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Widely credited with pioneering lo-fi garage punk in the 1960s, the band’s first San Francisco performance ever comes as part of the stellar \u003ca href=\"http://www.totaltrashfest.com/\">Total Trash Halloween Bash\u003c/a>.\u003c/p>\n\u003cp>Plenty of local bands have big concerts this month too. \u003ca href=\"https://www.facebook.com/weareonehundredpercent\">One Hundred Percent\u003c/a> is celebrating the release of the group’s debut LP, \u003cem>All Teeth and Nails\u003c/em>, arriving this month on local label 20 Sided Records. Meanwhile, SF songwriter \u003ca href=\"https://www.facebook.com/quinndeveauxmusic\">Quinn DeVeaux\u003c/a> is pulling the audacious and exciting move of simultaneously releasing not one, but two new full-length albums this month; one of the new sets is a solo endeavor, while the other finds DeVeaux accompanied by his band, The Blue Beat Review. Finally, one of our favorite SF groups, \u003ca href=\"https://www.facebook.com/SocialStudies101\">Social Studies\u003c/a>, is holding down a Monday residency at the Brick & Mortar Music Hall all month long and inviting a bunch of their favorite local bands to take part in the shows. We’re \u003ca href=\"http://www.brickandmortarmusic.com/event/395559-social-studies-san-francisco/\">excited to present the first show\u003c/a>, on November 4, with Upstairs Downstairs and Tartufi.\u003c/p>\n\u003cp>Enjoy the podcast and then go see some concerts!\u003c/p>\n\u003cp>\u003cu>About the bands:\u003c/u>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/SocialStudies101\">Social Studies\u003c/a> — “Territories”\u003cbr>Appearing at the \u003ca href=\"http://www.brickandmortarmusic.com/\">Brick & Mortar Music Hall\u003c/a> on Mondays in November with numerous local bands.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/killcrocodiles\">Crocodiles\u003c/a> — “I Like It In The Dark”\u003cbr>Performing at \u003ca href=\"http://www.thechapelsf.com/music/\">The Chapel\u003c/a> on November 9; Wymond Miles opens the show.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/The.Original.Sonics\">The Sonics\u003c/a> — “The Witch”\u003cbr>Performing at the \u003ca href=\"http://www.rickshawstop.com/\">Rickshaw Stop\u003c/a> on November 2.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/weareonehundredpercent\">One Hundred Percent\u003c/a> — “Lowbar”\u003cbr>Playing at the \u003ca href=\"http://www.brickandmortarmusic.com/\">Brick & Mortar Music Hall\u003c/a> with Modern Man and The Union Trade on November 9.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/quinndeveauxmusic\">Quinn DeVeaux & The Blue Beat Review\u003c/a> — “Come & Go”\u003cbr>Co-headlining the \u003ca href=\"http://www.slimspresents.com/calendar/?dmonth=11&dyear=2013\">Great American Music Hall\u003c/a> with Con Brio on November 2; Whiskerman opens the show.\u003c/p>\n\u003cp>\u003cspan id=\"more-83392\">\u003c/span>\u003ca href=\"https://www.facebook.com/ElephantStoneHQ\">Elephant Stone\u003c/a> — “Heavy Moon”\u003cbr>With The Besnard Lakes on November 14 at the \u003ca href=\"http://www.brickandmortarmusic.com/\">Brick & Mortar Music Hall\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/magicmagicroses\">Magic Magic Roses\u003c/a> — “Valley”\u003cbr>Supporting Yesway and TaughtMe on November 21 at \u003ca href=\"http://www.bottomofthehill.com/calendar.html#sthash.oiTRIm75.eU4Py7jW.dpbs\">Bottom of the Hill\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/WIRE.pinkflag\">Wire\u003c/a> — “Love Bends”\u003cbr>On November 18, Wire and Chastity Belt come to \u003ca href=\"http://www.slimspresents.com/calendar/?dmonth=11&dyear=2013\">Slim’s\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/pages/Medicine-Band/148976065123004\">Medicine\u003c/a> — “Long As The Sun”\u003cbr>Coming to \u003ca href=\"http://1015.com/\">1015 Folsom\u003c/a> with The Telescopes and LSD and the Search for God on November 7.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/yousgirls\">U.S. Girls\u003c/a> — “Jack”\u003cbr>Coming to the \u003ca href=\"http://www.brickandmortarmusic.com/\">Brick & Mortar Music Hall\u003c/a> with Chasms and Ether Island on November 20.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/JuliannaBarwick\">Julianna Barwick\u003c/a> — “One Half”\u003cbr>Appearing on November 26 at \u003ca href=\"http://www.thechapelsf.com/music/\">The Chapel\u003c/a> with Mark McGuire.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/YassouBenedict\">Yassou Benedict\u003c/a> — “The Cloisters”\u003cbr>Headlining \u003ca href=\"http://www.bottomofthehill.com/calendar.html#sthash.oiTRIm75.eU4Py7jW.dpbs\">Bottom of the Hill\u003c/a> on November 8 with Debbie Neigher and There’s Talk.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/Glassermusic\">Glasser\u003c/a> — “Design”\u003cbr>Playing alongside Julius Smack at \u003ca href=\"http://www.thechapelsf.com/music/\">The Chapel\u003c/a> on November 4.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/Papatheband\">PAPA\u003c/a> — “Put Me To Work”\u003cbr>Panic is Perfect and Bent Shapes support PAPA at \u003ca href=\"http://www.bottomofthehill.com/calendar.html#sthash.oiTRIm75.eU4Py7jW.dpbs\">Bottom of the Hill\u003c/a> on November 22.\u003c/p>\n\n",
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"excerpt": "Listen to the Bay Bridged mix of bands playing the Bay Area this month, including: Wire, Social Studies, Crocodiles, The Sonics, Medicine, and more.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For some reason, November’s concert offerings include a ton of exciting reunions, returns and anniversaries. This mix includes new music from \u003ca href=\"https://www.facebook.com/pages/Medicine-Band/148976065123004\">Medicine\u003c/a>, the shoegaze vets who are now touring behind their first album in 18 years, post-punk luminaries \u003ca href=\"https://www.facebook.com/WIRE.pinkflag\">Wire\u003c/a>, whose \u003cem>Change Becomes Us\u003c/em> finds the band fleshing out ideas first generated three decades ago, and \u003ca href=\"https://www.facebook.com/The.Original.Sonics\">The Sonics\u003c/a>. Widely credited with pioneering lo-fi garage punk in the 1960s, the band’s first San Francisco performance ever comes as part of the stellar \u003ca href=\"http://www.totaltrashfest.com/\">Total Trash Halloween Bash\u003c/a>.\u003c/p>\n\u003cp>Plenty of local bands have big concerts this month too. \u003ca href=\"https://www.facebook.com/weareonehundredpercent\">One Hundred Percent\u003c/a> is celebrating the release of the group’s debut LP, \u003cem>All Teeth and Nails\u003c/em>, arriving this month on local label 20 Sided Records. Meanwhile, SF songwriter \u003ca href=\"https://www.facebook.com/quinndeveauxmusic\">Quinn DeVeaux\u003c/a> is pulling the audacious and exciting move of simultaneously releasing not one, but two new full-length albums this month; one of the new sets is a solo endeavor, while the other finds DeVeaux accompanied by his band, The Blue Beat Review. Finally, one of our favorite SF groups, \u003ca href=\"https://www.facebook.com/SocialStudies101\">Social Studies\u003c/a>, is holding down a Monday residency at the Brick & Mortar Music Hall all month long and inviting a bunch of their favorite local bands to take part in the shows. We’re \u003ca href=\"http://www.brickandmortarmusic.com/event/395559-social-studies-san-francisco/\">excited to present the first show\u003c/a>, on November 4, with Upstairs Downstairs and Tartufi.\u003c/p>\n\u003cp>Enjoy the podcast and then go see some concerts!\u003c/p>\n\u003cp>\u003cu>About the bands:\u003c/u>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/SocialStudies101\">Social Studies\u003c/a> — “Territories”\u003cbr>Appearing at the \u003ca href=\"http://www.brickandmortarmusic.com/\">Brick & Mortar Music Hall\u003c/a> on Mondays in November with numerous local bands.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/killcrocodiles\">Crocodiles\u003c/a> — “I Like It In The Dark”\u003cbr>Performing at \u003ca href=\"http://www.thechapelsf.com/music/\">The Chapel\u003c/a> on November 9; Wymond Miles opens the show.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/The.Original.Sonics\">The Sonics\u003c/a> — “The Witch”\u003cbr>Performing at the \u003ca href=\"http://www.rickshawstop.com/\">Rickshaw Stop\u003c/a> on November 2.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/weareonehundredpercent\">One Hundred Percent\u003c/a> — “Lowbar”\u003cbr>Playing at the \u003ca href=\"http://www.brickandmortarmusic.com/\">Brick & Mortar Music Hall\u003c/a> with Modern Man and The Union Trade on November 9.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/quinndeveauxmusic\">Quinn DeVeaux & The Blue Beat Review\u003c/a> — “Come & Go”\u003cbr>Co-headlining the \u003ca href=\"http://www.slimspresents.com/calendar/?dmonth=11&dyear=2013\">Great American Music Hall\u003c/a> with Con Brio on November 2; Whiskerman opens the show.\u003c/p>\n\u003cp>\u003cspan id=\"more-83392\">\u003c/span>\u003ca href=\"https://www.facebook.com/ElephantStoneHQ\">Elephant Stone\u003c/a> — “Heavy Moon”\u003cbr>With The Besnard Lakes on November 14 at the \u003ca href=\"http://www.brickandmortarmusic.com/\">Brick & Mortar Music Hall\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/magicmagicroses\">Magic Magic Roses\u003c/a> — “Valley”\u003cbr>Supporting Yesway and TaughtMe on November 21 at \u003ca href=\"http://www.bottomofthehill.com/calendar.html#sthash.oiTRIm75.eU4Py7jW.dpbs\">Bottom of the Hill\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/WIRE.pinkflag\">Wire\u003c/a> — “Love Bends”\u003cbr>On November 18, Wire and Chastity Belt come to \u003ca href=\"http://www.slimspresents.com/calendar/?dmonth=11&dyear=2013\">Slim’s\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/pages/Medicine-Band/148976065123004\">Medicine\u003c/a> — “Long As The Sun”\u003cbr>Coming to \u003ca href=\"http://1015.com/\">1015 Folsom\u003c/a> with The Telescopes and LSD and the Search for God on November 7.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/yousgirls\">U.S. Girls\u003c/a> — “Jack”\u003cbr>Coming to the \u003ca href=\"http://www.brickandmortarmusic.com/\">Brick & Mortar Music Hall\u003c/a> with Chasms and Ether Island on November 20.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/JuliannaBarwick\">Julianna Barwick\u003c/a> — “One Half”\u003cbr>Appearing on November 26 at \u003ca href=\"http://www.thechapelsf.com/music/\">The Chapel\u003c/a> with Mark McGuire.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/YassouBenedict\">Yassou Benedict\u003c/a> — “The Cloisters”\u003cbr>Headlining \u003ca href=\"http://www.bottomofthehill.com/calendar.html#sthash.oiTRIm75.eU4Py7jW.dpbs\">Bottom of the Hill\u003c/a> on November 8 with Debbie Neigher and There’s Talk.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/Glassermusic\">Glasser\u003c/a> — “Design”\u003cbr>Playing alongside Julius Smack at \u003ca href=\"http://www.thechapelsf.com/music/\">The Chapel\u003c/a> on November 4.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/Papatheband\">PAPA\u003c/a> — “Put Me To Work”\u003cbr>Panic is Perfect and Bent Shapes support PAPA at \u003ca href=\"http://www.bottomofthehill.com/calendar.html#sthash.oiTRIm75.eU4Py7jW.dpbs\">Bottom of the Hill\u003c/a> on November 22.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "What Lou Reed Taught Me",
"headTitle": "What Lou Reed Taught Me | KQED",
"content": "\u003cp>\u003ca href=\"http://www.npr.org/artists/15286579/lou-reed\" target=\"_blank\" rel=\"noopener\">Lou Reed\u003c/a> was the first rock star to truly mess up my mind. It was the end of the ’70s; I was in high school. With no older siblings and few friends to guide me — my sweet boyfriend was a classical cellist — I was stumbling around trying to educate myself about the foundations of the punk scene I desperately wanted to make my home. I haunted record-store cutout bins because the remaindered albums there, commercial failures, were cheap. I’d buy whatever looked vaguely roughneck (\u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=15394716\" target=\"_blank\" rel=\"noopener\">The Clash\u003c/a> and the scruffy early \u003ca href=\"http://www.npr.org/artists/14837922/bruce-springsteen\" target=\"_blank\" rel=\"noopener\">Springsteen\u003c/a> had revolutionized my life) or theatrical (after \u003ca href=\"http://www.npr.org/artists/15289962/david-bowie\" target=\"_blank\" rel=\"noopener\">Bowie\u003c/a> and \u003ca href=\"http://www.npr.org/artists/15402621/kate-bush\" target=\"_blank\" rel=\"noopener\">Kate Bush\u003c/a> started the wheels turning). One day, I saw a cover shot of Reed, whom I recognized because I had that \u003ca href=\"http://www.npr.org/artists/100863084/the-velvet-underground\" target=\"_blank\" rel=\"noopener\">Velvet Underground\u003c/a> banana album, wearing aviator shades and looking both Hollywood-glamorous and oily. A car’s headlight made a starburst in the plastic that hid his eyes.\u003c/p>\n\u003cp>The album was \u003cem>Street Hassle\u003c/em>, the first solo album that Reed, an acknowledged godfather of punk, made with that movement’s snotty children spitting back at him. Released in 1978, \u003cem>Street Hassle \u003c/em>was a self-corrective — Tom Carson, in his \u003cem>Rolling Stone \u003c/em>\u003ca href=\"http://www.rollingstone.com/music/albumreviews/street-hassle-19780406\" target=\"_blank\" rel=\"noopener\">review\u003c/a>, called it “an admission of failure that becomes a stunning, incandescent triumph,” an antidote to Reed’s post Velvets plunge into all kinds of excess. But the way I heard it, having not yet discovered the melodrama of \u003cem>Berlin \u003c/em>or the glam glory of \u003cem>Transformer\u003c/em> or the mean noise of \u003cem>Metal Machine Music\u003c/em>, was as a corrective to me, the listener. Reed made me realize that, for all of my self-stylings as a rebel in love with noise that stripped away bulls- – -, I didn’t know the first thing about how rock music could provide a certain kind of unsought enlightenment.\u003c/p>\n\u003cp>You might call it moral clarity. Ellen Willis did, writing about the Velvet Underground in her landmark essay on the Velvets, \u003ca href=\"http://www.amazon.com/Stranded-Rock-Roll-Desert-Island/dp/030681532X\" target=\"_blank\" rel=\"noopener\">first published\u003c/a> the same year \u003cem>Street Hassle\u003c/em> came out. Identifying Reed as an “aesthete punk” whose relationship to the urban demimonde he always wrote about was intellectual, stylized and distanced, Willis noticed that because he also really grasped the pain of those shadowed characters he wrote about, he ended up a moralist: a writer primarily concerned with the choices that make up people’s lives, choices to hurt or help others, to be safe or potentially self-destructive, to love or to harden the heart. “The point was not to glorify the punk, or even to say f- – – you to the world, but to be honest about the strategies people adopt in a desperate situation.”\u003c/p>\n\u003cp>Listening to \u003cem>Street Hassle\u003c/em>, with its songs about feelings no one would ever want to admit, with titles like “Dirt” and “Leave Me Alone,” I slowly realized what most of the punk or New Wave rock I loved so much rarely gave me. Clarity! Most music was too earnest, too clever, too deliberately gorgeous or bloody exciting to require what Reed’s demanded, which was that a listener sit with the ugliness of a moment and really grasp the fatal mistakes and collapses that go hand-in-hand with the risks that bring humans to life.\u003c/p>\n\u003cp>Reed’s songs are actually often quite pretty, his pop ear well-tuned by the ’50s rockabilly and doo-wop he loved as a Long Island teenybopper kid. But he would always show the sweat on the lips of the beauty queens and muscle boys he sang about. The fact that those queens were often in drag, and the boys were paying the rent with their erotic encounters, is in some ways secondary. (In another way it’s central, since few other rockers\u003cstrong>\u003c/strong> fleshed out those characters, especially the queer ones, the way Reed did.) Reed was just as willing to explore conventional married life unsparingly, as he did on his turning-40 album \u003cem>The Blue Mask\u003c/em>, the New Wave crossover hit \u003cem>New Sensations\u003c/em> or his late-in-life albums about partnered bliss with his artistic soulmate \u003ca href=\"http://www.npr.org/artists/16525102/laurie-anderson\" target=\"_blank\" rel=\"noopener\">Laurie Anderson\u003c/a>. What matters most in Reed’s music is the commitment to what’s difficult, whether it’s expressed through distorted guitar, lyrics whose exposure of a self or a situation peels deeper with each verse, or the kind of melodic richness that doesn’t comfort but instead renders a song’s singer vividly vulnerable.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Street Hassle’s \u003c/em>\u003ca href=\"http://www.youtube.com/watch?v=bkG9BKgDvNI\" target=\"_blank\" rel=\"noopener\">centerpiece\u003c/a>, now considered one of Reed’s greatest accomplishments, taught me that getting just what I wanted from a song (uplift, for example, or sloppy catharsis) wasn’t always the best thing. “Street Hassle” includes bluntly sexual lines that turned me on, but also made me feel the edge of my own prudery. It explores how one person dehumanizes another and, just a few minutes later, how losing one person can make a person feel real and whole for the first time. It’s a song suite that doesn’t sound at all like punk; it features strings, female back-up singers and Reed definitely crooning. There’s also an \u003ca href=\"http://www.springsteenlyrics.com/lyrics/s/streethassle.php\" target=\"_blank\" rel=\"noopener\">uncredited spoken-word passage by the then-rising Springsteen\u003c/a> that adds in some of that future superstar’s trademark grandiosity, serving as a telling contrast to Reed’s own cooler storytelling. The song’s triptych of scenarios is very Velvets: A probable transvestite picks up a male hooker at a bar; a drug dealer worries about how to get rid of an overdose victim’s body; and, in the last verse, a more anonymous lover laments his man’s departure in naked, needful agony. A lot happens musically around these stories, but every violin stroke, guitar bend and percussive push intensifies the focus on Reed’s core message: that opening up your being — to sex or drugs or just to feeling — is inevitable, dangerous and the main purpose of life.\u003c/p>\n\u003cp>Lou Reed’s music takes in and gives us back the whole picture. \u003ca href=\"http://www.pbs.org/wnet/americanmasters/episodes/lou-reed/about-lou-reed/687/\" target=\"_blank\" rel=\"noopener\">Describing\u003c/a> another one of Reed’s signature works, the Velvet Undergound opus “Heroin,” \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=14867686\" target=\"_blank\" rel=\"noopener\">Patti Smith\u003c/a> once fittingly assessed Reed’s breadth of vision. “‘Heroin,’ to me, is one of our more perfect American songs,” she said, “because it addresses a very conflicting subject that has so many stigmas attached to it. It addresses the deeply painful and destructive elements of it, and also whatever is precious about it, just with Lou’s beautiful, simple, direct language.” Reed himself often explained that he was simply doing what artists in other media do; novelists or filmmakers don’t limit their subject matter. Dedicating himself to rock and roll, though, kept Reed committedly exploring the visceral in ways other artists could avoid. In the funky rhythms he borrowed from early rock ‘n’ roll and especially in the drone and noise that connected him over the years to both minimalist composers like \u003ca href=\"http://en.wikipedia.org/wiki/La_Monte_Young\" target=\"_blank\" rel=\"noopener\">La Monte Young\u003c/a> and hard rockers like Metallica, Reed moved through what felt like confusion toward a sense of grace.\u003c/p>\n\u003cp>Sometimes what Reed moved through was a minefield. He didn’t worry about offending anyone or, preferably sometimes, everyone. \u003cem>Street Hassle\u003c/em>, for example, also contains “I Wanna Be Black,” a proto-rap unspooling of racist stereotypes that makes fun of white hipsters by forcing a deep wallow in ignorance. Plenty of Reed fans find \u003cem>Metal Machine Music, \u003c/em>his 1976 excursion into nothing but guitar feedback, unlistenable. Others feel that way about his theatrical collaborations with Robert Wilson; I myself sat through the time-stopping \u003cem>Timerocker \u003c/em>at the Brooklyn Academy of Music in 1997 and felt every spring in my seat. Even Reed’s most accessible efforts proudly bear painful twists: The gorgeous ballad “\u003ca href=\"http://www.youtube.com/watch?v=NcDuR9BF0Oc\" target=\"_blank\" rel=\"noopener\">Pale Blue Eyes\u003c/a>” turns on a blunt justification of adultery; my favorite of his almost-pop dance numbers, “\u003ca href=\"http://www.youtube.com/watch?v=EIdc0NGumVc\" target=\"_blank\" rel=\"noopener\">Vicious\u003c/a>,” is a lighthearted account of personal repulsion.\u003c/p>\n\u003cp>And then there’s “\u003ca href=\"http://www.youtube.com/watch?v=QYEC4TZsy-Y\" target=\"_blank\" rel=\"noopener\">Perfect Day\u003c/a>,” Lou Reed’s “Hallelujah.” Like \u003ca href=\"http://www.npr.org/artists/15392685/leonard-cohen\" target=\"_blank\" rel=\"noopener\">Leonard Cohen\u003c/a>‘s irreverent secular hymn, this one has been milked for exultation by many interpreters. \u003ca href=\"http://www.npr.org/artists/16256054/duran-duran\" target=\"_blank\" rel=\"noopener\">Duran Duran\u003c/a> covered it; so did the talent show diva \u003ca href=\"http://www.npr.org/artists/121776884/susan-boyle\" target=\"_blank\" rel=\"noopener\">Susan Boyle\u003c/a>. It was featured in \u003cem>Trainspotting\u003c/em> (in a \u003ca href=\"http://www.youtube.com/watch?v=v6uBkJSbQO0\" target=\"_blank\" rel=\"noopener\">scene\u003c/a> that played upon the theory that Reed’s perfect imagined lover is heroin, not a person), got an all-star charity remake in the late ’90s and most recently, formed the basis for a \u003ca href=\"http://www.adweek.com/adfreak/lou-reed-helps-sony-have-perfect-day-playstation-4-153160\" target=\"_blank\" rel=\"noopener\">Sony Playstation\u003c/a> ad. It’s a song that will live on, both enhancing and apart from Reed’s expansive legacy.\u003c/p>\n\u003cp>But, like the essence of Lou Reed, “Perfect Day” is tricky. In the original recording, Mick Ronson’s piano gives Reed’s stately melody a French feel, something like an \u003ca href=\"http://www.npr.org/artists/106547755/edith-piaf\" target=\"_blank\" rel=\"noopener\">Edith Piaf\u003c/a> song. David Bowie’s production adds heft: the thing swells. Reed goes along for the ride. The choruses ring, anthemic, but why is Reed singing about how his ideal lover just keeps him hanging on? At the end of the second verse, Reed’s voice dips and his diction clips. “You made me forget myself,” he nearly whispers. “I thought I was someone else. Someone good.” And the song ends in anger, with Reed muttering, over and over again, “You’re going to reap what you sow.” The soft focus that seemed to dominate the song in its beginning has sharpened. As Lester Bangs, the writer most passionately dedicated to understanding Reed, once \u003ca href=\"http://www.theguardian.com/music/2011/nov/08/lou-reed-lester-bangs-interview\" target=\"_blank\" rel=\"noopener\">wrote\u003c/a>, “If ‘Perfect Day’ is autobiographical, he must be the most guilt-ridden person on the face of the earth.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>See, there’s the whole picture. Happiness intermingled with self-loathing. Freedom all tied up in dependency. Rage bubbling through tenderness. It took discipline to put all of this into a song, a determination to not soften into earnestness or excuse the hard stuff in the name of romance. “The core of Reed’s sensibility is his visceral aversion to corn,” the critic \u003ca href=\"http://www.robertchristgau.com/xg/rock/reed-96.php\" target=\"_blank\" rel=\"noopener\">Robert Christgau\u003c/a> once put it, succinctly. For the last three decades of his life, Lou Reed was a \u003ca href=\"http://www.loureed.com/power/\" target=\"_blank\" rel=\"noopener\">tai chi practitioner\u003c/a>; he learned how to move slowly through uncomfortable positions. All the art he’s left us will continue to help us learn to do that, too. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2013 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\">http://www.npr.org/\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=What+Lou+Reed+Taught+Me&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.npr.org/artists/15286579/lou-reed\" target=\"_blank\" rel=\"noopener\">Lou Reed\u003c/a> was the first rock star to truly mess up my mind. It was the end of the ’70s; I was in high school. With no older siblings and few friends to guide me — my sweet boyfriend was a classical cellist — I was stumbling around trying to educate myself about the foundations of the punk scene I desperately wanted to make my home. I haunted record-store cutout bins because the remaindered albums there, commercial failures, were cheap. I’d buy whatever looked vaguely roughneck (\u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=15394716\" target=\"_blank\" rel=\"noopener\">The Clash\u003c/a> and the scruffy early \u003ca href=\"http://www.npr.org/artists/14837922/bruce-springsteen\" target=\"_blank\" rel=\"noopener\">Springsteen\u003c/a> had revolutionized my life) or theatrical (after \u003ca href=\"http://www.npr.org/artists/15289962/david-bowie\" target=\"_blank\" rel=\"noopener\">Bowie\u003c/a> and \u003ca href=\"http://www.npr.org/artists/15402621/kate-bush\" target=\"_blank\" rel=\"noopener\">Kate Bush\u003c/a> started the wheels turning). One day, I saw a cover shot of Reed, whom I recognized because I had that \u003ca href=\"http://www.npr.org/artists/100863084/the-velvet-underground\" target=\"_blank\" rel=\"noopener\">Velvet Underground\u003c/a> banana album, wearing aviator shades and looking both Hollywood-glamorous and oily. A car’s headlight made a starburst in the plastic that hid his eyes.\u003c/p>\n\u003cp>The album was \u003cem>Street Hassle\u003c/em>, the first solo album that Reed, an acknowledged godfather of punk, made with that movement’s snotty children spitting back at him. Released in 1978, \u003cem>Street Hassle \u003c/em>was a self-corrective — Tom Carson, in his \u003cem>Rolling Stone \u003c/em>\u003ca href=\"http://www.rollingstone.com/music/albumreviews/street-hassle-19780406\" target=\"_blank\" rel=\"noopener\">review\u003c/a>, called it “an admission of failure that becomes a stunning, incandescent triumph,” an antidote to Reed’s post Velvets plunge into all kinds of excess. But the way I heard it, having not yet discovered the melodrama of \u003cem>Berlin \u003c/em>or the glam glory of \u003cem>Transformer\u003c/em> or the mean noise of \u003cem>Metal Machine Music\u003c/em>, was as a corrective to me, the listener. Reed made me realize that, for all of my self-stylings as a rebel in love with noise that stripped away bulls- – -, I didn’t know the first thing about how rock music could provide a certain kind of unsought enlightenment.\u003c/p>\n\u003cp>You might call it moral clarity. Ellen Willis did, writing about the Velvet Underground in her landmark essay on the Velvets, \u003ca href=\"http://www.amazon.com/Stranded-Rock-Roll-Desert-Island/dp/030681532X\" target=\"_blank\" rel=\"noopener\">first published\u003c/a> the same year \u003cem>Street Hassle\u003c/em> came out. Identifying Reed as an “aesthete punk” whose relationship to the urban demimonde he always wrote about was intellectual, stylized and distanced, Willis noticed that because he also really grasped the pain of those shadowed characters he wrote about, he ended up a moralist: a writer primarily concerned with the choices that make up people’s lives, choices to hurt or help others, to be safe or potentially self-destructive, to love or to harden the heart. “The point was not to glorify the punk, or even to say f- – – you to the world, but to be honest about the strategies people adopt in a desperate situation.”\u003c/p>\n\u003cp>Listening to \u003cem>Street Hassle\u003c/em>, with its songs about feelings no one would ever want to admit, with titles like “Dirt” and “Leave Me Alone,” I slowly realized what most of the punk or New Wave rock I loved so much rarely gave me. Clarity! Most music was too earnest, too clever, too deliberately gorgeous or bloody exciting to require what Reed’s demanded, which was that a listener sit with the ugliness of a moment and really grasp the fatal mistakes and collapses that go hand-in-hand with the risks that bring humans to life.\u003c/p>\n\u003cp>Reed’s songs are actually often quite pretty, his pop ear well-tuned by the ’50s rockabilly and doo-wop he loved as a Long Island teenybopper kid. But he would always show the sweat on the lips of the beauty queens and muscle boys he sang about. The fact that those queens were often in drag, and the boys were paying the rent with their erotic encounters, is in some ways secondary. (In another way it’s central, since few other rockers\u003cstrong>\u003c/strong> fleshed out those characters, especially the queer ones, the way Reed did.) Reed was just as willing to explore conventional married life unsparingly, as he did on his turning-40 album \u003cem>The Blue Mask\u003c/em>, the New Wave crossover hit \u003cem>New Sensations\u003c/em> or his late-in-life albums about partnered bliss with his artistic soulmate \u003ca href=\"http://www.npr.org/artists/16525102/laurie-anderson\" target=\"_blank\" rel=\"noopener\">Laurie Anderson\u003c/a>. What matters most in Reed’s music is the commitment to what’s difficult, whether it’s expressed through distorted guitar, lyrics whose exposure of a self or a situation peels deeper with each verse, or the kind of melodic richness that doesn’t comfort but instead renders a song’s singer vividly vulnerable.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Street Hassle’s \u003c/em>\u003ca href=\"http://www.youtube.com/watch?v=bkG9BKgDvNI\" target=\"_blank\" rel=\"noopener\">centerpiece\u003c/a>, now considered one of Reed’s greatest accomplishments, taught me that getting just what I wanted from a song (uplift, for example, or sloppy catharsis) wasn’t always the best thing. “Street Hassle” includes bluntly sexual lines that turned me on, but also made me feel the edge of my own prudery. It explores how one person dehumanizes another and, just a few minutes later, how losing one person can make a person feel real and whole for the first time. It’s a song suite that doesn’t sound at all like punk; it features strings, female back-up singers and Reed definitely crooning. There’s also an \u003ca href=\"http://www.springsteenlyrics.com/lyrics/s/streethassle.php\" target=\"_blank\" rel=\"noopener\">uncredited spoken-word passage by the then-rising Springsteen\u003c/a> that adds in some of that future superstar’s trademark grandiosity, serving as a telling contrast to Reed’s own cooler storytelling. The song’s triptych of scenarios is very Velvets: A probable transvestite picks up a male hooker at a bar; a drug dealer worries about how to get rid of an overdose victim’s body; and, in the last verse, a more anonymous lover laments his man’s departure in naked, needful agony. A lot happens musically around these stories, but every violin stroke, guitar bend and percussive push intensifies the focus on Reed’s core message: that opening up your being — to sex or drugs or just to feeling — is inevitable, dangerous and the main purpose of life.\u003c/p>\n\u003cp>Lou Reed’s music takes in and gives us back the whole picture. \u003ca href=\"http://www.pbs.org/wnet/americanmasters/episodes/lou-reed/about-lou-reed/687/\" target=\"_blank\" rel=\"noopener\">Describing\u003c/a> another one of Reed’s signature works, the Velvet Undergound opus “Heroin,” \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=14867686\" target=\"_blank\" rel=\"noopener\">Patti Smith\u003c/a> once fittingly assessed Reed’s breadth of vision. “‘Heroin,’ to me, is one of our more perfect American songs,” she said, “because it addresses a very conflicting subject that has so many stigmas attached to it. It addresses the deeply painful and destructive elements of it, and also whatever is precious about it, just with Lou’s beautiful, simple, direct language.” Reed himself often explained that he was simply doing what artists in other media do; novelists or filmmakers don’t limit their subject matter. Dedicating himself to rock and roll, though, kept Reed committedly exploring the visceral in ways other artists could avoid. In the funky rhythms he borrowed from early rock ‘n’ roll and especially in the drone and noise that connected him over the years to both minimalist composers like \u003ca href=\"http://en.wikipedia.org/wiki/La_Monte_Young\" target=\"_blank\" rel=\"noopener\">La Monte Young\u003c/a> and hard rockers like Metallica, Reed moved through what felt like confusion toward a sense of grace.\u003c/p>\n\u003cp>Sometimes what Reed moved through was a minefield. He didn’t worry about offending anyone or, preferably sometimes, everyone. \u003cem>Street Hassle\u003c/em>, for example, also contains “I Wanna Be Black,” a proto-rap unspooling of racist stereotypes that makes fun of white hipsters by forcing a deep wallow in ignorance. Plenty of Reed fans find \u003cem>Metal Machine Music, \u003c/em>his 1976 excursion into nothing but guitar feedback, unlistenable. Others feel that way about his theatrical collaborations with Robert Wilson; I myself sat through the time-stopping \u003cem>Timerocker \u003c/em>at the Brooklyn Academy of Music in 1997 and felt every spring in my seat. Even Reed’s most accessible efforts proudly bear painful twists: The gorgeous ballad “\u003ca href=\"http://www.youtube.com/watch?v=NcDuR9BF0Oc\" target=\"_blank\" rel=\"noopener\">Pale Blue Eyes\u003c/a>” turns on a blunt justification of adultery; my favorite of his almost-pop dance numbers, “\u003ca href=\"http://www.youtube.com/watch?v=EIdc0NGumVc\" target=\"_blank\" rel=\"noopener\">Vicious\u003c/a>,” is a lighthearted account of personal repulsion.\u003c/p>\n\u003cp>And then there’s “\u003ca href=\"http://www.youtube.com/watch?v=QYEC4TZsy-Y\" target=\"_blank\" rel=\"noopener\">Perfect Day\u003c/a>,” Lou Reed’s “Hallelujah.” Like \u003ca href=\"http://www.npr.org/artists/15392685/leonard-cohen\" target=\"_blank\" rel=\"noopener\">Leonard Cohen\u003c/a>‘s irreverent secular hymn, this one has been milked for exultation by many interpreters. \u003ca href=\"http://www.npr.org/artists/16256054/duran-duran\" target=\"_blank\" rel=\"noopener\">Duran Duran\u003c/a> covered it; so did the talent show diva \u003ca href=\"http://www.npr.org/artists/121776884/susan-boyle\" target=\"_blank\" rel=\"noopener\">Susan Boyle\u003c/a>. It was featured in \u003cem>Trainspotting\u003c/em> (in a \u003ca href=\"http://www.youtube.com/watch?v=v6uBkJSbQO0\" target=\"_blank\" rel=\"noopener\">scene\u003c/a> that played upon the theory that Reed’s perfect imagined lover is heroin, not a person), got an all-star charity remake in the late ’90s and most recently, formed the basis for a \u003ca href=\"http://www.adweek.com/adfreak/lou-reed-helps-sony-have-perfect-day-playstation-4-153160\" target=\"_blank\" rel=\"noopener\">Sony Playstation\u003c/a> ad. It’s a song that will live on, both enhancing and apart from Reed’s expansive legacy.\u003c/p>\n\u003cp>But, like the essence of Lou Reed, “Perfect Day” is tricky. In the original recording, Mick Ronson’s piano gives Reed’s stately melody a French feel, something like an \u003ca href=\"http://www.npr.org/artists/106547755/edith-piaf\" target=\"_blank\" rel=\"noopener\">Edith Piaf\u003c/a> song. David Bowie’s production adds heft: the thing swells. Reed goes along for the ride. The choruses ring, anthemic, but why is Reed singing about how his ideal lover just keeps him hanging on? At the end of the second verse, Reed’s voice dips and his diction clips. “You made me forget myself,” he nearly whispers. “I thought I was someone else. Someone good.” And the song ends in anger, with Reed muttering, over and over again, “You’re going to reap what you sow.” The soft focus that seemed to dominate the song in its beginning has sharpened. As Lester Bangs, the writer most passionately dedicated to understanding Reed, once \u003ca href=\"http://www.theguardian.com/music/2011/nov/08/lou-reed-lester-bangs-interview\" target=\"_blank\" rel=\"noopener\">wrote\u003c/a>, “If ‘Perfect Day’ is autobiographical, he must be the most guilt-ridden person on the face of the earth.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>See, there’s the whole picture. Happiness intermingled with self-loathing. Freedom all tied up in dependency. Rage bubbling through tenderness. It took discipline to put all of this into a song, a determination to not soften into earnestness or excuse the hard stuff in the name of romance. “The core of Reed’s sensibility is his visceral aversion to corn,” the critic \u003ca href=\"http://www.robertchristgau.com/xg/rock/reed-96.php\" target=\"_blank\" rel=\"noopener\">Robert Christgau\u003c/a> once put it, succinctly. For the last three decades of his life, Lou Reed was a \u003ca href=\"http://www.loureed.com/power/\" target=\"_blank\" rel=\"noopener\">tai chi practitioner\u003c/a>; he learned how to move slowly through uncomfortable positions. All the art he’s left us will continue to help us learn to do that, too. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2013 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\">http://www.npr.org/\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=What+Lou+Reed+Taught+Me&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"headTitle": "Best Songs in Odd Time II | KQED",
"content": "\u003cp>This week we are revisiting that juicy, albeit nerdy, topic of odd time signatures in popular music. Our first podcast on this topic, back in April, demonstrated that we were only scratching the surface. So we’re back now to show off 10 more songs that effectively utilize odd time signatures in rock. Enjoy!\u003c/p>\n\u003cp>\u003cb>Tracklist:\u003c/b>\u003cbr> 1. “5-4=Unity” — Pavement \u003ci>Crooked Rain, Crooked Rain\u003c/i> (5/4)\u003cbr> 2. “15 Step” — Radiohead, \u003ci>In Rainbows\u003c/i> (5/4)\u003cbr> 3. “Moon” — Bjork, \u003ci>Biophilia\u003c/i> (17/8)\u003cbr> 4. “Wuthering Heights” — Kate Bush, \u003ci>The Kick Inside\u003c/i> (Chorus is 4/4, 2/4,3/4)\u003cbr> 5. “Blockhead” — Devo, \u003ci>Duty Now For The Future\u003c/i> (11/8)\u003cbr> 6. “I Say A Little Prayer” — Aretha Franklin, \u003ci>Aretha Now\u003c/i> (10/4 verse, 11/4 chorus)\u003cbr> 7. “Demons” — The National, \u003ci>Trouble Will Find Me\u003c/i> (7/4)\u003cbr> 8. “Cygnus, Vismund Cygnus” — The Mars Volta, \u003ci>Frances The Mute\u003c/i> (3/4, 4/4, 23/8, 16/8… )\u003cbr> 9. “Modern Man” — Arcade Fire, \u003ci>The Suburbs\u003c/i> (9/8)\u003cbr> 10. “Strange Reuninons” — Yeasayer, \u003ci>Odd Blood\u003c/i> (5/4, 6/4, 5/4, 4/4)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>Guitars and drums may make up the core of indie rock, but a considerable number of Bay Area artists also use instruments more traditionally associated with an orchestra than a rock band. Adding strings, horns or woodwinds might seem pretentious to some — and, admittedly, genre names like “chamber rock” and “orchestral pop” probably don’t help that assessment — but when used deftly these instruments can heighten a song’s emotion, add weight to dynamic shifts, and provide layers of texture that generate wonderfully unexpected moments.\u003c/p>\n\u003cp>String and brass instruments are core components of a number of the bands included here, like \u003ca href=\"https://www.facebook.com/thefamilycrest\">The Family Crest\u003c/a>, who recently released an EP on \u003ca href=\"https://www.tenderlovingempire.com/products-page/featured-music/the-family-crest-the-headwinds-ep/\">Tender Loving Empire\u003c/a>, as well as \u003ca href=\"https://www.facebook.com/foxtailsbrigade\">Foxtails Brigade\u003c/a>, and \u003ca href=\"https://www.facebook.com/grayceon\">Grayceon\u003c/a>. Additionaly, Bay Area singer-songwriters like \u003ca href=\"https://www.facebook.com/johnvanderslicemusic\">John Vanderslice\u003c/a> and \u003ca href=\"https://www.facebook.com/ilovedoeeye\">Doe Eye\u003c/a> have access to an ascendant group of classically-trained talents: the \u003ca href=\"http://magikmagik.com\">Magik*Magik Orchestra\u003c/a>.\u003c/p>\n\u003cp>A number of the songs included in this mix feature Magik*Magik contributions; that shouldn’t be a surprise given the group’s prodigious talents, and a resume that includes recording and performing with the likes of Death Cab for Cutie, Radiohead’s Jonny Greenwood, The Dodos and Geographer. After being included on so many other people’s recordings, it’s only appropriate that Magik*Magik have an album of their own; the group’s debut solo effort is coming in 2014. Until then, they’re continuing to add wonderful components to many Bay Area artists’ compositions.\u003c/p>\n\u003cp>Enjoy the mix!\u003c/p>\n\u003cp>Track Listing:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cspan id=\"more-82632\">\u003c/span>\u003ca href=\"https://www.facebook.com/johnvanderslicemusic\">John Vanderslice\u003c/a> — “Harlequin Press”\u003cbr>\u003ca href=\"https://www.facebook.com/foxtailsbrigade\">Foxtails Brigade\u003c/a> — “Little Person”\u003cbr>\u003ca href=\"https://www.facebook.com/thefamilycrest\">The Family Crest\u003c/a> — “Love Don’t Go”\u003cbr>\u003ca href=\"https://www.facebook.com/tidelands.music\">Tidelands\u003c/a> — “Toaster”\u003cbr>\u003ca href=\"https://www.facebook.com/ilovedoeeye\">Doe Eye\u003c/a> — “Oh My God”\u003cbr>\u003ca href=\"https://www.facebook.com/judgementday\">Judgement Day\u003c/a> — “Forest Battle”\u003cbr>\u003ca href=\"https://www.facebook.com/pages/TaughtMe/231174544974\">TaughtMe\u003c/a> — “The Truth (Really?) Every Time”\u003cbr>\u003ca href=\"https://www.facebook.com/DRMStheBand\">DRMS\u003c/a> — “Don’t Want This to Die”\u003cbr>\u003ca href=\"https://www.facebook.com/grayceon\">Grayceon\u003c/a> — “Shellmounds”\u003cbr>\u003ca href=\"https://www.facebook.com/WhiskermanLives\">Whiskerman\u003c/a> — “Blind Saint”\u003cbr>\u003ca href=\"https://www.facebook.com/pages/Kacey-Johansing/280936311745\">Kacey Johansing\u003c/a> — “Grand Ghosts”\u003cbr>\u003ca href=\"https://www.facebook.com/debbieneighermusic\">Debbie Neigher\u003c/a> — “Frames”\u003cbr>\u003ca href=\"https://www.facebook.com/gatcmusic\">Ghost & the City\u003c/a> — “Sweet Footed Betty”\u003c/p>\n\u003cfigure class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2013/10/familycrest360.jpg\" alt=\"The Family Crest by Christopher Howard\" class=\"size-full\">\u003cfigcaption class=\"wp-caption-text\">The Family Crest by Christopher Howard\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"flex-video embed-youtube\">\nhttp://ww2.kqed.org/arts/wp-content/uploads/sites/2/2013/10/familycrest360.jpg\n\u003c/div>\n\n",
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"content": "\u003cp>After three years, one third of the Noise Pop Team, Jaime Nabrynski, is leaving San Francisco and heading to New York to make all her big city dreams come true. She will join us from time to time from the East Coast, but for now we’re sending her off the best way we know how… with a mix of the best songs buzzing around Internet.There are some amazing new tracks from Blood Orange, Bill Calahan, Parquet Courts, Clams Casino and many more.\u003c/p>\n\u003cp>\u003cb>Tracklist:\u003c/b>\u003cbr>1. “Best Friends” — Holychild, single\u003cbr>2. “Chamaky” — Blood Orange, \u003ci>Cupid Deluxe\u003c/i>\u003cbr>3. “Tourniquet” — Jeremy Messersmith, \u003ci>Heart Murmurs\u003c/i>\u003cbr> 4. “You’ve Got Me Wonderin’ Now” — Parquet Courts, \u003ci>Tally Up All The Things That You Broke\u003c/i>\u003cbr> 5. “Edge” — Haim, \u003ci>Days are Gone\u003c/i> (UK Deluxe version)\u003cbr>6. “Small Plane” — Bill Callahan, \u003ci>Dream River\u003c/i>\u003cbr> 7. “Still Not Falling” — Shy Girls, \u003ci>Timeshare\u003c/i>\u003cbr> 8. “Truly Freaking Out” — Tim Kasher, \u003ci>Adult Film\u003c/i>\u003cbr>9. “Super Kiwi” — Yo La Tengo, \u003ci>Fade\u003c/i>\u003cbr> 10. “Crystals” — Clams Casino, \u003ci>Grand Theft Auto V\u003c/i> soundtrack\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>October brings the return of two of our favorite SF festivals: \u003ca href=\"http://www.hardlystrictlybluegrass.com/2013/\">Hardly Strictly Bluegrass\u003c/a> and the \u003ca href=\"http://www.treasureislandfestival.com/2013/\">Treasure Island Music Festival\u003c/a>. Both are local traditions that promise quality music offerings, and while we’re including bands from both in this episode, the whole episode could have been devoted to either festival’s prospective highlights. Beyond those two, and TIMF’s related night shows and pop-up shop parties (like, ahem, the \u003ca href=\"http://www.thebaybridged.com/2013/09/30/announcing-buried-treasure-our-treasure-island-music-festival-pop-up-shop-concert/\">rock and roll bingo party\u003c/a> we are presenting), other local highlights include a record release show for \u003ca href=\"http://www.dragcity.com/artists/mike-donovan\">Mike Donovan\u003c/a>, who has stepped out from Sic Alps to offer his solo debut, \u003cem>Wot\u003c/em>, on Drag City. \u003c/p>\n\u003cp>Other notable concert picks come from as far away as the Netherlands, with Dutch psych-pop artist \u003ca href=\"https://www.facebook.com/jaccogardnermusic\">Jacco Gardner\u003c/a> bringing the kaleidoscopic \u003cem>Cabinet of Curiosities\u003c/em> to The Chapel. Unlike Gardner, the band \u003ca href=\"https://www.facebook.com/overseasband\">Overseas\u003c/a> is a domestic outfit; while the group’s name may not ring a bell, its band members’ names and CVs — David Bazan of Pedro the Lion, Will Johnson of Centro-matic, and Bubba and Matt Kadane of Bedhead and The New Year — likely will.\u003c/p>\n\u003cp>Enjoy the podcast and then go see some concerts!\u003c/p>\n\u003cp>\u003cu>About the bands:\u003c/u>\u003c/p>\n\u003cp>\u003ca href=\"http://www.dragcity.com/artists/mike-donovan\">Mike Donovan\u003c/a> — “New Fieldhand Bop”\u003cbr>Bringing \u003cem>Wot\u003c/em> to the \u003ca href=\"http://www.rickshawstop.com/calendar/\">Rickshaw Stop\u003c/a> on October 11; Tal National, BreakArts, and G. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>October brings the return of two of our favorite SF festivals: \u003ca href=\"http://www.hardlystrictlybluegrass.com/2013/\">Hardly Strictly Bluegrass\u003c/a> and the \u003ca href=\"http://www.treasureislandfestival.com/2013/\">Treasure Island Music Festival\u003c/a>. Both are local traditions that promise quality music offerings, and while we’re including bands from both in this episode, the whole episode could have been devoted to either festival’s prospective highlights. Beyond those two, and TIMF’s related night shows and pop-up shop parties (like, ahem, the \u003ca href=\"http://www.thebaybridged.com/2013/09/30/announcing-buried-treasure-our-treasure-island-music-festival-pop-up-shop-concert/\">rock and roll bingo party\u003c/a> we are presenting), other local highlights include a record release show for \u003ca href=\"http://www.dragcity.com/artists/mike-donovan\">Mike Donovan\u003c/a>, who has stepped out from Sic Alps to offer his solo debut, \u003cem>Wot\u003c/em>, on Drag City. \u003c/p>\n\u003cp>Other notable concert picks come from as far away as the Netherlands, with Dutch psych-pop artist \u003ca href=\"https://www.facebook.com/jaccogardnermusic\">Jacco Gardner\u003c/a> bringing the kaleidoscopic \u003cem>Cabinet of Curiosities\u003c/em> to The Chapel. Unlike Gardner, the band \u003ca href=\"https://www.facebook.com/overseasband\">Overseas\u003c/a> is a domestic outfit; while the group’s name may not ring a bell, its band members’ names and CVs — David Bazan of Pedro the Lion, Will Johnson of Centro-matic, and Bubba and Matt Kadane of Bedhead and The New Year — likely will.\u003c/p>\n\u003cp>Enjoy the podcast and then go see some concerts!\u003c/p>\n\u003cp>\u003cu>About the bands:\u003c/u>\u003c/p>\n\u003cp>\u003ca href=\"http://www.dragcity.com/artists/mike-donovan\">Mike Donovan\u003c/a> — “New Fieldhand Bop”\u003cbr>Bringing \u003cem>Wot\u003c/em> to the \u003ca href=\"http://www.rickshawstop.com/calendar/\">Rickshaw Stop\u003c/a> on October 11; Tal National, BreakArts, and G. Green support.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/tonymolina650\">Tony Molina\u003c/a> — “Don’t Come Back”\u003cbr>Playing at the \u003ca href=\"http://hemlocktavern.com/calendar.php?month=10&year=2013\">Hemlock Tavern\u003c/a> on October 8 and the \u003ca href=\"http://www.dnalounge.com/calendar/2013/10.html\">DNA Lounge\u003c/a> on October 14.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/crystalstiltsofficial\">Crystal Stilts\u003c/a> — “Star Crawl”\u003cbr>Co-headlining with Widowspeak at \u003ca href=\"http://www.thechapelsf.com/music/\">The Chapel\u003c/a>; Pure Bathing Culture opens the October 18 show.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/palmaviolets\">Palma Violets\u003c/a> — “Best of Friends”\u003cbr>Playing at \u003ca href=\"https://www.facebook.com/asucSUPERB\">UC Berkeley\u003c/a> on October 18 and at the \u003ca href=\"http://www.treasureislandfestival.com/2013/\">Treasure Island Music Festival\u003c/a> on October 20.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/jaccogardnermusic\">Jacco Gardner\u003c/a> — “Chameleon”\u003cbr>Supporting Allah-Las on October 5 at \u003ca href=\"http://www.thechapelsf.com/music/\">The Chapel\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/wearetyphoon\">Typhoon\u003c/a> — “Dreams of Cannibalism”\u003cbr>Playing at \u003ca href=\"http://www.theindependentsf.com/\">The Independent\u003c/a> on October 18 with Wild Ones.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/SleepySun\">Sleepy Sun\u003c/a> — “Stivey Pond”\u003cbr>Celebrating the release of a new EP at the \u003ca href=\"http://www.brickandmortarmusic.com/\">Brick & Mortar Music Hall\u003c/a> on October 18 with Dylan Shearer.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/meatmarketbeat\">Meat Market\u003c/a> — “B&E BBQ”\u003cbr>Appearing alongside Fine Steps at \u003ca href=\"http://www.thebaybridged.com/2013/09/30/announcing-buried-treasure-our-treasure-island-music-festival-pop-up-shop-concert/\">The Bay Bridged’s “Buried Treasure” party\u003c/a> at San Franpsycho on October 10.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/hunxandhispunx\">Hunx & His Punx\u003c/a> — “You Think You’re Tough”\u003cbr>Performing at \u003ca href=\"http://www.thechapelsf.com/music/\">The Chapel\u003c/a> with Wet Drag on October 21.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/TheCaveSingers\">The Cave Singers\u003c/a> — “Have to Pretend”\u003cbr>Appearing on October 4 at \u003ca href=\"http://www.hardlystrictlybluegrass.com/2013/\">Hardly Strictly Bluegrass 2013\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://soundcloud.com/dustin-wong\">Dustin Wong\u003c/a> — “The Big She”\u003cbr>Dustin Wong’s tour with The Dodos comes to the \u003ca href=\"http://www.slimspresents.com/calendar/\">Great American Music Hall\u003c/a> on October 16.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/KirinJCallinan\">Kirin J Callinan\u003c/a> — “Embracism”\u003cbr>Joining Seatraffic and All Your Sisters on October 29 at the \u003ca href=\"http://www.rickshawstop.com/calendar/\">Rickshaw Stop\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/overseasband\">Overseas\u003c/a> — “Old Love”\u003cbr>Headlining \u003ca href=\"http://www.bottomofthehill.com/calendar.html#sthash.FxgcOsWC.dpbs\">Bottom of the Hill\u003c/a> on October 14 with Radar Brothers.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Can the Bay Area get any better? With the recent America’s Cup win, last weekend’s closing event to the nation-wide \u003ca href=\"http://stationtostation.com/\">Station to Station\u003c/a> art train tour, Noise Pop’s own upcoming \u003ca href=\"http://treasureislandfestival.com/2013/index.php\">Treasure Island Music Festival\u003c/a>, the voluptuous horror of the \u003ca href=\"http://www.folsomstreetevents.org/\">Folsom Street Fair\u003c/a> — the list goes on — it seems gluttonous to feast on another installment of \u003ca href=\"http://www.hardlystrictlybluegrass.com/2013/\">Hardly Strictly Bluegrass\u003c/a>. Yet, here we are again. The 13th annual FREE country-tinged music festival put on by the late Warren Hellman starts this Friday, October 4 at noon and runs through Sunday evening, October 6, 2013 with (I counted) 80 acts playing in Golden Gate Park.\u003c/p>\n\u003cp>In this episode we celebrate the beloved festival, one of San Francisco’s biggest events, by sampling a scant ten tunes by some of the acts in the 2013 line-up. Alongside the likes of Bonnie Raitt and Richard Thompson, we slip in some artists you may not know as well, but definitely should not miss. Seriously, these riches are embarrassing.\u003c/p>\n\u003cp>\u003cb>Track list:\u003c/b>\u003cbr>1. “Nick of Time” — Bonnie Raitt, \u003ci>Nick of Time\u003c/i>\u003cbr>2. “1952 Vincent Black Lightning” — Richard Thompson, \u003ci>Rumor and Sigh\u003c/i>\u003cbr>3. “The Plank” — Devil Makes Three, \u003ci>Devil Makes Three\u003c/i>\u003cbr>4. “Victory” — Trampled By Turtles, \u003ci>Palomino\u003c/i>\u003cbr>5. “Into the Wild” — LP, \u003ci>Into the Wild\u003c/i>\u003cbr>6. “Wolf ” — First Aid Kit, \u003ci>The Lion’s Roar\u003c/i>\u003cbr>7. “Let it go” — Tumbleweed Wanderers, \u003ci>Worn Down Welcome\u003c/i>\u003cbr>8. “Beach House” — Cave Singers, \u003ci>Welcome Joy\u003c/i>\u003cbr>9. “Tell Me (What’s On Your Mind)” — Allah-Las, \u003ci>Allah-Las\u003c/i>\u003cbr>10. “Cold Beverages” — G. Love & Special Sauce, \u003ci>G. Love & Special Sauce\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Can the Bay Area get any better? With the recent America’s Cup win, last weekend’s closing event to the nation-wide \u003ca href=\"http://stationtostation.com/\">Station to Station\u003c/a> art train tour, Noise Pop’s own upcoming \u003ca href=\"http://treasureislandfestival.com/2013/index.php\">Treasure Island Music Festival\u003c/a>, the voluptuous horror of the \u003ca href=\"http://www.folsomstreetevents.org/\">Folsom Street Fair\u003c/a> — the list goes on — it seems gluttonous to feast on another installment of \u003ca href=\"http://www.hardlystrictlybluegrass.com/2013/\">Hardly Strictly Bluegrass\u003c/a>. Yet, here we are again. The 13th annual FREE country-tinged music festival put on by the late Warren Hellman starts this Friday, October 4 at noon and runs through Sunday evening, October 6, 2013 with (I counted) 80 acts playing in Golden Gate Park.\u003c/p>\n\u003cp>In this episode we celebrate the beloved festival, one of San Francisco’s biggest events, by sampling a scant ten tunes by some of the acts in the 2013 line-up. Alongside the likes of Bonnie Raitt and Richard Thompson, we slip in some artists you may not know as well, but definitely should not miss. Seriously, these riches are embarrassing.\u003c/p>\n\u003cp>\u003cb>Track list:\u003c/b>\u003cbr>1. “Nick of Time” — Bonnie Raitt, \u003ci>Nick of Time\u003c/i>\u003cbr>2. “1952 Vincent Black Lightning” — Richard Thompson, \u003ci>Rumor and Sigh\u003c/i>\u003cbr>3. “The Plank” — Devil Makes Three, \u003ci>Devil Makes Three\u003c/i>\u003cbr>4. “Victory” — Trampled By Turtles, \u003ci>Palomino\u003c/i>\u003cbr>5. “Into the Wild” — LP, \u003ci>Into the Wild\u003c/i>\u003cbr>6. “Wolf ” — First Aid Kit, \u003ci>The Lion’s Roar\u003c/i>\u003cbr>7. “Let it go” — Tumbleweed Wanderers, \u003ci>Worn Down Welcome\u003c/i>\u003cbr>8. “Beach House” — Cave Singers, \u003ci>Welcome Joy\u003c/i>\u003cbr>9. “Tell Me (What’s On Your Mind)” — Allah-Las, \u003ci>Allah-Las\u003c/i>\u003cbr>10. “Cold Beverages” — G. Love & Special Sauce, \u003ci>G. Love & Special Sauce\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>As we’ve \u003ca href=\"http://www.thebaybridged.com/2010/10/26/a-bay-area-electronic-pop-mixtape-featuring-blackbird-blackbird-electric-sunset-ooooo-and-more-podcast-235/\">documented on the podcast before\u003c/a>, the Bay Area has hosted a vibrant scene of electronic music producers for years. But while we’ve primarily focused our coverage on electronic music’s pop side, SF is also home to a variety of innovative, compelling house and techno producers.\u003c/p>\n\u003cp>In addition to the large crop of talented artists, there are significant event producers like \u003ca href=\"https://www.facebook.com/pushthefeeling\">Push the Feeling\u003c/a>, the influential monthly that has hosted (and, indeed, drawn our attention to) many of the artists in this mix, as well as the longstanding \u003ca href=\"https://www.facebook.com/iceehot\">Icee Hot\u003c/a> and newer arrivals like Haçeteria. And if we’re talking about the ecosystem supporting local electronic artists, special mention must be made of \u003ca href=\"http://www.xlr8r.com/\">XLR8R\u003c/a>, which displays a continued commitment to featuring local talent while documenting the best of cutting-edge electronica worldwide.\u003c/p>\n\u003cp>This mixtape showcases eleven local electronic artists, with a special emphasis on music-makers serving up house-influenced sounds. Listening to the mix, it’s difficult to avoid the feeling that we’re in an exciting time for dance music in the Bay Area.\u003c/p>\n\u003cp>Enjoy the mix!\u003c/p>\n\u003cp>\u003cu>\u003cstrong>Track Listing:\u003c/strong>\u003c/u>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/plazasf\">Plaza\u003c/a> — “Fish Water”\u003cbr>\u003ca href=\"https://soundcloud.com/naturalcurves\">Natural Curves\u003c/a> — “Can’t Stand It”\u003cbr>\u003ca href=\"https://www.facebook.com/matrixxman\">Matrixxman\u003c/a> — “A Witness”\u003cbr>\u003ca href=\"https://soundcloud.com/glenn-jackson\">Glenn Jackson\u003c/a> — “Save (Coyote Clean Up Remix)”\u003cbr>\u003ca href=\"http://beatbroker.net/\">The Beat Broker\u003c/a> — “Beat to the Street”\u003cbr>\u003ca href=\"https://www.facebook.com/REDREDRED000\">REDREDRED\u003c/a> — “Lucid Moving Circles”\u003cbr>\u003ca href=\"https://www.facebook.com/VinSol\">Vin Sol\u003c/a> — “Atlantic Ave.”\u003cbr>\u003ca href=\"https://www.facebook.com/PBDOAK\">Pale Blue Dot\u003c/a> — “Voyage”\u003cbr>\u003ca href=\"https://www.facebook.com/pages/devonwho/112689878205\">Devonwho\u003c/a> — “pretendingtowalkslow (ft. Zeroh)”\u003cbr>\u003ca href=\"https://soundcloud.com/rochesolos\">Roche\u003c/a> — “A Night At The Hac”\u003cbr>\u003ca href=\"https://soundcloud.com/chautauqua-1\">Chautauqua\u003c/a> — “Tsu Tse”\u003c/p>\n\n",
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"content": "\u003cp>Before the Brave is the Bay Area’s answer to Mumford and Sons and The Head and The Heart. Jason Perry Stevens, the visionary behind the band, sat down with me over a watermelon habanero margarita one “warm” summer evening in San Francisco to discuss “Free,” the band’s new single, the group’s trajectory, and whether or not pizza is a breakfast food. (Stevens thinks it is, if it’s cold.)\u003c/p>\n\u003cp>It’s impossible to leave a Before the Brave show without a smile plastered across your face. To say Stevens sings his heart out is an understatement. His raspy vocals emphasize the emotive lyrics at all the right moments. The band swells and dips creating arcs not just in each song but also throughout the set. Stevens has a hands-off approach when it comes to songwriting with the band, inviting members to bring their talents to the table to create the most positive outcome for a song. When I asked him about the writing process and how it affects the live show he answered, “I don’t necessarily want you to think intellectually about what the song is saying, I just want you to feel something.”\u003c/p>\n\u003cp>There is a subtle spiritual message to the music, however. More and more indie bands are popping on to the circuit who are not labeled as such, but are part of a subversive movement speaking openly about their spiritual beliefs. \u003ca href=\"http://www.youtube.com/watch?v=40eP9Wsfphg\">Ivan and Alyosha\u003c/a> and the aforementioned \u003ca href=\"http://www.theheadandtheheart.com/\">The Head and the Heart\u003c/a> are two great West Coast examples. I speculated about this aspect to Before the Brave and Stevens gave me his take on being careful not to pigeonhole the band with a certain message, “I’m saying this is how I see the world and you don’t have to accept it, but I’m going to write from what my experience is and how I interpret the world. That’s not the purpose of the band, we’re not trying to reach people in that way necessarily.” It’s a fair point that everyone struggles, regardless of their belief system.\u003c/p>\n\u003cp>Before the Brave’s new single, “Free” speaks to this theme in a simple way. Stevens outlined the meaning behind the song, “In our lives we deal a lot with disappointment and not necessarily from others but from ourselves. I deal with so much depression because I’m not good enough or I do dumb things a lot, and this song is just about wanting to be free from all of that. I know that there’s a hope for me that I’m going to be free from that struggle some day.”\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" width=\"480\" height=\"270\" src=\"//www.youtube.com/embed/X-XNk3Gu384\" frameborder=\"0\" allowfullscreen>\u003c/iframe>\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>The majority of the band is from the West Coast and it’s gratifying to hear such enthusiastic music as part of the San Francisco music scene. Beth Garber the female vocalist is also the voice behind You’re the Queen Cosset. Kyle Redmond Tesse, who plays drums, is a founding member (with Stevens) of the band, and Josh Ruff plays bass. This past winter they shared a stage with \u003ca href=\"http://www.youtube.com/watch?v=NjzKkyQoe1U\">Thao and the Get Down Stay Down\u003c/a> at Great American Music Hall during Noise Pop Music Fest. The dark and intimate setting of Thee Parkside will undoubtedly be a great place to get roused by the band’s lively set. Stevens reiterated something simple but wise when speaking about the content of the music, “I am who I am and I’m not going to be ashamed of that.” A healthy reminder that it’s always OK to rock out and be happy, which in and of itself is a freeing feeling.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Before the Brave plays Thee Parkside TODAY, Sunday, September 15, 2013. For \u003ca href=\"http://www.theeparkside.com/\">more information\u003c/a>, visit theeparkside.com.\u003c/p>\n\n",
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"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. ",
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"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.",
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"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>",
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"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?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
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