” That works.\u003c/p>\n\u003cp>A different sense of \u003ci>mothership\u003c/i> is at the heart of this album, though, specifically in the two songs that close the album, framing the dark and light, despair and hope, ancient and modern, struggles and strengths that yin-yang through its generous 78-minute run.\u003c/p>\n\u003cfigure id=\"attachment_11372990\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11372990\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/RS24728_QuetzalEternalGetdownCover-qut-800x655.jpg\" alt=\"Album art for Quetzal's newest album, "The Eternal Getdown."\" width=\"800\" height=\"655\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24728_QuetzalEternalGetdownCover-qut-800x655.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24728_QuetzalEternalGetdownCover-qut-160x131.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24728_QuetzalEternalGetdownCover-qut-1020x835.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24728_QuetzalEternalGetdownCover-qut-1180x965.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24728_QuetzalEternalGetdownCover-qut-960x785.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24728_QuetzalEternalGetdownCover-qut-240x196.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24728_QuetzalEternalGetdownCover-qut-375x307.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24728_QuetzalEternalGetdownCover-qut-520x425.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24728_QuetzalEternalGetdownCover-qut.jpg 1650w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Album art for Quetzal’s newest album, “The Eternal Getdown.” \u003ccite>(Courtesy of Quetzal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The first of those two is “Toro Ayotzinapa,” rocked-up \u003cem>son\u003c/em> \u003ci>jarocho\u003c/i>, based on a traditional tune “Toro Zacamandú,” reworked in response to the horror in that happened in 2014 in the town of Iguala, Guerrero where 43 students, the “\u003ca href=\"http://www.latimes.com/world/mexico-americas/la-fg-mexico-ayotzinapa-20160926-snap-story.html\" target=\"_blank\" rel=\"noopener\">Ayotzinapa 43\u003c/a>,” were slaughtered by a drug cartel. “Ay no mas,” sings \u003ca href=\"http://marthagonzalez.net\">Martha Gonzalez\u003c/a> between verses depicting the massacre, as a mix of traditional and modern instruments — violins, \u003ci>guitarra de son\u003c/i>, \u003ci>jarana\u003c/i>, Hammond B-3 among them — swirls around her, her voice and spirit fully engulfed by grief of the mothers of the murdered youths.\u003c/p>\n\u003cp>She’s again in the role of a mother on the next song, the album closer, “La Indita,” but in this case its her real-life role as she duets with Sandino Gonzalez-Flores, her 10-year-old son. Sandino’s father is Gonzalez’ husband and band founder, Quetzal Flores. The song is a Veracruz-originated tribute to the Virgin of Guadalupe, with words by Gilberto Gutierrez of the group Mono Blanco, which was at the forefront of the Nuevo Movimiento Jaranero.\u003c/p>\n\u003cfigure id=\"attachment_11372992\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11372992\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/RS24730_Martha-qut-800x1202.jpg\" alt=\"Martha Gonzalez is featured heavily on Quetzal's new album, including a duet with her 10-year-old son.\" width=\"800\" height=\"1202\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24730_Martha-qut-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24730_Martha-qut-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24730_Martha-qut-1020x1533.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24730_Martha-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24730_Martha-qut-1180x1773.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24730_Martha-qut-960x1443.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24730_Martha-qut-240x361.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24730_Martha-qut-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24730_Martha-qut-520x781.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Martha Gonzalez is featured heavily on Quetzal’s new album, including a duet with her 10-year-old son.\u003c/figcaption>\u003c/figure>\n\u003cp>That movement was dedicated to preserving and renewing musical and cultural traditions in Southern Veracruz, where the Gonzalez-Flores clan has spent a lot of time. The mother and child sing to each other, as well as to the Virgin, accompanied only by a \u003ci>marimbol\u003c/i>, a bass marimba from Africa via Cuba. As horrific as “Toro Ayotzinapa” is, this is a sweet tonic of faith and endurance, passed down through the generations.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>To some extent, those two songs are distillations of what has come before — not just on this album, but in Quetzal’s artistic evolution. Throughout “The Eternal Getdown,” those contrasts and complements, and that sense of history as a living organism, abound in various tapestries.\u003c/p>\n\u003cp>Hard-hitting funk pushes traditional \u003cem>son\u003c/em>. The rural folk sounds of the \u003ci>tarima\u003c/i> (percussion of feet on a wooden platform) and \u003ci>jarana\u003c/i> (a small guitar-like instrument) blend with urban Hammond B-3 and electric guitars. Guests ranging from soul singer \u003ca href=\"http://www.aloeblacc.com\">Aloe Blacc\u003c/a> (whose parents are from Panama) on the perky “Let’s Get to Knowing,” released as a single last summer, to several accomplished mariachis who help extend the connections that have been part of the Quetzal mission since Flores founded the group in a Little Tokyo cafe in 1993. And Gonzalez’s fierce cries for social justice in today’s world spring from scholarly knowledge of centuries’ worth of injustice.\u003c/p>\n\u003cfigure id=\"attachment_11373942\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11373942 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/Quetzal-2-800x316.jpg\" width=\"800\" height=\"316\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/Quetzal-2-800x316.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/Quetzal-2-160x63.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/Quetzal-2-1020x403.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/Quetzal-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/Quetzal-2-1180x466.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/Quetzal-2-960x379.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/Quetzal-2-240x95.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/Quetzal-2-375x148.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/Quetzal-2-520x205.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Quetzal’s music includes a blending of various styles with an underlying social commentary. \u003ccite>(Photo by Humberto Howard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now she \u003ci>is\u003c/i> scholarly, bearing a Ph.D. in gender, women and sexuality studies and serving on the faculty at Scripps, (though currently she’s on a one-year artist-in-residence stint at Arizona State). And the album is Quetzal’s second for Smithsonian Folkways. The last one, 2012’s “Imaginaries,” won the Grammy for best Latin, rock, urban or alternative album. Never, though, is this academic or a museum piece. Not in the least.\u003c/p>\n\u003cp>The music fully captures the life of the ideas it conveys. “Barrio Healer” might be mostly “East L.A.” with funky bass, Latin percussion and soul vibe. “Olokun y Temayá” cleaves closer to Mexican-American folk, while “La Lloroncita” is slow-burn Latin balladry with violin and plucked \u003ci>guitarra de son\u003c/i>. “Mamá Nahual” balances traditional and modern; dramatic lines from a jarana work alongside some Moog synthesizer.\u003c/p>\n\u003cp>Even a folk-rooted version of “La Bamba” bears a stamp of new perspectives. And a few little instrumental interludes serve as transitions, dreamlike and otherworldly — Flores’ solo “Ay que no que no” has him playing \u003ci>requinto doble\u003c/i>, a small Spanish guitar, run through an echo effect for some space-age \u003ci>son\u003c/i>.\u003c/p>\n\u003cp>And then there’s “Unbound (Sueltos),” which somehow embraces all of the above: hard-hitting urban soul-funk-prog (yes, prog, particularly in some Hammond and violin flights) with a strong message, sung in English, of creating, building, planting, laying the foundations of movements “so they last.” A perfect home base for the mothership.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=H8EddMOUDAk&feature=youtu.be\u003c/p>\n\u003ch2>Spiral Stairs, ‘Doris and the Daggers’\u003c/h2>\n\u003cp>There is something sweetly old-fashioned about “Doris and the Daggers,” the new album, from \u003ca href=\"http://www.spiralstairsofficial.com\">Spiral Stairs\u003c/a>, a.k.a. Scott Kannenberg of the bands Pavement and Preston School of Industry. It’s not retro, per se.\u003c/p>\n\u003cp>This isn’t a Tin Pan Alley tribute, or even an evocation of a ‘60s/‘70s/‘80s/‘90s aesthetic, though there are some echoes of those latter decades — a percolating Talking Heads-ian rhythm here (“No Comparison”), a Cure-ish guitar line there (“Exiled Tonight”). And the relatively basic rock instrumentation and DIY sound harks back to the way ‘90s Pavement harked back to the way ‘80s “college rock” harked back to ‘60s garage rock (which, arguably, harked back to a lot of ‘50s rock).\u003c/p>\n\u003cp>Rather, it’s a wistful nostalgia permeating these tracks, like the scent of jasmine on a moonlit night, that connects the various sounds and moods, from the darker tones of opener “Dance (Cry Wolf)” and its declaration of dedication (“I will never leave you,” Kannenberg promises) to the folk-rock (with violin) of “Mother’s Eyes.”\u003c/p>\n\u003cfigure id=\"attachment_11372991\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11372991 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/RS24729_Spiral-Stairs-photo-credit-Steven-Simko-qut-800x1035.jpg\" width=\"800\" height=\"1035\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24729_Spiral-Stairs-photo-credit-Steven-Simko-qut-800x1035.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24729_Spiral-Stairs-photo-credit-Steven-Simko-qut-160x207.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24729_Spiral-Stairs-photo-credit-Steven-Simko-qut-240x310.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24729_Spiral-Stairs-photo-credit-Steven-Simko-qut-375x485.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24729_Spiral-Stairs-photo-credit-Steven-Simko-qut-520x673.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24729_Spiral-Stairs-photo-credit-Steven-Simko-qut.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Scott Kannenberg of Spiral Stairs. \u003ccite>(Photo by Steven Simko)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He cites Aussie songsmith Paul Kelly and Englishman Lloyd Cole as obsessions, and both of their easy wit and uncomplicated musicality figure into things here, the understated “AWM” (which seems to stand for “Always Wanting More”) wearing those influences on its musical and emotional sleeve.\u003c/p>\n\u003cp>Kannenberg works in a trio format with regular associate Matt Harris on bass and Justin Peroff from \u003ca href=\"http://brokensocialscene.ca/\" target=\"_blank\" rel=\"noopener\">Broken Social Scene\u003c/a> on drums for the core recordings, with additional touches added by Kelley Stoltz, Broken Social Scene’s Kevin Drew and the National’s Matt Berninger.\u003c/p>\n\u003cp>On one end of the emotional scale is his happy family life, returning to California after having spent time living in Australia. “The Unconditional” is a sentimental love note to his young daughter.\u003c/p>\n\u003cp>On the other end is darkness, stemming from death of his drummer Darius Minwalla, best known as a member of the Posies, just before recording was to begin in 2015. “Mother’s Eyes” is a tribute to him, while Minwalla’s voice is heard as the oddball narrator of the closing title track, a portrait of the elderly woman who owned the bar at which Kannenberg was a regular in Sydney. It all really is sweet and sentimental. And freshly old-fashioned.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=le8nQjXRkiA&feature=youtu.be\u003c/p>\n\u003ch2>Keep an ear out for … . Kera & the Lesbians\u003c/h2>\n\u003cp>There was a nagging sense of well, something, as \u003ca href=\"http://keraandthelesbians.com/\">Kera & the Lesbians\u003c/a> played the first few songs of their impressive set opening for touted New Orleans band Hurray for the Riff Raff recently in the rustic old Masonic Lodge on the grounds of the Hollywood Forever Cemetery.\u003c/p>\n\u003cp>Something about the soaring melodies, the masterful use of dramatics and dynamics as Kera and the band (three dudes, in fact) could move from sketchy to quasi-orchestral and back with seeming ease, the baring-of-the-soul from always-animated Kera Armendariz in her role of outsider looking for love and longing for belonging, infused with echoes of the romantic pop classics of the ’50s and ‘60s.\u003c/p>\n\u003cp>And then, several songs in, they did “Crying,” Roy Orbison’s 1962 pop-aria that stands as one of the most affecting encapsulations of yearning and heartache of modern times. “I was all right for a while, I could smile for a while,” she sang, dolorously. \u003ci>That\u003c/i> was it! That was the song that seemed to inform the whole set, the musical and emotional core of K&theL’s approach.\u003c/p>\n\u003cfigure id=\"attachment_11372994\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11372994\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/RS24732_Kera-and-the-Lesbians-qut-800x800.jpg\" alt=\"Album art for Kera and the Lesbians new single, "I'm Late."\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24732_Kera-and-the-Lesbians-qut-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24732_Kera-and-the-Lesbians-qut-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24732_Kera-and-the-Lesbians-qut-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24732_Kera-and-the-Lesbians-qut-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24732_Kera-and-the-Lesbians-qut-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24732_Kera-and-the-Lesbians-qut-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24732_Kera-and-the-Lesbians-qut-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24732_Kera-and-the-Lesbians-qut-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24732_Kera-and-the-Lesbians-qut-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24732_Kera-and-the-Lesbians-qut-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24732_Kera-and-the-Lesbians-qut-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24732_Kera-and-the-Lesbians-qut-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24732_Kera-and-the-Lesbians-qut-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24732_Kera-and-the-Lesbians-qut-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24732_Kera-and-the-Lesbians-qut.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Album art for Kera and the Lesbians new single, “I’m Late.” \u003ccite>(Courtesy of Kera and the Lesbians)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Roy Orbison is my \u003ci>jam!\u003c/i>” Kera exclaimed after the show, smoking a cig at the top of an outdoors flight of stairs, at the complimentary mention of her version of the song.\u003c/p>\n\u003cp>He’s not her only jam. Talking Heads and Tears for Fears were just a couple of the other thoughts that popped to mind in the course of the band’s set, all incorporated organically and masterfully into a distinctive, personal, engaging presentation that has moved far beyond what Kera a few years ago in the early days of the act referred to as “bipolar folk.”\u003c/p>\n\u003cp>An album last year, released on \u003ca href=\"https://keraandthelesbians.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Bandcamp\u003c/a>, is a big step toward where the band seems headed now. And a single, the very Orbison-esque “I’m Late,” released in January on Bandcamp and featuring the group the Wild Reeds, points to more possibilities.\u003c/p>\n\u003cp>Kera reports that she’s writing new songs and another album will likely come at some point. But at the moment she’s thinking visually with a short film in post-production and set to feature three new songs as the soundtrack. So keep an ear, and an eye, out for that. But if you have a chance to see Kera and crew, don’t hesitate.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=TFTGu2ZDTtc\u003c/p>\n\n",
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"excerpt": "A sultry single from Kera and the Lesbians, a return to recording for Spiral Stairs and an emotional album filled with social commentary from Quetzal top our list.",
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"title": "New Southern California Pop From Quetzal, Spiral Stairs and Kera | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>We’re heading down south this week to see what’s new in Southern California pop music, including a sultry single from Kera and the Lesbians, a return to recording for Spiral Stairs and an emotional album filled with social commentary from Quetzal. \u003c/em>\u003c/p>\n\u003ch2>Quetzal, ‘The Eternal Getdown’\u003c/h2>\n\u003cp>There’s a lot happening on the new album by veteran East L.A. band \u003ca href=\"http://www.folkways.si.edu/quetzal/eternal-getdown/latin/music/album/smithsonian\">Quetzal\u003c/a>. Writer Deborah R. Vargas came up with this fanciful assessment to start her \u003ca href=\"http://media.smithsonianfolkways.org/liner_notes/smithsonian_folkways/SFW40574.pdf\" target=\"_blank\" rel=\"noopener\">liner-notes essay\u003c/a>: “If indigenous African ancestors of the Americas boarded Parliament’s mothership, the soundtrack for this journey would be ‘The Eternal Getdown.’” That works.\u003c/p>\n\u003cp>A different sense of \u003ci>mothership\u003c/i> is at the heart of this album, though, specifically in the two songs that close the album, framing the dark and light, despair and hope, ancient and modern, struggles and strengths that yin-yang through its generous 78-minute run.\u003c/p>\n\u003cfigure id=\"attachment_11372990\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11372990\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/RS24728_QuetzalEternalGetdownCover-qut-800x655.jpg\" alt=\"Album art for Quetzal's newest album, "The Eternal Getdown."\" width=\"800\" height=\"655\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24728_QuetzalEternalGetdownCover-qut-800x655.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24728_QuetzalEternalGetdownCover-qut-160x131.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24728_QuetzalEternalGetdownCover-qut-1020x835.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24728_QuetzalEternalGetdownCover-qut-1180x965.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24728_QuetzalEternalGetdownCover-qut-960x785.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24728_QuetzalEternalGetdownCover-qut-240x196.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24728_QuetzalEternalGetdownCover-qut-375x307.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24728_QuetzalEternalGetdownCover-qut-520x425.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24728_QuetzalEternalGetdownCover-qut.jpg 1650w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Album art for Quetzal’s newest album, “The Eternal Getdown.” \u003ccite>(Courtesy of Quetzal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The first of those two is “Toro Ayotzinapa,” rocked-up \u003cem>son\u003c/em> \u003ci>jarocho\u003c/i>, based on a traditional tune “Toro Zacamandú,” reworked in response to the horror in that happened in 2014 in the town of Iguala, Guerrero where 43 students, the “\u003ca href=\"http://www.latimes.com/world/mexico-americas/la-fg-mexico-ayotzinapa-20160926-snap-story.html\" target=\"_blank\" rel=\"noopener\">Ayotzinapa 43\u003c/a>,” were slaughtered by a drug cartel. “Ay no mas,” sings \u003ca href=\"http://marthagonzalez.net\">Martha Gonzalez\u003c/a> between verses depicting the massacre, as a mix of traditional and modern instruments — violins, \u003ci>guitarra de son\u003c/i>, \u003ci>jarana\u003c/i>, Hammond B-3 among them — swirls around her, her voice and spirit fully engulfed by grief of the mothers of the murdered youths.\u003c/p>\n\u003cp>She’s again in the role of a mother on the next song, the album closer, “La Indita,” but in this case its her real-life role as she duets with Sandino Gonzalez-Flores, her 10-year-old son. Sandino’s father is Gonzalez’ husband and band founder, Quetzal Flores. The song is a Veracruz-originated tribute to the Virgin of Guadalupe, with words by Gilberto Gutierrez of the group Mono Blanco, which was at the forefront of the Nuevo Movimiento Jaranero.\u003c/p>\n\u003cfigure id=\"attachment_11372992\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11372992\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/RS24730_Martha-qut-800x1202.jpg\" alt=\"Martha Gonzalez is featured heavily on Quetzal's new album, including a duet with her 10-year-old son.\" width=\"800\" height=\"1202\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24730_Martha-qut-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24730_Martha-qut-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24730_Martha-qut-1020x1533.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24730_Martha-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24730_Martha-qut-1180x1773.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24730_Martha-qut-960x1443.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24730_Martha-qut-240x361.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24730_Martha-qut-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24730_Martha-qut-520x781.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Martha Gonzalez is featured heavily on Quetzal’s new album, including a duet with her 10-year-old son.\u003c/figcaption>\u003c/figure>\n\u003cp>That movement was dedicated to preserving and renewing musical and cultural traditions in Southern Veracruz, where the Gonzalez-Flores clan has spent a lot of time. The mother and child sing to each other, as well as to the Virgin, accompanied only by a \u003ci>marimbol\u003c/i>, a bass marimba from Africa via Cuba. As horrific as “Toro Ayotzinapa” is, this is a sweet tonic of faith and endurance, passed down through the generations.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>To some extent, those two songs are distillations of what has come before — not just on this album, but in Quetzal’s artistic evolution. Throughout “The Eternal Getdown,” those contrasts and complements, and that sense of history as a living organism, abound in various tapestries.\u003c/p>\n\u003cp>Hard-hitting funk pushes traditional \u003cem>son\u003c/em>. The rural folk sounds of the \u003ci>tarima\u003c/i> (percussion of feet on a wooden platform) and \u003ci>jarana\u003c/i> (a small guitar-like instrument) blend with urban Hammond B-3 and electric guitars. Guests ranging from soul singer \u003ca href=\"http://www.aloeblacc.com\">Aloe Blacc\u003c/a> (whose parents are from Panama) on the perky “Let’s Get to Knowing,” released as a single last summer, to several accomplished mariachis who help extend the connections that have been part of the Quetzal mission since Flores founded the group in a Little Tokyo cafe in 1993. And Gonzalez’s fierce cries for social justice in today’s world spring from scholarly knowledge of centuries’ worth of injustice.\u003c/p>\n\u003cfigure id=\"attachment_11373942\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11373942 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/Quetzal-2-800x316.jpg\" width=\"800\" height=\"316\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/Quetzal-2-800x316.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/Quetzal-2-160x63.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/Quetzal-2-1020x403.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/Quetzal-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/Quetzal-2-1180x466.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/Quetzal-2-960x379.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/Quetzal-2-240x95.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/Quetzal-2-375x148.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/Quetzal-2-520x205.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Quetzal’s music includes a blending of various styles with an underlying social commentary. \u003ccite>(Photo by Humberto Howard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now she \u003ci>is\u003c/i> scholarly, bearing a Ph.D. in gender, women and sexuality studies and serving on the faculty at Scripps, (though currently she’s on a one-year artist-in-residence stint at Arizona State). And the album is Quetzal’s second for Smithsonian Folkways. The last one, 2012’s “Imaginaries,” won the Grammy for best Latin, rock, urban or alternative album. Never, though, is this academic or a museum piece. Not in the least.\u003c/p>\n\u003cp>The music fully captures the life of the ideas it conveys. “Barrio Healer” might be mostly “East L.A.” with funky bass, Latin percussion and soul vibe. “Olokun y Temayá” cleaves closer to Mexican-American folk, while “La Lloroncita” is slow-burn Latin balladry with violin and plucked \u003ci>guitarra de son\u003c/i>. “Mamá Nahual” balances traditional and modern; dramatic lines from a jarana work alongside some Moog synthesizer.\u003c/p>\n\u003cp>Even a folk-rooted version of “La Bamba” bears a stamp of new perspectives. And a few little instrumental interludes serve as transitions, dreamlike and otherworldly — Flores’ solo “Ay que no que no” has him playing \u003ci>requinto doble\u003c/i>, a small Spanish guitar, run through an echo effect for some space-age \u003ci>son\u003c/i>.\u003c/p>\n\u003cp>And then there’s “Unbound (Sueltos),” which somehow embraces all of the above: hard-hitting urban soul-funk-prog (yes, prog, particularly in some Hammond and violin flights) with a strong message, sung in English, of creating, building, planting, laying the foundations of movements “so they last.” A perfect home base for the mothership.\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/H8EddMOUDAk'\n title='//www.youtube.com/embed/H8EddMOUDAk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Spiral Stairs, ‘Doris and the Daggers’\u003c/h2>\n\u003cp>There is something sweetly old-fashioned about “Doris and the Daggers,” the new album, from \u003ca href=\"http://www.spiralstairsofficial.com\">Spiral Stairs\u003c/a>, a.k.a. Scott Kannenberg of the bands Pavement and Preston School of Industry. It’s not retro, per se.\u003c/p>\n\u003cp>This isn’t a Tin Pan Alley tribute, or even an evocation of a ‘60s/‘70s/‘80s/‘90s aesthetic, though there are some echoes of those latter decades — a percolating Talking Heads-ian rhythm here (“No Comparison”), a Cure-ish guitar line there (“Exiled Tonight”). And the relatively basic rock instrumentation and DIY sound harks back to the way ‘90s Pavement harked back to the way ‘80s “college rock” harked back to ‘60s garage rock (which, arguably, harked back to a lot of ‘50s rock).\u003c/p>\n\u003cp>Rather, it’s a wistful nostalgia permeating these tracks, like the scent of jasmine on a moonlit night, that connects the various sounds and moods, from the darker tones of opener “Dance (Cry Wolf)” and its declaration of dedication (“I will never leave you,” Kannenberg promises) to the folk-rock (with violin) of “Mother’s Eyes.”\u003c/p>\n\u003cfigure id=\"attachment_11372991\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11372991 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/RS24729_Spiral-Stairs-photo-credit-Steven-Simko-qut-800x1035.jpg\" width=\"800\" height=\"1035\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24729_Spiral-Stairs-photo-credit-Steven-Simko-qut-800x1035.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24729_Spiral-Stairs-photo-credit-Steven-Simko-qut-160x207.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24729_Spiral-Stairs-photo-credit-Steven-Simko-qut-240x310.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24729_Spiral-Stairs-photo-credit-Steven-Simko-qut-375x485.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24729_Spiral-Stairs-photo-credit-Steven-Simko-qut-520x673.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24729_Spiral-Stairs-photo-credit-Steven-Simko-qut.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Scott Kannenberg of Spiral Stairs. \u003ccite>(Photo by Steven Simko)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He cites Aussie songsmith Paul Kelly and Englishman Lloyd Cole as obsessions, and both of their easy wit and uncomplicated musicality figure into things here, the understated “AWM” (which seems to stand for “Always Wanting More”) wearing those influences on its musical and emotional sleeve.\u003c/p>\n\u003cp>Kannenberg works in a trio format with regular associate Matt Harris on bass and Justin Peroff from \u003ca href=\"http://brokensocialscene.ca/\" target=\"_blank\" rel=\"noopener\">Broken Social Scene\u003c/a> on drums for the core recordings, with additional touches added by Kelley Stoltz, Broken Social Scene’s Kevin Drew and the National’s Matt Berninger.\u003c/p>\n\u003cp>On one end of the emotional scale is his happy family life, returning to California after having spent time living in Australia. “The Unconditional” is a sentimental love note to his young daughter.\u003c/p>\n\u003cp>On the other end is darkness, stemming from death of his drummer Darius Minwalla, best known as a member of the Posies, just before recording was to begin in 2015. “Mother’s Eyes” is a tribute to him, while Minwalla’s voice is heard as the oddball narrator of the closing title track, a portrait of the elderly woman who owned the bar at which Kannenberg was a regular in Sydney. It all really is sweet and sentimental. And freshly old-fashioned.\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/le8nQjXRkiA'\n title='//www.youtube.com/embed/le8nQjXRkiA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Keep an ear out for … . Kera & the Lesbians\u003c/h2>\n\u003cp>There was a nagging sense of well, something, as \u003ca href=\"http://keraandthelesbians.com/\">Kera & the Lesbians\u003c/a> played the first few songs of their impressive set opening for touted New Orleans band Hurray for the Riff Raff recently in the rustic old Masonic Lodge on the grounds of the Hollywood Forever Cemetery.\u003c/p>\n\u003cp>Something about the soaring melodies, the masterful use of dramatics and dynamics as Kera and the band (three dudes, in fact) could move from sketchy to quasi-orchestral and back with seeming ease, the baring-of-the-soul from always-animated Kera Armendariz in her role of outsider looking for love and longing for belonging, infused with echoes of the romantic pop classics of the ’50s and ‘60s.\u003c/p>\n\u003cp>And then, several songs in, they did “Crying,” Roy Orbison’s 1962 pop-aria that stands as one of the most affecting encapsulations of yearning and heartache of modern times. “I was all right for a while, I could smile for a while,” she sang, dolorously. \u003ci>That\u003c/i> was it! That was the song that seemed to inform the whole set, the musical and emotional core of K&theL’s approach.\u003c/p>\n\u003cfigure id=\"attachment_11372994\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11372994\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/RS24732_Kera-and-the-Lesbians-qut-800x800.jpg\" alt=\"Album art for Kera and the Lesbians new single, "I'm Late."\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24732_Kera-and-the-Lesbians-qut-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24732_Kera-and-the-Lesbians-qut-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24732_Kera-and-the-Lesbians-qut-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24732_Kera-and-the-Lesbians-qut-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24732_Kera-and-the-Lesbians-qut-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24732_Kera-and-the-Lesbians-qut-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24732_Kera-and-the-Lesbians-qut-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24732_Kera-and-the-Lesbians-qut-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24732_Kera-and-the-Lesbians-qut-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24732_Kera-and-the-Lesbians-qut-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24732_Kera-and-the-Lesbians-qut-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24732_Kera-and-the-Lesbians-qut-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24732_Kera-and-the-Lesbians-qut-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24732_Kera-and-the-Lesbians-qut-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/RS24732_Kera-and-the-Lesbians-qut.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Album art for Kera and the Lesbians new single, “I’m Late.” \u003ccite>(Courtesy of Kera and the Lesbians)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Roy Orbison is my \u003ci>jam!\u003c/i>” Kera exclaimed after the show, smoking a cig at the top of an outdoors flight of stairs, at the complimentary mention of her version of the song.\u003c/p>\n\u003cp>He’s not her only jam. Talking Heads and Tears for Fears were just a couple of the other thoughts that popped to mind in the course of the band’s set, all incorporated organically and masterfully into a distinctive, personal, engaging presentation that has moved far beyond what Kera a few years ago in the early days of the act referred to as “bipolar folk.”\u003c/p>\n\u003cp>An album last year, released on \u003ca href=\"https://keraandthelesbians.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Bandcamp\u003c/a>, is a big step toward where the band seems headed now. And a single, the very Orbison-esque “I’m Late,” released in January on Bandcamp and featuring the group the Wild Reeds, points to more possibilities.\u003c/p>\n\u003cp>Kera reports that she’s writing new songs and another album will likely come at some point. But at the moment she’s thinking visually with a short film in post-production and set to feature three new songs as the soundtrack. So keep an ear, and an eye, out for that. But if you have a chance to see Kera and crew, don’t hesitate.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"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?",
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"order": 19
},
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
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"id": "baycurious",
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"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.",
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"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
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"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
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"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 />",
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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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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
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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": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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},
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
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"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"meta": {
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"link": "/radio/program/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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"title": "Here & Now",
"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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"rss": "https://feeds.npr.org/510051/podcast.xml"
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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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"link": "/radio/program/how-i-built-this",
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},
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"id": "inside-europe",
"title": "Inside Europe",
"info": "Inside Europe, a one-hour weekly news magazine hosted by Helen Seeney and Keith Walker, explores the topical issues shaping the continent. No other part of the globe has experienced such dynamic political and social change in recent years.",
"airtime": "SAT 3am-4am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Inside-Europe-Podcast-Tile-300x300-1.jpg",
"meta": {
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"source": "Deutsche Welle"
},
"link": "/radio/program/inside-europe",
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"apple": "https://itunes.apple.com/us/podcast/inside-europe/id80106806?mt=2",
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}
},
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"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"
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},
"live-from-here-highlights": {
"id": "live-from-here-highlights",
"title": "Live from Here Highlights",
"info": "Chris Thile steps to the mic as the host of Live from Here (formerly A Prairie Home Companion), a live public radio variety show. Download Chris’s Song of the Week plus other highlights from the broadcast. Produced by American Public Media.",
"airtime": "SAT 6pm-8pm, SUN 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Live-From-Here-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.livefromhere.org/",
"meta": {
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"source": "american public media"
},
"link": "/radio/program/live-from-here-highlights",
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"apple": "https://itunes.apple.com/us/podcast/id1167173941",
"tuneIn": "https://tunein.com/radio/Live-from-Here-Highlights-p921744/",
"rss": "https://feeds.publicradio.org/public_feeds/a-prairie-home-companion-highlights/rss/rss"
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},
"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/",
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"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": 13
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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},
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"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.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
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"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",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/onourwatch",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
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},
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"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",
"meta": {
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},
"link": "/radio/program/on-the-media",
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"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"our-body-politic": {
"id": "our-body-politic",
"title": "Our Body Politic",
"info": "Presented by KQED, KCRW and KPCC, and created and hosted by award-winning journalist Farai Chideya, Our Body Politic is unapologetically centered on reporting on not just how women of color experience the major political events of today, but how they’re impacting those very issues.",
"airtime": "SAT 6pm-7pm, SUN 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Our-Body-Politic-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://our-body-politic.simplecast.com/",
"meta": {
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"source": "kcrw"
},
"link": "/radio/program/our-body-politic",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5zaW1wbGVjYXN0LmNvbS9feGFQaHMxcw",
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"rss": "https://feeds.simplecast.com/_xaPhs1s",
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},
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"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
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},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
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"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
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},
"perspectives": {
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