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"content": "\u003cp>When I was 19, I thought I would move to San Francisco, go to open mike poetry readings and see Lawrence Ferlinghetti and Allen Ginsberg on the sign up sheet. I figured I’d read at the same readings where they read, they’d notice me, and that’s how I’d become a famous poet. But it didn’t quite work that way. Most of the people on the open mikes were wingnuts with a pen, some paper, and a lot of free time. Aside from Jack Micheline, Julia Vinograd, and Jack Hirschman, there were few well-published writers that read at the open mikes. Writers that I associated with San Francisco, such as many of the Beat writers, lived in other cities by the time I got here. The writers who did live here didn’t seem to get out much. The events at \u003cb>Litquake\u003c/b> are much the way my 19-year-old self imagined San Francisco writing events would be.\u003c/p>\n\u003cp>\u003cb>Litquake\u003c/b> events are just that: EVENTS. They’re more than readings or signings, they often have the feel of something bigger. Even if it’s at a venue such as \u003ca href=\"http://www.kqed.org/arts/places/spark/profile.jsp?id=4779\">Porch Light\u003c/a>, the crowds will be more populous than normal. Litquake’s \u003cb>Pub Crawl\u003c/b> turns tiny bar readings in the Mission district into a crowded walkaround neighborhood of poets and readings.\u003c/p>\n\u003cp>I went to \u003cb>Between the Bridges\u003c/b> last Friday, this year’s festival kickoff event at the Regency Ballroom. It was a night spotlighting musicians inspired by literature. What better theme for a literary festival than “irony?” That’s what I could figure, as they chose to open a literary festival not with writers, but with musicians. I enjoyed much of the music from Penelope Huston, Jill Tracy, and Dan Hicks, who performed songs inspired by specific pieces of writing. But in a festival already cramped for space, the coordinators chose to devote their prime hours to musicians who don’t really need more promotion, like Lars Ulrich, co-founder of Metallica, a band that has sold 90 million albums at last count.\u003c/p>\n\u003cp>Why include a hippie blowhard like The Doors’ Ray Manzerek? Does he have anything to do with literature? He babbled on in a “Reverend Lovejoy” type voice inspiring the well-dressed woman sitting next to me to exclaim that she wanted to beat him with her shoe, and then do something to him I can’t print here, but if you know what a “Cleveland Steamer” is — that’s close. Naming his band after an Alduous Huxley reference (almost 40 years ago), doesn’t make him literary.\u003c/p>\n\u003cp>Session musician and former Green on Red band member Chuck Prophet ridiculed literature altogether. He said that he had started some books before, but never finished one. Great, Chuck, thanks, this is an event ABOUT books, now get off the stage. I would’ve been more excited staring at a metronome. Mark Eitzel, who stated plainly that his music had nothing to do with books, at least admitted to having read a few.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Frank Portman, an actual author, closed the show with a bang. Frank’s new novel, \u003cb>King Dork\u003c/b>, is now out in hardback. He read a hilarious exchange between two high schoolers who are forced to talk to each other using only the few French words they know. Then he closed by playing a song that one of the characters plays in the book. So it actually tied in to the evening’s theme AND he slaughtered the crowd.\u003c/p>\n\u003cp>I have to mention the pulled pork sandwiches at the afterparty, and direct you to \u003ca href=\"http://jalapeno.typepad.com/\" target=\"offsite\" rel=\"noopener\">the caterer’s blog.\u003c/a>\u003c/p>\n\u003cp>Saturday I was off to the Koret Auditorium to check out \u003cb>Visual Language: Authors in Words and Images\u003c/b>, which I thought was a graphic novel group, scheduled before my own reading there. I enjoyed Lev’s short cartoons, which were very stylistic, funny anecdotes from his own life. Then photographer Erick Davis discussed his photobook, \u003cb>The Visionary State: A Journey Through California’s Spiritual Landscape\u003c/b>. The problem is Davis thinks in pictures, has devoted his life to the pursuit of the image, and had no ability to speak out loud whatsoever. He “walked” me. As a man who has sat through tortuous poetry many times, to walk me you have to be more than boring.\u003c/p>\n\u003cp>In what may have been the best \u003cb>Litquake\u003c/b> gig I’ve gotten since the festival’s inception, I was grouped in a program called \u003cb>Noisy Lit: Writers Who Have Been There and Back\u003c/b> with Bay Area performance artist Josh Kornbluth, which thrilled me until I found out he wasn’t going to be there, and not only that, I was looking at the audience when they made the announcement, and saw the looks on the faces of people as they realized The Guy They Came to See wasn’t going to be there. Following this disappointing news was…me. Thanks for the set up. Geez. But I’m glad I didn’t have to follow the others. Kate Braverman, Daphne Gottleib, and Kirk Read were all on top of their game that night and tore up the audience. Michael Tolkin, most notably the author of \u003cb>The Player\u003c/b>, was a bit mis-grouped, but as he is one of my favorite screenwriters I was honored to be on the same bill. Ben Fong Torres, the long-time editor of \u003ci>Rolling Stone\u003c/i>, filled in for Kornbluth.\u003c/p>\n\u003cp>There are plenty more good readings to come: Thursday, October 12 at the Edinburgh Castle join Alan Black and others in the \u003cb>Sports and Circuses: The nasty, brutish, and shorts of it\u003c/b> program and Saturday, October 14, the infamous \u003cb>Lit Crawl\u003c/b> runs 6-9:30pm through various Mission district dives.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Litquake\u003c/b> runs October 6-14, 2006 at various San Francisco locations. \u003ca href=\"http://www.litquake.org/\" target=\"offsite\" rel=\"noopener\">Visit Litquake dot org\u003c/a> for more information.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Frank Portman, an actual author, closed the show with a bang. Frank’s new novel, \u003cb>King Dork\u003c/b>, is now out in hardback. He read a hilarious exchange between two high schoolers who are forced to talk to each other using only the few French words they know. Then he closed by playing a song that one of the characters plays in the book. So it actually tied in to the evening’s theme AND he slaughtered the crowd.\u003c/p>\n\u003cp>I have to mention the pulled pork sandwiches at the afterparty, and direct you to \u003ca href=\"http://jalapeno.typepad.com/\" target=\"offsite\" rel=\"noopener\">the caterer’s blog.\u003c/a>\u003c/p>\n\u003cp>Saturday I was off to the Koret Auditorium to check out \u003cb>Visual Language: Authors in Words and Images\u003c/b>, which I thought was a graphic novel group, scheduled before my own reading there. I enjoyed Lev’s short cartoons, which were very stylistic, funny anecdotes from his own life. Then photographer Erick Davis discussed his photobook, \u003cb>The Visionary State: A Journey Through California’s Spiritual Landscape\u003c/b>. The problem is Davis thinks in pictures, has devoted his life to the pursuit of the image, and had no ability to speak out loud whatsoever. He “walked” me. As a man who has sat through tortuous poetry many times, to walk me you have to be more than boring.\u003c/p>\n\u003cp>In what may have been the best \u003cb>Litquake\u003c/b> gig I’ve gotten since the festival’s inception, I was grouped in a program called \u003cb>Noisy Lit: Writers Who Have Been There and Back\u003c/b> with Bay Area performance artist Josh Kornbluth, which thrilled me until I found out he wasn’t going to be there, and not only that, I was looking at the audience when they made the announcement, and saw the looks on the faces of people as they realized The Guy They Came to See wasn’t going to be there. Following this disappointing news was…me. Thanks for the set up. Geez. But I’m glad I didn’t have to follow the others. Kate Braverman, Daphne Gottleib, and Kirk Read were all on top of their game that night and tore up the audience. Michael Tolkin, most notably the author of \u003cb>The Player\u003c/b>, was a bit mis-grouped, but as he is one of my favorite screenwriters I was honored to be on the same bill. Ben Fong Torres, the long-time editor of \u003ci>Rolling Stone\u003c/i>, filled in for Kornbluth.\u003c/p>\n\u003cp>There are plenty more good readings to come: Thursday, October 12 at the Edinburgh Castle join Alan Black and others in the \u003cb>Sports and Circuses: The nasty, brutish, and shorts of it\u003c/b> program and Saturday, October 14, the infamous \u003cb>Lit Crawl\u003c/b> runs 6-9:30pm through various Mission district dives.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Litquake\u003c/b> runs October 6-14, 2006 at various San Francisco locations. \u003ca href=\"http://www.litquake.org/\" target=\"offsite\" rel=\"noopener\">Visit Litquake dot org\u003c/a> for more information.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp> I know every gray cloud comes with a silver lining, but what about the big white cotton ball clouds — those poofs of meteorological perfection bouncing rays of sunshine off their creamy dollops of contentment? Do you think they have any bad parts? And come to mention it, have you ever stopped to notice how the most amazing little weeds sprout between the cracks in the pavement? Okay, I gave it away. I’m in love. Issue 3 of \u003cb>The Escapists\u003c/b> came out this month, and well…I’m all gushy ‘n’ stuff.\u003c/p>\n\u003cp>\u003cb>The Escapists\u003c/b> is the latest in the line of comic book spin-offs inspired by Bay Area writer Michael Chabon’s \u003cb>The Amazing Adventures of Kavalier & Clay\u003c/b>. Very basically, the story follows Joe Kavalier and Sam Clay as they create a successful comic book character, The Escapist, who saves the day thwarting crime in the 1940’s. Since this beautiful novel landed on the scene, many modern day comics artists and writers have taken up this fictional world and published the Escapists books they think Kavalier & Clay would have created.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The result has yielded a stack of comics with fake 1940’s publication dates (including bylines for Joe Kavalier and Sam Clay), creating a REAL collection of this fictional title. Being a huge fan of the novel, I was excited to see The Escapist come to life, but the problem was that the character’s premise was never really that dynamic. There is a nice nostalgic camp to The Escapist’s exploits, fighting Nazis, infiltrating secret societies and tangling with beguiling, but it is a solidly one-dimensional pull. Beyond just wanting to spend a little more time in the \u003cb>Kavalier & Clay\u003c/b> world, there was little modern pizzazz to these Escapist incarnations.\u003c/p>\n\u003cp>For me, the longing pause I give to my tattered copy of \u003cb>Kavalier & Clay\u003c/b> whenever I pass it in my bookcase isn’t because I wish I could pick up a copy of a fictional comic — it’s because I deeply miss spending time with Joe and Sam, the fictional creators of that comic. Therein lies the thrill of the new \u003cb>Escapists\u003c/b> — it acknowledges the glossy appeal of its crime-fighting superhero namesake, while elevating the meaning of the character back up to the delicious metaphor for creativity that it was meant to be.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Basically, \u003cb>The Escapists\u003c/b> is set in the modern day, with the conceit that Kavalier and Clay actually existed, and so did their comics handiwork. 20-something outsider Maxwell Roth finds himself orphaned in Issue 1, while also discovering that his late father was a rabid fan of the now-forgotten Escapist hero. Max then uses his inheritance to purchase the rights to the character, blow the dust off the idea, and enlist a team of writers and illustrators to help him revamp and renew the title. His partners are Case Weaver, an illustrator with moxie and talent to burn, and Denny Jones, a beefy jock with a knack for lettering and sticking up for his gawky pal.\u003c/p>\n\u003cp>Following all of this comics-within-a-comic metafiction business? Good. Believe me, it’s worth it. Writer Brian K. Vaughan (he’s real, by the way), imbues his characters with snappy dialogue and sincere motivations that keep the story exciting and relatable. In Issue 2, the gang deploys guerilla marketing to get the word out for their broke enterprise by outfitting the strapping Denny in an Escapist suit and staging random publicity stunts. Of course, things don’t go exactly as planned, including when the coveted first review turns out to be negative. There’s a romance element building between Max and Case, and the coming of yet more use of our postmodern prefix when metaphysical coincidences start to take place whenever Denny puts on the Escapist suit.\u003c/p>\n\u003cp>And all this conceptual derring do doesn’t stop with the art, either. The comic volleys between two distinct visual styles to tell the story — the cartoony, modern polish used to depict Max’s life, and the edgy, painterly pages inserted from Max’s comic. Steve Rolston (real, too) draws the traditional narrative in Issues 2 and 3, and his casual yet complete style, and knack for impactful facial expressions fits perfectly with the idea of a group of young idealists working together on a labor of love. Jason S. Alexander (real person) contributes the pages ostensibly drawn by the fictional Case Weaver. Alexander’s style is dark, raw, and sketchy — the perfect contrast to Rolston’s rounded figures and pop colors. The attitude expressed by Alexander is a seamless extension of Case’s sass and impulsiveness. Better yet, the new \u003cb>Escapists\u003c/b> seems to have learned from the mistakes of earlier adaptations, and provides a clever device for jazzing up its depiction of The Escapist in action with more than musty superhero shtick.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Amazing Adventures of Kavalier & Clay\u003c/b> truly tapped into the imaginations of its readers — inspiring everything from faux-historical research, loving tributes from comics’ heavyweights, and even a subplot on \u003cb>The O.C.\u003c/b>. But no spin-off has captured the excitement and emotion of the novel more fully, and with more dazzling craft than \u003cb>The Escapists\u003c/b>, Seth Cohen’s dimpled wisecracks notwithstanding. Reframing the adaptation to focus again on the creators, rather than their creation, brings back the dewy charm of following likeable characters as they struggle towards a goal. Like the 600-plus page tome from whence they came, I could just go on and on about these books, but I’m afraid I’m going to have to stop there. You see, I have a hot date with Issue 4 coming up, and gee whiz, I think it could be serious.\u003c/p>\n\n",
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"excerpt": " I know every gray cloud comes with a silver lining, but what about the big white cotton ball clouds -- those poofs of meteorological perfection bouncing rays of sunshine off their creamy dollops of contentment? Do you think they have any bad parts? And come to mention it, have you ever stopped to notice how the most amazing little weeds sprout between the cracks in the pavement? Okay, I gave it away. I'm in love. Issue 3 of \u003cb>The Escapists\u003c/b> came out this month, and well...I'm all gushy 'n' stuff.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp> I know every gray cloud comes with a silver lining, but what about the big white cotton ball clouds — those poofs of meteorological perfection bouncing rays of sunshine off their creamy dollops of contentment? Do you think they have any bad parts? And come to mention it, have you ever stopped to notice how the most amazing little weeds sprout between the cracks in the pavement? Okay, I gave it away. I’m in love. Issue 3 of \u003cb>The Escapists\u003c/b> came out this month, and well…I’m all gushy ‘n’ stuff.\u003c/p>\n\u003cp>\u003cb>The Escapists\u003c/b> is the latest in the line of comic book spin-offs inspired by Bay Area writer Michael Chabon’s \u003cb>The Amazing Adventures of Kavalier & Clay\u003c/b>. Very basically, the story follows Joe Kavalier and Sam Clay as they create a successful comic book character, The Escapist, who saves the day thwarting crime in the 1940’s. Since this beautiful novel landed on the scene, many modern day comics artists and writers have taken up this fictional world and published the Escapists books they think Kavalier & Clay would have created.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The result has yielded a stack of comics with fake 1940’s publication dates (including bylines for Joe Kavalier and Sam Clay), creating a REAL collection of this fictional title. Being a huge fan of the novel, I was excited to see The Escapist come to life, but the problem was that the character’s premise was never really that dynamic. There is a nice nostalgic camp to The Escapist’s exploits, fighting Nazis, infiltrating secret societies and tangling with beguiling, but it is a solidly one-dimensional pull. Beyond just wanting to spend a little more time in the \u003cb>Kavalier & Clay\u003c/b> world, there was little modern pizzazz to these Escapist incarnations.\u003c/p>\n\u003cp>For me, the longing pause I give to my tattered copy of \u003cb>Kavalier & Clay\u003c/b> whenever I pass it in my bookcase isn’t because I wish I could pick up a copy of a fictional comic — it’s because I deeply miss spending time with Joe and Sam, the fictional creators of that comic. Therein lies the thrill of the new \u003cb>Escapists\u003c/b> — it acknowledges the glossy appeal of its crime-fighting superhero namesake, while elevating the meaning of the character back up to the delicious metaphor for creativity that it was meant to be.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Basically, \u003cb>The Escapists\u003c/b> is set in the modern day, with the conceit that Kavalier and Clay actually existed, and so did their comics handiwork. 20-something outsider Maxwell Roth finds himself orphaned in Issue 1, while also discovering that his late father was a rabid fan of the now-forgotten Escapist hero. Max then uses his inheritance to purchase the rights to the character, blow the dust off the idea, and enlist a team of writers and illustrators to help him revamp and renew the title. His partners are Case Weaver, an illustrator with moxie and talent to burn, and Denny Jones, a beefy jock with a knack for lettering and sticking up for his gawky pal.\u003c/p>\n\u003cp>Following all of this comics-within-a-comic metafiction business? Good. Believe me, it’s worth it. Writer Brian K. Vaughan (he’s real, by the way), imbues his characters with snappy dialogue and sincere motivations that keep the story exciting and relatable. In Issue 2, the gang deploys guerilla marketing to get the word out for their broke enterprise by outfitting the strapping Denny in an Escapist suit and staging random publicity stunts. Of course, things don’t go exactly as planned, including when the coveted first review turns out to be negative. There’s a romance element building between Max and Case, and the coming of yet more use of our postmodern prefix when metaphysical coincidences start to take place whenever Denny puts on the Escapist suit.\u003c/p>\n\u003cp>And all this conceptual derring do doesn’t stop with the art, either. The comic volleys between two distinct visual styles to tell the story — the cartoony, modern polish used to depict Max’s life, and the edgy, painterly pages inserted from Max’s comic. Steve Rolston (real, too) draws the traditional narrative in Issues 2 and 3, and his casual yet complete style, and knack for impactful facial expressions fits perfectly with the idea of a group of young idealists working together on a labor of love. Jason S. Alexander (real person) contributes the pages ostensibly drawn by the fictional Case Weaver. Alexander’s style is dark, raw, and sketchy — the perfect contrast to Rolston’s rounded figures and pop colors. The attitude expressed by Alexander is a seamless extension of Case’s sass and impulsiveness. Better yet, the new \u003cb>Escapists\u003c/b> seems to have learned from the mistakes of earlier adaptations, and provides a clever device for jazzing up its depiction of The Escapist in action with more than musty superhero shtick.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Amazing Adventures of Kavalier & Clay\u003c/b> truly tapped into the imaginations of its readers — inspiring everything from faux-historical research, loving tributes from comics’ heavyweights, and even a subplot on \u003cb>The O.C.\u003c/b>. But no spin-off has captured the excitement and emotion of the novel more fully, and with more dazzling craft than \u003cb>The Escapists\u003c/b>, Seth Cohen’s dimpled wisecracks notwithstanding. Reframing the adaptation to focus again on the creators, rather than their creation, brings back the dewy charm of following likeable characters as they struggle towards a goal. Like the 600-plus page tome from whence they came, I could just go on and on about these books, but I’m afraid I’m going to have to stop there. You see, I have a hot date with Issue 4 coming up, and gee whiz, I think it could be serious.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>“Starting Over; or, Before the Collapse of the State; or, Penny and Payne: Competing Mythic Hypotheses as to the Origins Thereof” is the second chapter of \u003cb>The Suitors\u003c/b>, an audacious reimagining of \u003cb>The Odyssey\u003c/b>, in which Penny waits alone at home while Payne, a modern-day Odysseus, gallivants around the world on battleships and attack helicopters, waging wars of conquest. A drinking, drugging crew of ne’er-do-well squatters surrounds Penny, eager for her attention. Even their most eyebrow-raising exploits can’t distract her, though, as she angrily pines for Payne. But when a mysterious man with suspicious origins arrives on the scene, the suitors’ precarious pecking order falls to pieces in the glow of Penny’s newly ignited ardor. Brutal, playful, sexy, and subversive, \u003cb>The Suitors\u003c/b> is a classic of its own kind. The \u003ci>Los Angeles Times\u003c/i> wrote, “Ehrenreich blends Tom Robbins’ sly humor with Steve Erickson’s bubbling sense of the subconscious and Voltaire’s irreverent twists of plot. The \u003ci>New York Times\u003c/i> raved, “Ehrenreich writes with an ease and pure line-by-line skill that’s rare.” And \u003ci>Bomb\u003c/i> magazine called \u003cb>The Suitors\u003c/b>, “truly a ravishing book.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>Winkie is a desperate criminal, on trial for terrorism and related offenses, in prison reliving the life that brought him to this point. Clifford Chase’s \u003cb>Winkie\u003c/b> is also a tale about a bear; a small stuffed bear once owned by a character named, coincidentally enough, Clifford Chase. Winkie leads a pretty satisfying life for a stuffed bear. Loved in turn by generations of Chases, he doesn’t mind so much the time in between children, time spent waiting quietly on a shelf watching the days go by. Winkie doesn’t really even notice the day he changed.\u003c/p>\n\u003cp>What does Winkie do that is so different? He waits and watches a long time, long enough to get bored and curious. Winkie becomes a stuffed bear that moves. He moves well enough to leave his shelf, then leave his home, the Chase’s home, and strike out on his own. He even, in a weird kind of ursine parthenogenesis, manages to have a child, one with whom he lives a happy life in the forest. This idyll is interrupted when a hermit living in a small hut notices them, desires the cub, and takes it.\u003c/p>\n\u003cp>Winkie doesn’t react well to this; no parent would. Turn the page and Winkie is living in the hut alone, the cub dead, the old man buried in the forest. The next thing he knows he’s surrounded by lights and guns and arrested for the old man’s crimes. Still mourning, Winkie drifts through his imprisonment and trial, always polite, always friendly. Winkie wonders why no one will realize that he’s a small stuffed bear, with no fingers to build the bombs he’s accused of sending.\u003c/p>\n\u003cp>The prosecution in Winkie’s trial is a parade of every major historical thinker, except perhaps Kafka. His lawyer is earnest but ineffective. Any defense his lawyer attempts to mount is over-ruled by the judge, a man who brooks no nonsense and doesn’t care much for terrorists. His outside supporters are few and fringe. Once again, it seems that Common Sense is pretty terrible and Good Sense rare indeed. It’s hard to see how such a bear could come to this point and harder to see how he can escape it.\u003c/p>\n\u003cp>Political satire isn’t hard to come by these days; there’s a lot of ammunition just lying around on the ground waiting to be picked up and used, and some very talented people take on the task. The only question is what form should it take in the end? A gentle parable seems just right to me now. I feel bludgeoned by the lack of subtleness in the daily news, and the amazing amount of Common Sense that surrounds us.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Galley Slave Galley Watch:\u003c/b> Harry Shearer is my absolute favorite actor to appear in \u003cb>The Simpsons\u003c/b> and \u003cb>Spinal Tap\u003c/b>; he is also a pretty darn good writer. \u003cb>Not Enough Indians\u003c/b> is a story about a small, failing town, one desperate enough to do anything to get some business. The anything this town chooses is tribal gambling; the fact that no one in the area belongs to a tribe, or is even Native American, does not appear to matter. \u003cb>Not Enough Indians\u003c/b> is political and social satire about people just like us, people trying to make a living and good decisions and stay one step ahead of Murphy. Due in October from Justin Charles & Co.\u003c/p>\n\n",
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"content": "\u003cp>Last weekend, I surrendered my Saturday to \u003cb>SF Zine Fest\u003c/b> — an annual convention for artists, writers, cartoonists, and zine fans at CELLspace. Facing a giant room full of zines to peruse is a little overwhelming. Facing a giant room full of zinemakers watching you peruse (or not) their creations is also a tad intimidating. But I feel I made a good choice with the first zine I actually plunked down cash to keep: \u003cb>Your New Religion, Book II\u003c/b> by Joe Sayers. I’d like to think that I have a preternatural ability to catch the mere whiff of excellence on the air like a cartoon hobo and his proverbial cooling pie, but really the book is made out of shiny gold paper, and it drew me in with its bling.\u003c/p>\n\u003cp>Happily, the inside of the mini-comic features a drawing of a break dancing egg (yes, just as good as it sounds) and so delivers on all said sparkly promises. Sayers’ book is a series of witty drawings with suggestions for new deities (such as a talking bottle of liquor, Godka), and imaginings of Hell designed more to make you laugh than repent. The \u003cb>Your New Religion\u003c/b> books easily scored the title for most impressive scope at zine fest: \u003cb>Book II\u003c/b> literally begins with the creation of the universe, takes a quick jaunt through Hell, and ends up speculating on gods. I loved the whimsy in this send up of all things metaphysical, which, thankfully pays homage to the patron saint of originality and never once mentions Tom Cruise, thetans or Mel Gibson. Testify!\u003c/p>\n\u003cp>After browsing the interesting titles from Microcosm Publishing, like the new collection of Jesse Reklaw’s fantastic \u003cb>Applicant\u003c/b>, I ventured over to the offerings from artist Hannah Stouffer. Though without any text, Stouffer’s lovely collection of sprawling visual intricacies told some of the most complex stories of the convention. In a series of black and white line drawings, Stouffer weaves scenes by placing stylish figures, like a prize fighter, and scattered accessories, like a celebratory wreath, amidst a field of swirling baroque curls and waves. Although this technique eschews traditional sequential illustration, the beautiful line work leads the eye through these layered snapshots and into an intimate world of characters and narrative flights of fancy.\u003c/p>\n\u003cp>But for me, a huge standout zine was \u003cb>Laterborn\u003c/b> by Jason Martin. Issue #4 was available at \u003cb>SF Zine Fest\u003c/b>, but I have to admit what first drew me in was a side project: part one of \u003cb>Nothing Ever Changes\u003c/b>, a comic chronicling the life of young Billy Corgan (of Smashing Pumpkins fame) before his rise to stardom. Taken from Corgan’s painstaking reconstruction of his own life published on his website, the comic illustrates choice moments to great effect (see Billy’s telephone calls to his deadbeat dad and uninspiring work as a telemarketer), and walks a satisfying line between admiring its hero’s creative journey and poking fun at his maudlin pronouncements.\u003c/p>\n\u003cp>Once my eyes de-misted from seeing my teenage heartthrob in his very own book of adventures, I picked up Martin’s \u003cb>Laterborn #4\u003c/b>, a zine of short stories and comics. Since the subject matter is mainly melancholy* memories from adolescence, it’s tempting to be cynical and think \u003cb>Laterborn\u003c/b> will cover the same ground trod into a muddy swamp of wounded navel-gazing by nearly every alternative comic on the planet. Not so. \u003cb>Laterborn\u003c/b> managed to remind me that stories about high school and its twisted little social universe can still be moving and surprising. The zine gets at the heart of characters in pithy snapshots and sensitive emotional moments rendered with an almost alarming immediacy. Martin’s drawings and lettering are somewhat spare and functional, but he manages to get more heart across than the self-satisfied hand wringing of many of his alt-comics peers attempting the same feat (I’m looking at you, Tomine).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Other highlights featured at the convention were new installments of Bay Area zine veteran and delightfully morbid \u003cb>Murder Can be Fun\u003c/b>, whose latest tackles music-related death and the dark side of David Cassidy, and the always-heartfelt \u003cb>Rad Dad\u003c/b>. At the end of the day, I left \u003cb>SF Zine Fest 2006\u003c/b> with a bag full of inspiring new zines and comics, their pages stuffed with flyers for a slue of up and comers I’m anxious to watch develop and hope to catch at next year’s event.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>* Let’s take a moment to appreciate my editorial restraint by not writing this as “Mellon Collie.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Other highlights featured at the convention were new installments of Bay Area zine veteran and delightfully morbid \u003cb>Murder Can be Fun\u003c/b>, whose latest tackles music-related death and the dark side of David Cassidy, and the always-heartfelt \u003cb>Rad Dad\u003c/b>. At the end of the day, I left \u003cb>SF Zine Fest 2006\u003c/b> with a bag full of inspiring new zines and comics, their pages stuffed with flyers for a slue of up and comers I’m anxious to watch develop and hope to catch at next year’s event.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>* Let’s take a moment to appreciate my editorial restraint by not writing this as “Mellon Collie.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>I know, I know. It’s beautiful outside, there’s news on the radio, and my library of CDs is just waiting to be played. But I can’t put down Amy Hempel’s \u003cb>The Collected Stories\u003c/b>, nor do I want to. Amy Hempel is known as a miniaturist because her stories run, generally, four to eight pages. They fall into that category of fiction some call short-shorts and others, prose poems. Hempel’s own term, “lyric surge,” is probably more accurate. Her stories consist of a succession of sentences so impeccably crafted, the craft doesn’t call attention to itself — for this reason, I too often find myself stopping to try and figure out how on earth she does what she does. This is slow reading. A typical Hempel piece begins as a meditation. And just when we get comfortable with the subject, she introduces an element of dread, usually in the form of an off-color comment or brush with disaster or disturbing image. Then, once dread has made its brief appearance, she removes it and for the last page or two the reader realizes a deeper understanding of the entire meditation. The last page or two are revelatory.\u003c/p>\n\u003cp>In many of these pieces the climax (or height of dread) comes earlier than usual, somewhere closer to the middle, and the plots, when paraphrased, might not sound very interesting, though the reading itself is fascinating. So for instance, in “The Rest of God” a group of suburban neighbors spend a summer vacation at the beach, and “Nothing clever [is] said.” On a glorious day while one of the wives, Fay, swims in the ocean with her children, the family is caught in a circular current. Luckily a male neighbor spots the trouble, throws the swimmers a rope, and rescues them. This close call, the narrator points out, would never have happened if the beach had been closed for a sewage leak (a “black surge”). But, she says, though a black surge DID roll in to the beach that summer, it arrived one day too late to prevent Fay’s close call.\u003c/p>\n\u003cp>Later that same evening, the neighbors celebrate Fay’s fortune by holding a barbecue on the beach, all the while indulging in the kinds of corny one-liners one might expect to hear from suburbanites who are tipsy in the presence of their children. Dusk turns to dark, and Fay discovers that the water is phosphorescent. Everyone watches her frolic in the glowing ocean, and then the phosphorescence disappears. The story ends when the narrator explains that the rest of the summer “passed quietly, the only pain was inflicted by bees.” The vacationers knew a homemade remedy for stings whose ingredients could be found “in [their] own backyard[s].” This ending left me pondering the black surge for hours.\u003c/p>\n\u003cp>More than a few of Hempel’s stories are structurally innovative, such as “And Lead Us Not Into Penn Station,” which is a list of anecdotes, each told with the rhythm of a joke uttered by a good standup comic. Such as this one: “Today, when a blind man walked into the bank, we handed him up to the front of the line where he ordered a BLT.” Most of these anecdotes feature one character misinterpreting another in a striking (and sometimes distastefully ironic) way. Hempel ends this piece by having her narrator explain that all these “things add up to enough weight to wear a person down. I,” she writes, “am wearing down.”\u003c/p>\n\u003cp>And finally, some stories have a more traditional structure, such as “At the Gates of the Animal Kingdom.” This one begins at the birthday party of a black cat named Gully, who’s squinting while flash cubes pop around her. Note that at the party, Gully is served cake. We learn that the cat belongs to Mrs. Carlin, an eccentric babysitter who — though this is never directly stated — no longer seems to have a husband. Mrs. Carlin is watching two boys, Pierson and Bret, while their parents are away at a business conference. When she serves them tofu patties, the boys discover that Mrs. Carlin is a vegetarian. She reminisces about her elderly dachshund while the boys grudgingly chew their tofu burgers. Suddenly, though, Mrs. Carlin is distracted by a disturbing thought about wolves being shot from airplanes. She excuses herself, goes to her room, and swallows two aspirin.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The next day Mrs. Carlin takes Pierson and Bret to visit the aquarium. The day after that she tries to bond with Bret by having him brush her dachsund, but because she’s overly-sentimental on the subject of pets, Bret responds to her sentiment with cruel laughter. Then, when the boys are safely in school, Mrs. Carlin returns to the aquarium. All the while she finds herself preoccupied by what turn out to be voices and visions — narrated scenes of animals being tortured and slaughtered by people. Her final vision is much too frightening to spoil by giving it away, but here’s the end of it, and I’ll give you one detail — it’s set at a picnic : “There is an indescribable sound from the choking dog, and like a person who suffers the pain of an injured twin, Mrs. Carlin gasps and drops to the floor.” The floor, here, is in the “roundabout” room, or a room with a donut-shaped tank in which the viewer stands in the “hole” of the donut, watching the fish stream by. A passing couple discovers Mrs. Carlin there. They check her pulse, call for a guard, and in the final paragraph — which consists of one sentence — comes the revelation, which I simply can’t tell you (Please, if you choose to read only one Amy Hempel story, make it this one! It’s short, so it won’t take much time!).\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Hempel’s world is an uneasy place where characters wait for real disaster to strike and their main way of coping is repression. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I know, I know. It’s beautiful outside, there’s news on the radio, and my library of CDs is just waiting to be played. But I can’t put down Amy Hempel’s \u003cb>The Collected Stories\u003c/b>, nor do I want to. Amy Hempel is known as a miniaturist because her stories run, generally, four to eight pages. They fall into that category of fiction some call short-shorts and others, prose poems. Hempel’s own term, “lyric surge,” is probably more accurate. Her stories consist of a succession of sentences so impeccably crafted, the craft doesn’t call attention to itself — for this reason, I too often find myself stopping to try and figure out how on earth she does what she does. This is slow reading. A typical Hempel piece begins as a meditation. And just when we get comfortable with the subject, she introduces an element of dread, usually in the form of an off-color comment or brush with disaster or disturbing image. Then, once dread has made its brief appearance, she removes it and for the last page or two the reader realizes a deeper understanding of the entire meditation. The last page or two are revelatory.\u003c/p>\n\u003cp>In many of these pieces the climax (or height of dread) comes earlier than usual, somewhere closer to the middle, and the plots, when paraphrased, might not sound very interesting, though the reading itself is fascinating. So for instance, in “The Rest of God” a group of suburban neighbors spend a summer vacation at the beach, and “Nothing clever [is] said.” On a glorious day while one of the wives, Fay, swims in the ocean with her children, the family is caught in a circular current. Luckily a male neighbor spots the trouble, throws the swimmers a rope, and rescues them. This close call, the narrator points out, would never have happened if the beach had been closed for a sewage leak (a “black surge”). But, she says, though a black surge DID roll in to the beach that summer, it arrived one day too late to prevent Fay’s close call.\u003c/p>\n\u003cp>Later that same evening, the neighbors celebrate Fay’s fortune by holding a barbecue on the beach, all the while indulging in the kinds of corny one-liners one might expect to hear from suburbanites who are tipsy in the presence of their children. Dusk turns to dark, and Fay discovers that the water is phosphorescent. Everyone watches her frolic in the glowing ocean, and then the phosphorescence disappears. The story ends when the narrator explains that the rest of the summer “passed quietly, the only pain was inflicted by bees.” The vacationers knew a homemade remedy for stings whose ingredients could be found “in [their] own backyard[s].” This ending left me pondering the black surge for hours.\u003c/p>\n\u003cp>More than a few of Hempel’s stories are structurally innovative, such as “And Lead Us Not Into Penn Station,” which is a list of anecdotes, each told with the rhythm of a joke uttered by a good standup comic. Such as this one: “Today, when a blind man walked into the bank, we handed him up to the front of the line where he ordered a BLT.” Most of these anecdotes feature one character misinterpreting another in a striking (and sometimes distastefully ironic) way. Hempel ends this piece by having her narrator explain that all these “things add up to enough weight to wear a person down. I,” she writes, “am wearing down.”\u003c/p>\n\u003cp>And finally, some stories have a more traditional structure, such as “At the Gates of the Animal Kingdom.” This one begins at the birthday party of a black cat named Gully, who’s squinting while flash cubes pop around her. Note that at the party, Gully is served cake. We learn that the cat belongs to Mrs. Carlin, an eccentric babysitter who — though this is never directly stated — no longer seems to have a husband. Mrs. Carlin is watching two boys, Pierson and Bret, while their parents are away at a business conference. When she serves them tofu patties, the boys discover that Mrs. Carlin is a vegetarian. She reminisces about her elderly dachshund while the boys grudgingly chew their tofu burgers. Suddenly, though, Mrs. Carlin is distracted by a disturbing thought about wolves being shot from airplanes. She excuses herself, goes to her room, and swallows two aspirin.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The next day Mrs. Carlin takes Pierson and Bret to visit the aquarium. The day after that she tries to bond with Bret by having him brush her dachsund, but because she’s overly-sentimental on the subject of pets, Bret responds to her sentiment with cruel laughter. Then, when the boys are safely in school, Mrs. Carlin returns to the aquarium. All the while she finds herself preoccupied by what turn out to be voices and visions — narrated scenes of animals being tortured and slaughtered by people. Her final vision is much too frightening to spoil by giving it away, but here’s the end of it, and I’ll give you one detail — it’s set at a picnic : “There is an indescribable sound from the choking dog, and like a person who suffers the pain of an injured twin, Mrs. Carlin gasps and drops to the floor.” The floor, here, is in the “roundabout” room, or a room with a donut-shaped tank in which the viewer stands in the “hole” of the donut, watching the fish stream by. A passing couple discovers Mrs. Carlin there. They check her pulse, call for a guard, and in the final paragraph — which consists of one sentence — comes the revelation, which I simply can’t tell you (Please, if you choose to read only one Amy Hempel story, make it this one! It’s short, so it won’t take much time!).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hempel’s world is an uneasy place where characters wait for real disaster to strike and their main way of coping is repression. She claims that her stories are about recovery and while I believe this is true, it’s clear that recovery is not a place where one is left unaffected by dread. I suppose dread is a sign of these times, and in these times its representatives (such as Hempel’s earthquakes and airplanes and crashes) come to us loaded with all kinds of baggage. It’s odd that we’d want to read anything that reminds us of this. Unless there’s some solace in reading a thing that captures what we collectively feel; maybe there’s community in that. Or maybe it’s just that when anxiety is remade as great art, we feel that it’s somehow been mastered for us.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Indie comics seem to revel in their outsider status. Unwieldy tales of social misanthropes without that accessible radioactive spider-bite, edgy depictions of taboos in all their Crumb-esque glory, and delicately spun interpersonal dramas all earn a special merit badge of obscurity in the scene. Mix that with a penchant for tales of squirmy social awkwardness and heroes more likely to loiter around their personal suburban hells than cascade from any skyscrapers and you have the beauty of indie comics: we get stories no advertising firm would ever touch. We get stories that would never sell Pepsi or land a theme song on Xtina’s latest album. And thank goodness for that.\u003c/p>\n\u003cp>Even more fortuitous for the content-hungry is the arrival of \u003cb>Rose and Isabel\u003c/b>, a new two-part title from Pixar artist Ted Mathot and Emeryville’s E-Ville Press. \u003cb>Rose and Isabel\u003c/b> takes up familiar comic book terrain with the Amazonian warrior, and adds a welcome twist with an American Civil War setting, compelling character dynamics, and a strong emotional core. Two sisters, bolstered by a mysterious magical gift, set off to find their three brothers — soldiers missing somewhere amongst the grisly battlefields of a war-torn countryside. And what’s not to like about any comic that comes with a bibliography?\u003c/p>\n\u003cp>Mathot’s drawings are efficient and gripping. He renders with a rough, sketchy touch and deftly condenses messy emotion into raw facial expressions and nuanced gestures. Though the book is black and white, characters and settings feel absorbing and fully realized. Rose and Isabel, themselves, are so life-like across the pages that it’s easy to lose yourself completely in their saga. In every panel, we’re secure in the hands of an ace, and it is satisfying to sit back and let Mathot guide us through his finely-tuned visual world.\u003c/p>\n\u003cp>That it is two young heroines who take the reins in that world is, admittedly, pretty exciting just at face value. Nice moments come when the child Rose defends her older male sibling from local bullies — wielding a literal big stick in pigtails and petticoats. That said, I found it hard not to wince at a few of the clumsier stabs at capturing female perspective, such as the all-powerful “women’s bond” that conveniently, transparently surfaces between Yankee Isabel and a Confederate woman, or the extensive prologue detailing Amazonian legend in a labored attempt to establish that, gee whiz, women can fight. It is difficult for any writer to portray the opposite sex, let alone within the confines of panels and word bubbles, but the best I’ve seen still remains Daniel Clowes’s eerily accurate Enid and Rebecca in \u003cb>Ghost World\u003c/b>. \u003c/p>\n\u003cp>Yes, insert “comics is a male-dominated field” observation here, but the main reason these gender portrayal shortcomings are so glaring is that the characterization in \u003cb>Rose and Isabel\u003c/b> is otherwise so tender and absorbing. Above gripes aside, Mathot did imbue his antebellum Amazons with a realistic back-story that explores the duo’s conflicted relationship with their martial skills, and both sisters have a unique and affecting take.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Since Mathot’s story is so refreshing for its scope, historical research, and originality, I left the books wishing for more. \u003cb>Rose and Isabel\u003c/b> seems like its struggling to be a complex character-driven story on the one hand, while being a glossy, high-voltage slash-and-dash action comic on the other -— complete with stylish fighting scenes and an off-into-the-sunset resolution. The compellingly layered premise of the story fizzles somewhat against the lightning-fast pacing, and the promising character depth gets lost in the hasty ending and uneven narration. Mathot clearly took his time crafting these characters (he includes fascinating preliminary sketches) and all the elements for an airtight narrative arc are in place, but frustratingly underplayed.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Rose and Isabel\u003c/b> is a great comic book, with an ambitious scope that sets a high bar for inventiveness and quality production. Still, I couldn’t help but daydream about spending more time with Mathot’s creations to fully lavish in their quirks, stunning visual presence and complexities in what would almost certainly make a fantastic movie or graphic novel. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Indie comics seem to revel in their outsider status. Unwieldy tales of social misanthropes without that accessible radioactive spider-bite, edgy depictions of taboos in all their Crumb-esque glory, and delicately spun interpersonal dramas all earn a special merit badge of obscurity in the scene. Mix that with a penchant for tales of squirmy social awkwardness and heroes more likely to loiter around their personal suburban hells than cascade from any skyscrapers and you have the beauty of indie comics: we get stories no advertising firm would ever touch. We get stories that would never sell Pepsi or land a theme song on Xtina’s latest album. And thank goodness for that.\u003c/p>\n\u003cp>Even more fortuitous for the content-hungry is the arrival of \u003cb>Rose and Isabel\u003c/b>, a new two-part title from Pixar artist Ted Mathot and Emeryville’s E-Ville Press. \u003cb>Rose and Isabel\u003c/b> takes up familiar comic book terrain with the Amazonian warrior, and adds a welcome twist with an American Civil War setting, compelling character dynamics, and a strong emotional core. Two sisters, bolstered by a mysterious magical gift, set off to find their three brothers — soldiers missing somewhere amongst the grisly battlefields of a war-torn countryside. And what’s not to like about any comic that comes with a bibliography?\u003c/p>\n\u003cp>Mathot’s drawings are efficient and gripping. He renders with a rough, sketchy touch and deftly condenses messy emotion into raw facial expressions and nuanced gestures. Though the book is black and white, characters and settings feel absorbing and fully realized. Rose and Isabel, themselves, are so life-like across the pages that it’s easy to lose yourself completely in their saga. In every panel, we’re secure in the hands of an ace, and it is satisfying to sit back and let Mathot guide us through his finely-tuned visual world.\u003c/p>\n\u003cp>That it is two young heroines who take the reins in that world is, admittedly, pretty exciting just at face value. Nice moments come when the child Rose defends her older male sibling from local bullies — wielding a literal big stick in pigtails and petticoats. That said, I found it hard not to wince at a few of the clumsier stabs at capturing female perspective, such as the all-powerful “women’s bond” that conveniently, transparently surfaces between Yankee Isabel and a Confederate woman, or the extensive prologue detailing Amazonian legend in a labored attempt to establish that, gee whiz, women can fight. It is difficult for any writer to portray the opposite sex, let alone within the confines of panels and word bubbles, but the best I’ve seen still remains Daniel Clowes’s eerily accurate Enid and Rebecca in \u003cb>Ghost World\u003c/b>. \u003c/p>\n\u003cp>Yes, insert “comics is a male-dominated field” observation here, but the main reason these gender portrayal shortcomings are so glaring is that the characterization in \u003cb>Rose and Isabel\u003c/b> is otherwise so tender and absorbing. Above gripes aside, Mathot did imbue his antebellum Amazons with a realistic back-story that explores the duo’s conflicted relationship with their martial skills, and both sisters have a unique and affecting take.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
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},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"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.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"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.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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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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},
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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.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"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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"id": "freakonomics-radio",
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"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"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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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"here-and-now": {
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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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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"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.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"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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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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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/",
"meta": {
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"source": "npr"
},
"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": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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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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"apple": "http://mastersofscale.app.link/",
"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",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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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",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"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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}
},
"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",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
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