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"content": "\u003cp>Near the corner of Broadway and Columbus, in the heart of San Francisco’s North Beach neighborhood, a storefront beckons passers-by with signage that suggests good times for all. “Jazz at Pearl’s,” blares the awning at 256 Columbus Avenue, where an outside wall has the same big lettering. Below the lettering, though, are stickers with graffiti, and a bigger sign that tells the bitter truth: “For Lease.” If there’s a poetic symbol of the up-and-down state of jazz in San Francisco, it’s 256 Columbus Avenue.\u003c/p>\n\u003cp>When Jazz at Pearl’s was going strong, as it was a decade ago, jazz aficionados crowded into the space to hear the likes of singer Madeline Eastman and percussionist extraordinaire Pete Escovedo. Those days, anyone walking by 256 Columbus Avenue could hear and see the music, too, because the Jazz at Pearl’s stage was right by the window. It was San Francisco at its best — a public spectacle of an art form that has always had deep roots here. \u003c/p>\n\u003cp>These days, San Francisco’s jazz scene is centered in Hayes Valley, at 205 Franklin Street, where SFJAZZ has its new $63 million super structure — a 35,000-square-foot Shangri-La that opened last month and has everything from a 700-seat concert hall to state-of-the-art café run by Charles Phan (of Slanted Door fame).\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2013/02/pearls.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2013/02/pearls.jpg\" alt=\"pearls\" width=\"500\" height=\"375\" class=\"aligncenter size-full wp-image-128769\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2013/02/pearls.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2013/02/pearls-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2013/02/pearls-300x225.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003c/p>\n\u003cp>The contrast between the gleaming SFJAZZ Center and the graffitied former home of Jazz at Pearl’s is emblematic of the state of jazz in San Francisco. Because of the changing economy — fueled by booming housing prices, booming rents, and booming tech money — San Francisco is becoming a city of economic haves and have-nots. Running a jazz club can be highly expensive. A city that, in its jazz heyday, was festooned with small jazz clubs is down to a handful of clubs facing an uncertain future. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Small jazz clubs cannot survive in this day and age,” says Pascal Bokar Thiam, a prominent jazz guitarist and academic who co-owns Savanna Jazz, a Mission District jazz club that opened in 2003. “San Francisco used to be a Mecca for jazz. But the art form doesn’t necessarily die because small jazz clubs cannot survive. In the context of San Francisco, what SFJAZZ is doing is important because it puts front and center the reality that America has an art form of its own. And that art form expresses the highest standards of aesthetics that humanity has been able to make. By cultivating this, SFJAZZ is doing something extremely important to the general health of jazz.”\u003c/p>\n\u003cp>But jazz elders are now debating whether there’s a substantial audience for jazz in San Francisco beyond the confines of SFJAZZ’s programming. Sonny Buxton, a deejay at Bay Area radio jazz station KCSM who was the musical director of Jazz at Pearl’s before its 2003 closing, says an increase in college jazz programs around the country has helped produce a new generation of jazz-goers steeped in the music’s history.\u003c/p>\n\u003cp>“There’s a new, upcoming jazz audience that’s young and vibrant,” Buxton says. “They’re into jazz and world music and a lot of different things. One thing today that wasn’t in existence when I was coming up is that virtually every college and university in the country today has a jazz program. That means a lot of young people are being exposed to it.”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2013/02/sfjazz2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2013/02/sfjazz2.jpg\" alt=\"sfjazz2\" width=\"500\" height=\"333\" class=\"aligncenter size-full wp-image-128771\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2013/02/sfjazz2.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2013/02/sfjazz2-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2013/02/sfjazz2-300x199.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003c/p>\n\u003cp>The decrease of San Francisco jazz clubs in the past 20 years may be due more to real-estate economics than a leveling-off of jazz audiences. Jazz at Pearl’s shut down in 2003 when the building’s owner declined to give the club more than a five-year lease. (A new Jazz at Pearl’s opened in the same location but closed its doors in 2008 over similar lease issues.) Savanna Jazz faced foreclosure when a bank refused to negotiate new terms. Facing a possible bankruptcy, Yoshi’s San Francisco is trying to redo the terms of loans it received from the now-defunct San Francisco Redevelopment Agency. \u003c/p>\n\u003cp>Will audiences support these venues at their most vulnerable economic times? Thiam says the audience for jazz is limited because jazz and music education have disappeared at the grade school, middle school, and high school levels. San Francisco’s jazz scene, he says, reflects a nationwide trend: among younger audiences, jazz is losing out to hip-hop, rap, pop, and other music. Young black students have even told Thiam that they consider jazz a “white music” that has little relevance to their lives. \u003c/p>\n\u003cp>“Jazz is not profitable, primarily because there is no audience for it — it’s an art form that isn’t taught in schools,” says Thiam, whose club is located on Mission Street between 25th and 26th Streets. “Schools teach Mozart and Beethoven, but Mozart and Beethoven are the products and the geniuses of Europe. In America, we have our geniuses that created an art form that’s performed all over the planet. Singapore has a jazz festival. Turkey has a jazz festival. Denmark has a jazz festival. And these geniuses are called King Oliver, Louis Armstrong, Duke Ellington, and so forth. Because our student population as early as elementary school is not knowledgeable about people who created an art form that lifted this nation to the status of a cultural superpower, we have this vacuum. There is no energy for young people to go to jazz clubs — not because they don’t like jazz; it’s simply because they don’t know anything about jazz. This is an area where culture has impacted business. And as a result, business by dwindling impacts the culture.”\u003c/p>\n\u003cp>The Danish government, Thiam says, gives financial support to the country’s jazz clubs — upwards of $125,000 a year to each club, “so they can operate a higher-standard learning environment.” While the U.S. government may not have a similar approach, moneyed institutions like SFJAZZ should consider supporting small jazz clubs, which are incubators of upcoming jazz musicians and singers, says Thiam and Franzo King, the saxophone-playing Archbishop at Saint John Coltrane African Orthodox Church on Fillmore Street. The San Francisco church, which some jazz fans consider a de facto jazz club, was evicted from its longtime home on Divisadero Street in 2000 because of a massive rent increase. \u003c/p>\n\u003cp>King views the opening of SFJAZZ’s new center with decidedly mixed feelings, saying its new location in a gentrified neighborhood anchors San Francisco’s jazz scene away from the African-American community that historically supported jazz in the city. Popular jazz in San Francisco, King worries, may become an art form performed in a symphony-like environment where audiences are snazzily dressed and discouraged from being vocal during performances. “SFJAZZ moved out of the community where it was born,” King says.\u003c/p>\n\u003cp>After opening its doors last month, SFJAZZ has had a series of sold-out performances, and is well on its way to raising all necessary funding. So far, donors have contributed $54.9 million, with nine donors giving $1 million or more. One anonymous contribution totaled $25 million. “The SFJAZZ Center believes that rising water raises all ships,” says SFJAZZ spokesperson Marshall Lamm. “We hope the Center can generate more exposure for the genre that will then increase the interest in jazz so more people go out to experience live music in every venue.”\u003c/p>\n\u003cp>Thiam is taking a wait-and-see approach. In the meantime, Savanna Jazz is negotiating new loan terms with its bank, says Thiam, who is hopeful the jazz club, with its nightly jazz and its prominent display of jazz memorabilia, will be around for the foreseeable future. “We’ll be here,” Thiam says in his office on a recent Saturday night, “as long as the spirit of Louis Armstrong says we’re going to be here.”\u003c/p>\n\u003cp>As Thiam spoke, the Montreal-based jazz singer Jeri Brown and her trio of top-flight musicians performed another song for an enthusiastic audience of 30. That number may seem small, but even famous jazz clubs like the Village Vanguard in New York get crowds that are similar in number. The night I visited Savanna Jazz, one audience member moved her hands to the rhythm of Brown’s beats, as if the woman were on stage with Brown and her trio. The woman seemed to be in a trance, and her seat was practically shaking with feeling. Nearby, other audience members were also riveted, even if they were less demonstrative.\u003c/p>\n\u003cp>On that night, jazz was alive and well at a small club in San Francisco — just like it was in the old days when John Coltrane, Miles Davis, and other big names would visit San Francisco and perform in venues that were not much bigger than a studio apartment. Jazz spots like Savanna Jazz helped forge the cultural environment that led to SFJAZZ in the first place. A venue like Savanna Jazz is the only place to see an artist like Jeri Brown, who’s highly considered in jazz circles (and a new favorite of mine) but not yet so popular she could sell out SFJAZZ’s concert hall.\u003c/p>\n\u003cp>“Small jazz venues are the incubators of local talent,” says Thiam. “In order for this art form to survive, small jazz clubs have to be able to survive. It’s very important for big entities like SFJAZZ and Lincoln Center in New York to realize that there has to be a partnership with small jazz venues. If that becomes a commitment — if the big outfits that have the financial endowment hold hands with small jazz venues — then only then will the tide lift all boats.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>For \u003ca href=\"http://www.sfjazz.org/\">more information\u003c/a> on the programming at SFJAZZ, visit sfjazz.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Near the corner of Broadway and Columbus, in the heart of San Francisco’s North Beach neighborhood, a storefront beckons passers-by with signage that suggests good times for all. “Jazz at Pearl’s,” blares the awning at 256 Columbus Avenue, where an outside wall has the same big lettering. Below the lettering, though, are stickers with graffiti, and a bigger sign that tells the bitter truth: “For Lease.” If there’s a poetic symbol of the up-and-down state of jazz in San Francisco, it’s 256 Columbus Avenue.\u003c/p>\n\u003cp>When Jazz at Pearl’s was going strong, as it was a decade ago, jazz aficionados crowded into the space to hear the likes of singer Madeline Eastman and percussionist extraordinaire Pete Escovedo. Those days, anyone walking by 256 Columbus Avenue could hear and see the music, too, because the Jazz at Pearl’s stage was right by the window. It was San Francisco at its best — a public spectacle of an art form that has always had deep roots here. \u003c/p>\n\u003cp>These days, San Francisco’s jazz scene is centered in Hayes Valley, at 205 Franklin Street, where SFJAZZ has its new $63 million super structure — a 35,000-square-foot Shangri-La that opened last month and has everything from a 700-seat concert hall to state-of-the-art café run by Charles Phan (of Slanted Door fame).\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2013/02/pearls.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2013/02/pearls.jpg\" alt=\"pearls\" width=\"500\" height=\"375\" class=\"aligncenter size-full wp-image-128769\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2013/02/pearls.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2013/02/pearls-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2013/02/pearls-300x225.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003c/p>\n\u003cp>The contrast between the gleaming SFJAZZ Center and the graffitied former home of Jazz at Pearl’s is emblematic of the state of jazz in San Francisco. Because of the changing economy — fueled by booming housing prices, booming rents, and booming tech money — San Francisco is becoming a city of economic haves and have-nots. Running a jazz club can be highly expensive. A city that, in its jazz heyday, was festooned with small jazz clubs is down to a handful of clubs facing an uncertain future. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Small jazz clubs cannot survive in this day and age,” says Pascal Bokar Thiam, a prominent jazz guitarist and academic who co-owns Savanna Jazz, a Mission District jazz club that opened in 2003. “San Francisco used to be a Mecca for jazz. But the art form doesn’t necessarily die because small jazz clubs cannot survive. In the context of San Francisco, what SFJAZZ is doing is important because it puts front and center the reality that America has an art form of its own. And that art form expresses the highest standards of aesthetics that humanity has been able to make. By cultivating this, SFJAZZ is doing something extremely important to the general health of jazz.”\u003c/p>\n\u003cp>But jazz elders are now debating whether there’s a substantial audience for jazz in San Francisco beyond the confines of SFJAZZ’s programming. Sonny Buxton, a deejay at Bay Area radio jazz station KCSM who was the musical director of Jazz at Pearl’s before its 2003 closing, says an increase in college jazz programs around the country has helped produce a new generation of jazz-goers steeped in the music’s history.\u003c/p>\n\u003cp>“There’s a new, upcoming jazz audience that’s young and vibrant,” Buxton says. “They’re into jazz and world music and a lot of different things. One thing today that wasn’t in existence when I was coming up is that virtually every college and university in the country today has a jazz program. That means a lot of young people are being exposed to it.”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2013/02/sfjazz2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2013/02/sfjazz2.jpg\" alt=\"sfjazz2\" width=\"500\" height=\"333\" class=\"aligncenter size-full wp-image-128771\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2013/02/sfjazz2.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2013/02/sfjazz2-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2013/02/sfjazz2-300x199.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003c/p>\n\u003cp>The decrease of San Francisco jazz clubs in the past 20 years may be due more to real-estate economics than a leveling-off of jazz audiences. Jazz at Pearl’s shut down in 2003 when the building’s owner declined to give the club more than a five-year lease. (A new Jazz at Pearl’s opened in the same location but closed its doors in 2008 over similar lease issues.) Savanna Jazz faced foreclosure when a bank refused to negotiate new terms. Facing a possible bankruptcy, Yoshi’s San Francisco is trying to redo the terms of loans it received from the now-defunct San Francisco Redevelopment Agency. \u003c/p>\n\u003cp>Will audiences support these venues at their most vulnerable economic times? Thiam says the audience for jazz is limited because jazz and music education have disappeared at the grade school, middle school, and high school levels. San Francisco’s jazz scene, he says, reflects a nationwide trend: among younger audiences, jazz is losing out to hip-hop, rap, pop, and other music. Young black students have even told Thiam that they consider jazz a “white music” that has little relevance to their lives. \u003c/p>\n\u003cp>“Jazz is not profitable, primarily because there is no audience for it — it’s an art form that isn’t taught in schools,” says Thiam, whose club is located on Mission Street between 25th and 26th Streets. “Schools teach Mozart and Beethoven, but Mozart and Beethoven are the products and the geniuses of Europe. In America, we have our geniuses that created an art form that’s performed all over the planet. Singapore has a jazz festival. Turkey has a jazz festival. Denmark has a jazz festival. And these geniuses are called King Oliver, Louis Armstrong, Duke Ellington, and so forth. Because our student population as early as elementary school is not knowledgeable about people who created an art form that lifted this nation to the status of a cultural superpower, we have this vacuum. There is no energy for young people to go to jazz clubs — not because they don’t like jazz; it’s simply because they don’t know anything about jazz. This is an area where culture has impacted business. And as a result, business by dwindling impacts the culture.”\u003c/p>\n\u003cp>The Danish government, Thiam says, gives financial support to the country’s jazz clubs — upwards of $125,000 a year to each club, “so they can operate a higher-standard learning environment.” While the U.S. government may not have a similar approach, moneyed institutions like SFJAZZ should consider supporting small jazz clubs, which are incubators of upcoming jazz musicians and singers, says Thiam and Franzo King, the saxophone-playing Archbishop at Saint John Coltrane African Orthodox Church on Fillmore Street. The San Francisco church, which some jazz fans consider a de facto jazz club, was evicted from its longtime home on Divisadero Street in 2000 because of a massive rent increase. \u003c/p>\n\u003cp>King views the opening of SFJAZZ’s new center with decidedly mixed feelings, saying its new location in a gentrified neighborhood anchors San Francisco’s jazz scene away from the African-American community that historically supported jazz in the city. Popular jazz in San Francisco, King worries, may become an art form performed in a symphony-like environment where audiences are snazzily dressed and discouraged from being vocal during performances. “SFJAZZ moved out of the community where it was born,” King says.\u003c/p>\n\u003cp>After opening its doors last month, SFJAZZ has had a series of sold-out performances, and is well on its way to raising all necessary funding. So far, donors have contributed $54.9 million, with nine donors giving $1 million or more. One anonymous contribution totaled $25 million. “The SFJAZZ Center believes that rising water raises all ships,” says SFJAZZ spokesperson Marshall Lamm. “We hope the Center can generate more exposure for the genre that will then increase the interest in jazz so more people go out to experience live music in every venue.”\u003c/p>\n\u003cp>Thiam is taking a wait-and-see approach. In the meantime, Savanna Jazz is negotiating new loan terms with its bank, says Thiam, who is hopeful the jazz club, with its nightly jazz and its prominent display of jazz memorabilia, will be around for the foreseeable future. “We’ll be here,” Thiam says in his office on a recent Saturday night, “as long as the spirit of Louis Armstrong says we’re going to be here.”\u003c/p>\n\u003cp>As Thiam spoke, the Montreal-based jazz singer Jeri Brown and her trio of top-flight musicians performed another song for an enthusiastic audience of 30. That number may seem small, but even famous jazz clubs like the Village Vanguard in New York get crowds that are similar in number. The night I visited Savanna Jazz, one audience member moved her hands to the rhythm of Brown’s beats, as if the woman were on stage with Brown and her trio. The woman seemed to be in a trance, and her seat was practically shaking with feeling. Nearby, other audience members were also riveted, even if they were less demonstrative.\u003c/p>\n\u003cp>On that night, jazz was alive and well at a small club in San Francisco — just like it was in the old days when John Coltrane, Miles Davis, and other big names would visit San Francisco and perform in venues that were not much bigger than a studio apartment. Jazz spots like Savanna Jazz helped forge the cultural environment that led to SFJAZZ in the first place. A venue like Savanna Jazz is the only place to see an artist like Jeri Brown, who’s highly considered in jazz circles (and a new favorite of mine) but not yet so popular she could sell out SFJAZZ’s concert hall.\u003c/p>\n\u003cp>“Small jazz venues are the incubators of local talent,” says Thiam. “In order for this art form to survive, small jazz clubs have to be able to survive. It’s very important for big entities like SFJAZZ and Lincoln Center in New York to realize that there has to be a partnership with small jazz venues. If that becomes a commitment — if the big outfits that have the financial endowment hold hands with small jazz venues — then only then will the tide lift all boats.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For \u003ca href=\"http://www.sfjazz.org/\">more information\u003c/a> on the programming at SFJAZZ, visit sfjazz.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A tall blonde and an even taller redhead walk into a music venue. Hilarity ensues. Or, more likely, they hear exciting new music, take assiduous notes amid jostling concert-goers, and block some views of the stage with their tall, tall heads. The fruit of their labors (life is really hard when you have a press pass) is all for you: a full report on Noise Pop 2013. For six straight days, Amanda Roscoe Mayo and Sarah Hotchkiss will interview bands, traverse the city’s venues, and capture photos of the action — it’s a tough job, but someone’s gotta do it.\u003c/p>\n\u003cp>With so many good bands playing across San Francisco this year, double-bookings abound. While we can’t cover everything (even in tandem), we’ve made a schedule we’re actually going to try really hard to follow. Keep an eye out for us at the shows and an eye on KQED Arts for all the juicy post-show recaps. Maybe buy us an energy drink or two?\u003c/p>\n\u003cp>\u003cu>\u003cb>TUESDAY: February 26\u003c/b>\u003c/u>\u003c/p>\n\u003cp>\u003cb>Body/Head (featuring Kim Gordon of Sonic Youth and Bill Nace), Horsebladder, Burmese, Noel Von Harmonson\u003c/b>\u003cbr>Rickshaw Stop, doors 8:00 p.m.\u003cbr>\u003cb>Amanda:\u003c/b> Kim Gordon and Bill Nace have created a wondrous little band known as Body/Head. Noise Pop nails it: “both revolutionaries in their own right, Gordon and Nace combine with blustering effect, intimately communicating through distorted guitars and momentary vocals outbursts.” I can’t imagine a more thunderous way to kick off this festival.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/02/21/bodyhead.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Body/Head\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cu>\u003cb>WEDNESDAY: February 27\u003c/b>\u003c/u>\u003c/p>\n\u003cp>\u003cb>\u003ci>Turning\u003c/i>, a music documentary featuring Antony & the Johnsons\u003c/b>\u003cbr>The Roxie, 7:00 p.m.\u003cbr>\u003cb>Amanda:\u003c/b> I’m looking forward to this documentary on Antony & the Johnsons. I love love \u003ci>love\u003c/i> documentaries about musicians and Antony is one of the most prolific figures in contemporary music. He is a transgendered individual who grew up in San Francisco and turns his musical endeavors into art, crafting a stage experience unlike anything you would normally find at a concert.\u003c/p>\n\u003cp>\u003cb>The Fresh & Onlys, R. Stevie Moore, Burnt Ones\u003c/b>\u003cbr>Bottom of the Hill, doors 8:00 p.m.\u003cbr>\u003cb>Sarah:\u003c/b> Let me just start by saying Amanda is the true music critic here. Lining up our picks for this year’s festival, she said things like, “Oh they should be great” or “We don’t want to miss them.” I nodded a lot. So when she gave an enthusiastic thumbs up to The Fresh & Onlys, I knew I’d be in good hands. And while I’m psyched to see this prolific local outfit wave some garage-rock washed-out guitars in my face, I’m even more intrigued by R. Stevie Moore. According to his Noise Pop promo paragraph, “Moore has to date released more than 400 cassettes and CDRs through his home label… Fans of lo-fi progenitors [that’s me!] like Daniel Johnston and Jandek owe a debt of gratitude to Moore’s pioneering spirit and his devotion to the punk rock ethos.” SOLD.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/02/21/fresh.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>The Fresh & Onlys. Photo by David Black.\u003c/p>\n\u003cp>\u003cu>\u003cb>THURSDAY: February 28\u003c/b>\u003c/u>\u003c/p>\n\u003cp>\u003cb>Family of the Year, Doe Eye, Psychic Friend, Rin Tin Tiger\u003c/b>\u003cbr>Bottom of the Hill, doors 8:00 p.m.\u003cbr>\u003cb>Sarah:\u003c/b> I have a bad habit of falling asleep at concerts. It gets so warm, it’s usually the end of a long day, and more often than not, I happen to find myself at lovely, languorous, soporific shows. Dancing might solve this problem, which is why I’m looking forward to Family of the Year’s upbeat tempos and harmonized choruses. This LA-based indie folk band brings their catchy tunes north with Doe Eye and Psychic Friend, both known for energetic live performances. I’ll be the one stretching in the back, hydrating at the bar, waiting for the go sign. I apologize in advance for stepping on your foot.\u003c/p>\n\u003cp>\u003cb>Bear Mountain, Man Without Country, Sir Sly, Popscene DJs\u003c/b>\u003cbr>Rickshaw Stop, doors 9:00 p.m.\u003cbr>\u003cb>Amanda:\u003c/b> When I spoke with Ian Bevis of Bear Mountain last week, I asked him what we could expect from an electronic dance band that plays everything live. He surprised me, saying “It’s very much a band, four on stage; I’m up front playing bass and laptop. My twin brother (Greg Bevis) plays the drums and keys. Kyle Statham plays the guitar. The fourth guy, Kenji Rodríguez plays projections, mapping images live onto these square structures synced with the music.” (You can read the \u003ca href=\"http://placeswedontknow.tumblr.com/post/43406887667/bear-mountain-interview\">full interview here\u003c/a>.) I can’t wait to see what this looks like; I have a feeling syncopated projections will be a perfect compliment to Bear Mountains’ energetic set.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/02/21/bearmountain.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Bear Mountain\u003c/p>\n\u003cp>\u003cu>\u003cb>FRIDAY: March 1\u003c/b>\u003c/u>\u003c/p>\n\u003cp>\u003cb>Damien Jurado, Aaron Espinoza (of Earlimart), Peggy Honeywell\u003c/b>\u003cbr>The Chapel, 7:00 p.m.\u003cbr>\u003cb>Amanda:\u003c/b> The last blizzard I “survived” was in central Illinois, not far from my native Windy City. It was 2006/2007 New Year’s Eve/Day and the heavens dumped something like seven feet of snow on the ground, leaving myself, loved ones, and friends housebound for two and a half days. Conveniently enough I was trapped in a house with four musicians. Because of them and that storm I was introduced to the music of Damien Jurado. His lyrics made those cold and snowy nights feel warm and inviting. You can’t help but be whisked away into his dark indie folk sound. I’m also looking forward to checking out The Chapel, a new venue in the Mission.\u003c/p>\n\u003cp>\u003cb>Toro Y Moi, Sinkane, Dog Bite, DRMS\u003c/b>\u003cbr>The Independent, doors 7:30 p.m.\u003cbr>\u003cb>Amanda:\u003c/b> Toro Y Moi is playing two nights at The Independent and both shows are sold out. Going off last year’s set at Treasure Island, I’m confident we can expect the same upbeat, dream dance-pop grooves. This band couldn’t sound bad live if they tried. I’m most excited to see Bay Area favorite DRMS. They’ve been on my radar for a while now and a little bird told me they’ve got something special planned for the folks going to this show. Be sure to check back later for a recap.\u003c/p>\n\u003cp>\u003cb>The Thermals, Dirty Ghosts, The SHE’s, Ev Kain\u003c/b>\u003cbr>Rickshaw Stop, doors 8:30 p.m.\u003cbr>\u003cb>Sarah:\u003c/b> The Thermals and their short, smart, pop punk numbers sound like something I would have listened to in high school, back when I wore bowling shirts, Chuck Taylors, and a studded leather bracelet. I am ALL FOR revisiting this musical era of my life. And if there’s anything that I revel in more than nostalgia, it’s seeing talented ladies on the stage. Dirty Ghosts’ Allyson Baker sings over quick tempo guitar shreds and drum loops. The SHE’s are four local girls producing crazy infectious beach pop tunes like \u003ca href=\"http://www.thebaybridged.com/2011/11/01/song-premiere-the-shes-jimmy-new-single-from-debut-album-out-11-29-11/\">“Jimmy”\u003c/a>. Tambourines and hand claps, need I say more?\u003cbr>\u003cb>Amanda:\u003c/b> If you didn’t get tickets to sold out Toro Y Moi and heavy-hearted folk rock isn’t your scene, you should absolutely join Sarah at this show. The Thermals are hands down one of my favorite bands to see live. Also, The SHE’s are quite possibly the most delightful all-girl band in the Bay Area.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/02/21/shes.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>The SHE’s\u003c/p>\n\u003cp>\u003cu>\u003cb>SATURDAY: March 2\u003c/b>\u003c/u>\u003c/p>\n\u003cp>\u003cb>YACHT, Tussle, Future Twin, Shock\u003c/b>\u003cbr>Slim’s, 7:00 p.m.\u003cbr>\u003cb>Amanda:\u003c/b> YACHT puts on an amazing show whether it’s midnight, 2 in the afternoon, or 4 in the morning. All I have to say is: prepare to be amazed.\u003cbr> \u003cb>Sarah:\u003c/b> Way back in 2010, when I was still so recent to San Francisco that it was my first show at The Independent, YACHT knocked my socks off. The crowd was dancing, there were lasers, everyone was smiling, it was great. I’m bringing a backup pair of socks to this show.\u003c/p>\n\u003cp>\u003cb>Thao & The Get Down Stay Down, Sallie Ford & the Sound Outside, Before the Brave, Kacey Johansing\u003c/b>\u003cbr>Great American Music Hall, 7:00 p.m.\u003cbr>\u003cb>Amanda:\u003c/b> The lovely, talented, and incredibly well spoken Thao Nguyen says this show is going rock: “a lot of the people on the record will be performing live with us since they can’t come on tour. So this particular show, which is launching the tour, is going to be really special.” (You can read the \u003ca href=\"//placeswedontknow.tumblr.com/post/43412888354/interview-thao-the-get-down-stay-down%E2%80%9D\">full interview here\u003c/a>.)\u003cbr>\u003cb>Sarah:\u003c/b> The openers at this show are out of sight. Kacey Johansing’s jazzy numbers will warm up the crowd for a folksy session from Before the Brave, but the main appetizer is Sallie Ford & the Sound Outside. Their “grimy shuffle” conjures feelings of warm nights and summertime bike rides. Her voice sounds like it’s coming directly from a favorite LP, even through tinny laptop speakers.\u003c/p>\n\u003cp>\u003cb>Sonny and the Sunsets, Magic Trick, Cool Ghouls, Dune Rats\u003c/b>\u003cbr>Bottom of the Hill, 9 doors\u003cbr>\u003cb>Amanda:\u003c/b> I’m really pumped to hear Bay Area favorite Sonny and the Sunsets. Frontman Sonny Smith often experiments with different genres and sounds. His newest album, \u003ci>Longtime Companion\u003c/i>, dips into country and a 1950s retro California sound. I’ve always wanted to visit this era of San Francisco, now I’ll finally have the chance!\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/02/21/yacht.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>YACHT. Photo by Alin Dragulin.\u003c/p>\n\u003cp>\u003cu>\u003cb>SUNDAY: March 3\u003c/b>\u003c/u>\u003c/p>\n\u003cp>\u003cb>Caspian, Native, Boyfrndz, The Dandelion War\u003c/b>\u003cbr>Bottom of the Hill, doors 6:00 p.m.\u003cbr>\u003cb>Amanda:\u003c/b> Caspian and Native are not my typical listens when it comes to indie music. They’re of the instrumental, post-rock, ambient genres, but this is what is so great about festivals. If you’re open and willing you hear bands you wouldn’t necessarily seek out otherwise. From what I can gather, Dandelion War is a little more my speed. I know, I know, I love depressing folk music. I swear I don’t need a therapist. For me, Dandelion War might be the perfect way to end the festival and wind down on a Sunday night.\u003c/p>\n\u003cp>\u003cu>\u003cb>What we’re not going to see but wish we could:\u003c/b>\u003c/u>\u003c/p>\n\u003cp>\u003cb>!!!, White Arrows, The Mallard, The Yellow Dogs\u003c/b>\u003cbr>Great American Music Hall\u003cbr>Thursday, February 28, doors 7:00 p.m.\u003cbr>\u003cb>Sarah:\u003c/b> Somehow I lived in Brooklyn for years, had friends who \u003ci>personally knew\u003c/i> the members of !!!, was \u003ci>invited\u003c/i> to shows and parties, and never saw them play. Is fate keeping me from seeing this now-legendary dance-punk outfit? I’m even more intrigued/bummed about The Yellow Dogs, an illicit pop band from Tehran (Iran’s Ministry of Culture and Islamic Guidance refused to approve their music).\u003c/p>\n\u003cp>\u003cb>Starfucker, Blackbird Blackbird\u003c/b>\u003cbr>The Regency Ballroom\u003cbr>Friday, March 1, doors 8:00 p.m.\u003cbr>\u003cb>Amanda:\u003c/b> The only show I’m reluctantly missing is Blackbird Blackbird. I’ve been digging on them lately and they’re friends of Bear Mountain so we know they’ll put on a good live show. I’ll have to catch them the next time around.\u003c/p>\n\u003cp>\u003cb>All the programming at Artists’ Television Access\u003c/b>\u003cbr>Thursday, February 28 through Sunday, March 3\u003cbr>Noise Pop is more than just music; films, art shows, and comedy nights are all part of the package. Artists’ Television Access is screening films like \u003ci>Punk In Africa\u003c/i>, a documentary feature about the political punk scene starting with early 1970s Johannesburg, and \u003ci>Taken By Storm: The Art of Storm Thorgerson and Hipgnosis\u003c/i>, about the man “who has likely designed 80% of your classic vinyl record collection!”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Noise Pop 2013 runs February 26 through March 3, 2013 in venues throughout San Francisco. For \u003ca href=\"http://www.noisepop.com/2013/\">tickets and more information\u003c/a>, visit noisepop.com/2013.\u003c/p>\n\n",
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"excerpt": "Didn't get tickets to this year's Noise Pop? We've got you covered, with recaps from the pits, crowds, and balconies of venues across San Francisco. First up: our list of must-sees, including local favorites and emerging indie groups from around the world.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A tall blonde and an even taller redhead walk into a music venue. Hilarity ensues. Or, more likely, they hear exciting new music, take assiduous notes amid jostling concert-goers, and block some views of the stage with their tall, tall heads. The fruit of their labors (life is really hard when you have a press pass) is all for you: a full report on Noise Pop 2013. For six straight days, Amanda Roscoe Mayo and Sarah Hotchkiss will interview bands, traverse the city’s venues, and capture photos of the action — it’s a tough job, but someone’s gotta do it.\u003c/p>\n\u003cp>With so many good bands playing across San Francisco this year, double-bookings abound. While we can’t cover everything (even in tandem), we’ve made a schedule we’re actually going to try really hard to follow. Keep an eye out for us at the shows and an eye on KQED Arts for all the juicy post-show recaps. Maybe buy us an energy drink or two?\u003c/p>\n\u003cp>\u003cu>\u003cb>TUESDAY: February 26\u003c/b>\u003c/u>\u003c/p>\n\u003cp>\u003cb>Body/Head (featuring Kim Gordon of Sonic Youth and Bill Nace), Horsebladder, Burmese, Noel Von Harmonson\u003c/b>\u003cbr>Rickshaw Stop, doors 8:00 p.m.\u003cbr>\u003cb>Amanda:\u003c/b> Kim Gordon and Bill Nace have created a wondrous little band known as Body/Head. Noise Pop nails it: “both revolutionaries in their own right, Gordon and Nace combine with blustering effect, intimately communicating through distorted guitars and momentary vocals outbursts.” I can’t imagine a more thunderous way to kick off this festival.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/02/21/bodyhead.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Body/Head\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cu>\u003cb>WEDNESDAY: February 27\u003c/b>\u003c/u>\u003c/p>\n\u003cp>\u003cb>\u003ci>Turning\u003c/i>, a music documentary featuring Antony & the Johnsons\u003c/b>\u003cbr>The Roxie, 7:00 p.m.\u003cbr>\u003cb>Amanda:\u003c/b> I’m looking forward to this documentary on Antony & the Johnsons. I love love \u003ci>love\u003c/i> documentaries about musicians and Antony is one of the most prolific figures in contemporary music. He is a transgendered individual who grew up in San Francisco and turns his musical endeavors into art, crafting a stage experience unlike anything you would normally find at a concert.\u003c/p>\n\u003cp>\u003cb>The Fresh & Onlys, R. Stevie Moore, Burnt Ones\u003c/b>\u003cbr>Bottom of the Hill, doors 8:00 p.m.\u003cbr>\u003cb>Sarah:\u003c/b> Let me just start by saying Amanda is the true music critic here. Lining up our picks for this year’s festival, she said things like, “Oh they should be great” or “We don’t want to miss them.” I nodded a lot. So when she gave an enthusiastic thumbs up to The Fresh & Onlys, I knew I’d be in good hands. And while I’m psyched to see this prolific local outfit wave some garage-rock washed-out guitars in my face, I’m even more intrigued by R. Stevie Moore. According to his Noise Pop promo paragraph, “Moore has to date released more than 400 cassettes and CDRs through his home label… Fans of lo-fi progenitors [that’s me!] like Daniel Johnston and Jandek owe a debt of gratitude to Moore’s pioneering spirit and his devotion to the punk rock ethos.” SOLD.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/02/21/fresh.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>The Fresh & Onlys. Photo by David Black.\u003c/p>\n\u003cp>\u003cu>\u003cb>THURSDAY: February 28\u003c/b>\u003c/u>\u003c/p>\n\u003cp>\u003cb>Family of the Year, Doe Eye, Psychic Friend, Rin Tin Tiger\u003c/b>\u003cbr>Bottom of the Hill, doors 8:00 p.m.\u003cbr>\u003cb>Sarah:\u003c/b> I have a bad habit of falling asleep at concerts. It gets so warm, it’s usually the end of a long day, and more often than not, I happen to find myself at lovely, languorous, soporific shows. Dancing might solve this problem, which is why I’m looking forward to Family of the Year’s upbeat tempos and harmonized choruses. This LA-based indie folk band brings their catchy tunes north with Doe Eye and Psychic Friend, both known for energetic live performances. I’ll be the one stretching in the back, hydrating at the bar, waiting for the go sign. I apologize in advance for stepping on your foot.\u003c/p>\n\u003cp>\u003cb>Bear Mountain, Man Without Country, Sir Sly, Popscene DJs\u003c/b>\u003cbr>Rickshaw Stop, doors 9:00 p.m.\u003cbr>\u003cb>Amanda:\u003c/b> When I spoke with Ian Bevis of Bear Mountain last week, I asked him what we could expect from an electronic dance band that plays everything live. He surprised me, saying “It’s very much a band, four on stage; I’m up front playing bass and laptop. My twin brother (Greg Bevis) plays the drums and keys. Kyle Statham plays the guitar. The fourth guy, Kenji Rodríguez plays projections, mapping images live onto these square structures synced with the music.” (You can read the \u003ca href=\"http://placeswedontknow.tumblr.com/post/43406887667/bear-mountain-interview\">full interview here\u003c/a>.) I can’t wait to see what this looks like; I have a feeling syncopated projections will be a perfect compliment to Bear Mountains’ energetic set.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/02/21/bearmountain.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Bear Mountain\u003c/p>\n\u003cp>\u003cu>\u003cb>FRIDAY: March 1\u003c/b>\u003c/u>\u003c/p>\n\u003cp>\u003cb>Damien Jurado, Aaron Espinoza (of Earlimart), Peggy Honeywell\u003c/b>\u003cbr>The Chapel, 7:00 p.m.\u003cbr>\u003cb>Amanda:\u003c/b> The last blizzard I “survived” was in central Illinois, not far from my native Windy City. It was 2006/2007 New Year’s Eve/Day and the heavens dumped something like seven feet of snow on the ground, leaving myself, loved ones, and friends housebound for two and a half days. Conveniently enough I was trapped in a house with four musicians. Because of them and that storm I was introduced to the music of Damien Jurado. His lyrics made those cold and snowy nights feel warm and inviting. You can’t help but be whisked away into his dark indie folk sound. I’m also looking forward to checking out The Chapel, a new venue in the Mission.\u003c/p>\n\u003cp>\u003cb>Toro Y Moi, Sinkane, Dog Bite, DRMS\u003c/b>\u003cbr>The Independent, doors 7:30 p.m.\u003cbr>\u003cb>Amanda:\u003c/b> Toro Y Moi is playing two nights at The Independent and both shows are sold out. Going off last year’s set at Treasure Island, I’m confident we can expect the same upbeat, dream dance-pop grooves. This band couldn’t sound bad live if they tried. I’m most excited to see Bay Area favorite DRMS. They’ve been on my radar for a while now and a little bird told me they’ve got something special planned for the folks going to this show. Be sure to check back later for a recap.\u003c/p>\n\u003cp>\u003cb>The Thermals, Dirty Ghosts, The SHE’s, Ev Kain\u003c/b>\u003cbr>Rickshaw Stop, doors 8:30 p.m.\u003cbr>\u003cb>Sarah:\u003c/b> The Thermals and their short, smart, pop punk numbers sound like something I would have listened to in high school, back when I wore bowling shirts, Chuck Taylors, and a studded leather bracelet. I am ALL FOR revisiting this musical era of my life. And if there’s anything that I revel in more than nostalgia, it’s seeing talented ladies on the stage. Dirty Ghosts’ Allyson Baker sings over quick tempo guitar shreds and drum loops. The SHE’s are four local girls producing crazy infectious beach pop tunes like \u003ca href=\"http://www.thebaybridged.com/2011/11/01/song-premiere-the-shes-jimmy-new-single-from-debut-album-out-11-29-11/\">“Jimmy”\u003c/a>. Tambourines and hand claps, need I say more?\u003cbr>\u003cb>Amanda:\u003c/b> If you didn’t get tickets to sold out Toro Y Moi and heavy-hearted folk rock isn’t your scene, you should absolutely join Sarah at this show. The Thermals are hands down one of my favorite bands to see live. Also, The SHE’s are quite possibly the most delightful all-girl band in the Bay Area.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/02/21/shes.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>The SHE’s\u003c/p>\n\u003cp>\u003cu>\u003cb>SATURDAY: March 2\u003c/b>\u003c/u>\u003c/p>\n\u003cp>\u003cb>YACHT, Tussle, Future Twin, Shock\u003c/b>\u003cbr>Slim’s, 7:00 p.m.\u003cbr>\u003cb>Amanda:\u003c/b> YACHT puts on an amazing show whether it’s midnight, 2 in the afternoon, or 4 in the morning. All I have to say is: prepare to be amazed.\u003cbr> \u003cb>Sarah:\u003c/b> Way back in 2010, when I was still so recent to San Francisco that it was my first show at The Independent, YACHT knocked my socks off. The crowd was dancing, there were lasers, everyone was smiling, it was great. I’m bringing a backup pair of socks to this show.\u003c/p>\n\u003cp>\u003cb>Thao & The Get Down Stay Down, Sallie Ford & the Sound Outside, Before the Brave, Kacey Johansing\u003c/b>\u003cbr>Great American Music Hall, 7:00 p.m.\u003cbr>\u003cb>Amanda:\u003c/b> The lovely, talented, and incredibly well spoken Thao Nguyen says this show is going rock: “a lot of the people on the record will be performing live with us since they can’t come on tour. So this particular show, which is launching the tour, is going to be really special.” (You can read the \u003ca href=\"//placeswedontknow.tumblr.com/post/43412888354/interview-thao-the-get-down-stay-down%E2%80%9D\">full interview here\u003c/a>.)\u003cbr>\u003cb>Sarah:\u003c/b> The openers at this show are out of sight. Kacey Johansing’s jazzy numbers will warm up the crowd for a folksy session from Before the Brave, but the main appetizer is Sallie Ford & the Sound Outside. Their “grimy shuffle” conjures feelings of warm nights and summertime bike rides. Her voice sounds like it’s coming directly from a favorite LP, even through tinny laptop speakers.\u003c/p>\n\u003cp>\u003cb>Sonny and the Sunsets, Magic Trick, Cool Ghouls, Dune Rats\u003c/b>\u003cbr>Bottom of the Hill, 9 doors\u003cbr>\u003cb>Amanda:\u003c/b> I’m really pumped to hear Bay Area favorite Sonny and the Sunsets. Frontman Sonny Smith often experiments with different genres and sounds. His newest album, \u003ci>Longtime Companion\u003c/i>, dips into country and a 1950s retro California sound. I’ve always wanted to visit this era of San Francisco, now I’ll finally have the chance!\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/02/21/yacht.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>YACHT. Photo by Alin Dragulin.\u003c/p>\n\u003cp>\u003cu>\u003cb>SUNDAY: March 3\u003c/b>\u003c/u>\u003c/p>\n\u003cp>\u003cb>Caspian, Native, Boyfrndz, The Dandelion War\u003c/b>\u003cbr>Bottom of the Hill, doors 6:00 p.m.\u003cbr>\u003cb>Amanda:\u003c/b> Caspian and Native are not my typical listens when it comes to indie music. They’re of the instrumental, post-rock, ambient genres, but this is what is so great about festivals. If you’re open and willing you hear bands you wouldn’t necessarily seek out otherwise. From what I can gather, Dandelion War is a little more my speed. I know, I know, I love depressing folk music. I swear I don’t need a therapist. For me, Dandelion War might be the perfect way to end the festival and wind down on a Sunday night.\u003c/p>\n\u003cp>\u003cu>\u003cb>What we’re not going to see but wish we could:\u003c/b>\u003c/u>\u003c/p>\n\u003cp>\u003cb>!!!, White Arrows, The Mallard, The Yellow Dogs\u003c/b>\u003cbr>Great American Music Hall\u003cbr>Thursday, February 28, doors 7:00 p.m.\u003cbr>\u003cb>Sarah:\u003c/b> Somehow I lived in Brooklyn for years, had friends who \u003ci>personally knew\u003c/i> the members of !!!, was \u003ci>invited\u003c/i> to shows and parties, and never saw them play. Is fate keeping me from seeing this now-legendary dance-punk outfit? I’m even more intrigued/bummed about The Yellow Dogs, an illicit pop band from Tehran (Iran’s Ministry of Culture and Islamic Guidance refused to approve their music).\u003c/p>\n\u003cp>\u003cb>Starfucker, Blackbird Blackbird\u003c/b>\u003cbr>The Regency Ballroom\u003cbr>Friday, March 1, doors 8:00 p.m.\u003cbr>\u003cb>Amanda:\u003c/b> The only show I’m reluctantly missing is Blackbird Blackbird. I’ve been digging on them lately and they’re friends of Bear Mountain so we know they’ll put on a good live show. I’ll have to catch them the next time around.\u003c/p>\n\u003cp>\u003cb>All the programming at Artists’ Television Access\u003c/b>\u003cbr>Thursday, February 28 through Sunday, March 3\u003cbr>Noise Pop is more than just music; films, art shows, and comedy nights are all part of the package. Artists’ Television Access is screening films like \u003ci>Punk In Africa\u003c/i>, a documentary feature about the political punk scene starting with early 1970s Johannesburg, and \u003ci>Taken By Storm: The Art of Storm Thorgerson and Hipgnosis\u003c/i>, about the man “who has likely designed 80% of your classic vinyl record collection!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Noise Pop 2013 runs February 26 through March 3, 2013 in venues throughout San Francisco. For \u003ca href=\"http://www.noisepop.com/2013/\">tickets and more information\u003c/a>, visit noisepop.com/2013.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Every Guy Fawkes Day party I’ve ever been to has included bonfires, burning of the effigy, and fireworks. They all end one way, however, with a killer dance party either in a field or at someone’s house, the fires long expired met with the rising sun the next morning. I can only venture to guess the good men of San Francisco-based band \u003ca href=\"http://guyfoxband.com/music\">Guy Fox\u003c/a> had the same experience at some point, deciding to recreate the night’s excitement in their own music.\u003c/p>\n\u003cp>The name \u003ci>did\u003c/i> develop after they played a Guy Fawkes party, quickly morphing into Guy Fox. Their unique blend of funk, soul, afro-pop and maybe a little California rock ensures every booty in the place will be bumping. The noise we hear is bold, backed with horns, solid percussion, and zesty guitar lines. They have a new EP coming out in April, to be released with \u003ca href=\"http://www.kqed.org/arts/music/article.jsp?essid=113623\">Tumbleweed Wanderers\u003c/a> at the Independent. But we don’t have to wait until April to get our dance on — they are taking the stage at Rickshaw Stop on February 22. I met these foxy musicians at Casanova in the Mission to hammer out what it is that makes this band stimulate the dance center of the brain.\u003c/p>\n\u003cp>Guy Fox’s sound is such a melting pot of influences; I just had to ask if they had a mantra for the group. Nate Witherbee — found behind the synth playing guitar and singing vocals — jokingly jumped in with, “Well there’s already a group out there called ‘Fun’ so we don’t want to rip them of…” to which everyone laughed. Drummer and vocalist Peter Granquist reiterated: “We don’t want to be cheap thrills, but we want to be a mobile party where people show up because they feel like they are at home.”\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/02/18/guyfox.jpg\" style=\"margin-bottomZ: 10 px;\">\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>The group’s sense of humor and lighthearted nature is matched by their dedication to that goal. They have a way of making any venue feel like someone’s living room, everything else falls away until it becomes you, your friends, and a good old fashioned dance party fueled by live music. Effortless is the word I’d use to describe their musical talent.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Even after meeting and talking with Guy Fox, I can’t quite pin them down, but I’ve determined that’s a good thing: somehow everything they play sounds familiar. It’s refreshing to hear a new sound teasing out the upswing of \u003ca href=\"http://www.youtube.com/watch?v=xNnAvTTaJjM\">Talking Heads\u003c/a>, the layered accompaniment found in \u003ca href=\"http://www.kqed.org/arts/music/article.jsp?essid=109099\">Grizzly Bear’s\u003c/a> \u003ci>Shields\u003c/i>, and the local influence of bands like \u003ca href=\"http://rubblebucket.com/home\">Rubblebucket\u003c/a>.\u003c/p>\n\u003cp>Granquist says they “are focused on composing songs based on contemporary music in a way that holds true to classic pop song writing. Like that of The Beatles trope.” Guy Fox is always in flux and experimenting with their music. Greg Waters, guitarist and horn player extraordinaire, says the band likes to “leave some uncertainty so the music always sounds fresh.” The clearest description of their sound comes from bass player Charlie Moore, who says what they’re really trying to do is “create an energy and an atmosphere.” The band does everything they can to “facilitate a spark,” making sure that spark gets the attention it needs to grow into a blazing warm fire you can’t help but dance around.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Guy Fox is co-headlining the Rickshaw Stop with \u003ca href=\"http://www.theseshen.com/\">The Seshen\u003c/a> and supported by \u003ca href=\"http://www.ashreiter.com/home.cfm\">Ash Reiter\u003c/a> on February 22, 2013. For \u003ca href=\"http://www.rickshawstop.com/event/195203-seshen-guy-fox-san-francisco/\">tickets and information\u003c/a> visit rickshawstop.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Every Guy Fawkes Day party I’ve ever been to has included bonfires, burning of the effigy, and fireworks. They all end one way, however, with a killer dance party either in a field or at someone’s house, the fires long expired met with the rising sun the next morning. I can only venture to guess the good men of San Francisco-based band \u003ca href=\"http://guyfoxband.com/music\">Guy Fox\u003c/a> had the same experience at some point, deciding to recreate the night’s excitement in their own music.\u003c/p>\n\u003cp>The name \u003ci>did\u003c/i> develop after they played a Guy Fawkes party, quickly morphing into Guy Fox. Their unique blend of funk, soul, afro-pop and maybe a little California rock ensures every booty in the place will be bumping. The noise we hear is bold, backed with horns, solid percussion, and zesty guitar lines. They have a new EP coming out in April, to be released with \u003ca href=\"http://www.kqed.org/arts/music/article.jsp?essid=113623\">Tumbleweed Wanderers\u003c/a> at the Independent. But we don’t have to wait until April to get our dance on — they are taking the stage at Rickshaw Stop on February 22. I met these foxy musicians at Casanova in the Mission to hammer out what it is that makes this band stimulate the dance center of the brain.\u003c/p>\n\u003cp>Guy Fox’s sound is such a melting pot of influences; I just had to ask if they had a mantra for the group. Nate Witherbee — found behind the synth playing guitar and singing vocals — jokingly jumped in with, “Well there’s already a group out there called ‘Fun’ so we don’t want to rip them of…” to which everyone laughed. Drummer and vocalist Peter Granquist reiterated: “We don’t want to be cheap thrills, but we want to be a mobile party where people show up because they feel like they are at home.”\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/02/18/guyfox.jpg\" style=\"margin-bottomZ: 10 px;\">\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>The group’s sense of humor and lighthearted nature is matched by their dedication to that goal. They have a way of making any venue feel like someone’s living room, everything else falls away until it becomes you, your friends, and a good old fashioned dance party fueled by live music. Effortless is the word I’d use to describe their musical talent.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>One of our favorite things about the Noise Pop Podcast is being able to introduce listeners to great, but lesser-known artists. However, we also love episodes like this one — a round up of some of our well-known, favorite artists all releasing new music at the same time. From James Blake to My Bloody Valentine, this episode kicks off a year of highly anticipated comebacks and follow-ups. Which reminds us, make sure to comment or call in with your most anticipated album of 2013 for our next episode!\u003c/p>\n\u003cp>Tracklist:\u003c/p>\n\u003cp>1. “I’m a Machine” — Glass Lux, \u003ci>single\u003c/i>\u003cbr>2. “Dropla” — Youth Lagoon, \u003ci>Wondrous Bughouse\u003c/i>\u003cbr>3. “Weird Shapes” — Surfer Blood, \u003ci>Pythons\u003c/i>\u003cbr>4. “I’m All Messed Up” — Tegan and Sara, \u003ci>Heartthrob\u003c/i>\u003cbr>5. “Minotaur” — Thee Oh Sees, \u003ci>Floating Coffins\u003c/i>\u003cbr>6. “Illusions” — Shout Out Louds, \u003ci>Optica\u003c/i>\u003cbr>7. “In The City” — Caveman, \u003ci>Caveman\u003c/i>\u003cbr>8. “The Hearse” — Wampire, \u003ci>Curiosity\u003c/i>\u003cbr>9. “Retrograde” — James Blake, \u003ci>Overgrown\u003c/i>\u003cbr>10. “Only Tomorrow” — My Bloody Valentine, \u003ci>mbv\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>In case you’ve managed to avoid this news until now, February 14th is Valentine’s Day, the greeting card industry holiday that can compel even the least romantic to confront the topic of love. Over the past few years, plenty of our favorite indie rockers have explored the excitement and complications of love in terrific songs. Here, we’ve collected fourteen tracks about love’s many facets, including the swooning romanticism of \u003ca href=\"http://realestatetheband.com/\">Real Estate\u003c/a>, \u003ca href=\"http://www.facebook.com/CassMcCombs\">Cass McCombs\u003c/a>, and \u003ca href=\"http://www.facebook.com/pages/Bare-Wires/117214288301289\">Bare Wires\u003c/a>.\u003c/p>\n\u003cp>Affairs of the heart don’t always end well, however, and the mix also offers some songs that touch on love’s darker side, like the lush melancholy of \u003ca href=\"http://www.facebook.com/CHROMATICSBAND\">Chromatics\u003c/a>‘ “Lady” and \u003ca href=\"http://www.facebook.com/TheAntlers\">The Antlers\u003c/a>‘ heartbreaking “I Don’t Want Love.” We’ve also thrown in a few left turns, \u003ca href=\"http://www.facebook.com/sonnysunsets\">Sonny & The Sunsets\u003c/a>‘ goofy “Lovin’ on an Older Gal” and \u003ca href=\"http://www.facebook.com/Mwahahamusic\">Mwahaha\u003c/a>‘s heady “Love” among them.\u003c/p>\n\u003cp>Ultimately, we’ve aimed to a balance the sweet and the bittersweet here, although we’ve probably tipped our hands toward the romantic side with the one-two closing punch of \u003ca href=\"http://www.facebook.com/seanhayesmusic\">Sean Hayes\u003c/a>‘ “When We Fall In” and a live cover of Daniel Johnston’s classic “True Love Will Find You In The End” by the dearly departed \u003ca href=\"http://en.wikipedia.org/wiki/Girls_(band)\">Girls\u003c/a>. Still, we’re sympathetic to Mwahaha’s assessment that love is “something we’re always doing, but we never figure it out.”\u003c/p>\n\u003cp>\u003cu>Tracklist:\u003c/u>\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/hunxandhispunx\">Hunx & His Punx\u003c/a> — “Lovers Lane”\u003cbr>\u003ca href=\"http://realestatetheband.com/\">Real Estate\u003c/a> — “It’s Real”\u003cbr>\u003ca href=\"http://www.facebook.com/sonnysunsets\">Sonny & The Sunsets\u003c/a> — “Lovin’ on an Older Gal”\u003cbr>\u003ca href=\"http://www.facebook.com/CHROMATICSBAND\">Chromatics\u003c/a> — “Lady (Drumless Version)”\u003cbr>\u003ca href=\"http://www.facebook.com/TheAntlers\">The Antlers\u003c/a> — “I Don’t Want Love”\u003cbr>\u003ca href=\"http://www.facebook.com/CassMcCombs\">Cass McCombs\u003c/a> — “Dreams Come True Girl”\u003cbr>\u003ca href=\"http://tops.bandcamp.com/\">TOPS\u003c/a> — “Turn Your Love Around”\u003cbr>\u003ca href=\"http://www.facebook.com/pages/Bare-Wires/117214288301289\">Bare Wires\u003c/a> — “I (Heart) You Tonite”\u003cbr>\u003ca href=\"http://www.facebook.com/Mwahahamusic\">Mwahaha\u003c/a> — “Love” (featuring Merrill Garbus)\u003cbr>\u003ca href=\"http://www.facebook.com/howtodresswellmusic\">How To Dress Well\u003c/a> — “& It Was U”\u003cbr>\u003ca href=\"http://www.facebook.com/pages/Tamaryn/21877892594\">Tamaryn\u003c/a> — “Love Fade”\u003cbr>\u003ca href=\"http://www.facebook.com/pages/Little-Wings/130230123665874?fref=ts\">Little Wings\u003c/a> — “Sandy Babe”\u003cbr>\u003ca href=\"http://www.facebook.com/seanhayesmusic\">Sean Hayes\u003c/a> — “When We Fall In”\u003cbr>\u003ca href=\"http://en.wikipedia.org/wiki/Girls_(band)\">Girls\u003c/a> — “True Love Will Find You In The End” (Live, Daniel Johnston cover)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>With the twenty-first annual \u003ca href=\"http://www.noisepop.com/2013\">Noise Pop Festival\u003c/a> taking over Bay Area venues during the last week of the month, February is already guaranteed to offer plenty of tempting local concerts. We’ll be previewing Noise Pop extensively on the podcast soon, but this collection of songs shows that there are plenty of good options even before Noise Pop starts.\u003c/p>\n\u003cp>On the local front, “slop pop” specialists \u003ca href=\"http://www.facebook.com/cocktails.the.band\">Cocktails\u003c/a> are celebrating their debut EP with a strong all-local rock and roll bill, featuring Bay Bridged favorites Warm Soda and DSTVV, while \u003ca href=\"http://www.facebook.com/thestonefoxes\">The Stone Foxes\u003c/a> are holding free performances on both sides of the Bay to promote \u003cem>Small Fires\u003c/em>. We’re also excited to see the return of electronic pop duo \u003ca href=\"http://www.facebook.com/paintedpalms?fref=ts\">Painted Palms\u003c/a>, who have a new 7″ coming in March on Polyvinyl, and are performing this month at the Brick and Mortar Music Hall to celebrate the one-year anniversary of the monthly \u003ca href=\"http://woodshoppesf.com/\">Wood Shoppe\u003c/a> series.\u003c/p>\n\u003cp>Weird-pop titans Unknown Mortal Orchestra return to San Francisco this month, but we’re as intrigued by the bands they’re bringing with them. Especially \u003ca href=\"http://www.facebook.com/foxygentheband?fref=ts\">Foxygen\u003c/a>, a psych-pop duo who call to mind UMO with their inventive spirit; the LA band’s new album, \u003cem>We Are the 21st Century Ambassadors of Peace & Magic\u003c/em>, has been getting rave reviews. Also promising is the return of \u003ca href=\"http://www.facebook.com/therubysuns\">The Ruby Suns\u003c/a>, whose globetrotting bandleader Ryan McPhun relocated from New Zealand to Norway to make the rich synth-pop found on \u003cem>Christopher\u003c/em>, the Suns’ fourth album.\u003c/p>\n\u003cp>Enjoy the podcast and then go see some shows!\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/cocktails.the.band\">Cocktails\u003c/a> — “Hey Winnie”\u003cbr>Celebrating the release of their self-titled EP at the \u003ca href=\"http://hemlocktavern.com/prog_guide.php?adate_id=2013-02-01\">Hemlock Tavern\u003c/a> on February 1 with Warm Soda and DSTVV.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"http://wildmoth.blogspot.com\">Wild Moth\u003c/a> — “Patience”\u003cbr>Playing at The Bay Bridged’s Noise Pop happy hour at \u003ca href=\"http://www.facebook.com/bendersbar\">Bender’s\u003c/a> on March 1 — more details to be announced soon!\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/pages/The-Night-Marchers/55636289510?fref=ts\">The Night Marchers\u003c/a> — “All Hits”\u003cbr>The Intelligence and Mrs. Magician round out the bill at \u003ca href=\"http://cafedunord.com/calendar/2%7C2013%7C15\">Cafe Du Nord\u003c/a> on February 21.\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/foxygentheband?fref=ts\">Foxygen\u003c/a> — “Shuggie”\u003cbr>Joining Unknown Mortal Orchestra and Wampire on February 13 at the \u003ca href=\"http://www.slimspresents.com/events/2013-02-13/unknown-mortal-orchestra/\">Great American Music Hall\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/seaponyband\">Seapony\u003c/a> — “Prove to Me”\u003cbr>Appearing at the \u003ca href=\"http://www.rickshawstop.com/event/200341-seapony-san-francisco/\">Rickshaw Stop\u003c/a> on February 6; Rose Melberg and French Cassettes support.\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/shugotokumaru?fref=ts\">Shugo Tokumaru\u003c/a> — “Decorate”\u003cbr>Supporting Kishi Bashi at the \u003ca href=\"http://www.slimspresents.com/events/2013-02-26/kishi-bashi/\">Great American Music Hall\u003c/a> on February 26.\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/bluescontrol\">Blues Control\u003c/a> — “Iron Pigs”\u003cbr>Co-headlining with Rangda at \u003ca href=\"http://www.thechapelsf.com/event/203383-rangda-blues-control-san-francisco/\">The Chapel\u003c/a> on February 23.\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/thestonefoxes\">The Stone Foxes\u003c/a> — “Everybody Knows”\u003cbr>Performing free shows at \u003ca href=\"http://www.amoeba.com/live-shows/upcoming/detail-2493/\">Amoeba SF\u003c/a> on February 12 and \u003ca href=\"http://www.thenewparish.com/event/212523-stone-foxes-oakland/\">The New Parish\u003c/a> on February 13.\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/twogallants?fref=ts&rf=103114093062022\">Two Gallants\u003c/a> — “Broken Eyes”\u003cbr>Akron/Family support the beloved duo at \u003ca href=\"http://www.livenation.com/venues/14270/the-fillmore\">The Fillmore\u003c/a> on February 2.\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/therubysuns\">The Ruby Suns\u003c/a> — “Kingfisher Call Me”\u003cbr>Coming to \u003ca href=\"http://www.bottomofthehill.com/calendar.html\">Bottom of the Hill\u003c/a> on February 13; Seatraffic opens the show.\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/paintedpalms?fref=ts\">Painted Palms\u003c/a> — “Falling Asleep”\u003cbr>Headlining the one year anniversary of Wood Shoppe at the \u003ca href=\"http://www.brickandmortarmusic.com/event/208059-painted-palms-san-francisco/\">Brick and Mortar Music Hall\u003c/a> on February 5.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/starredband\">Starred\u003c/a> — “No Good”\u003cbr>Playing at the \u003ca href=\"http://cafedunord.com/calendar/2%7C2013%7C15\">Swedish American Hall\u003c/a> with The Sister Ruby Band on February 14.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With the twenty-first annual \u003ca href=\"http://www.noisepop.com/2013\">Noise Pop Festival\u003c/a> taking over Bay Area venues during the last week of the month, February is already guaranteed to offer plenty of tempting local concerts. We’ll be previewing Noise Pop extensively on the podcast soon, but this collection of songs shows that there are plenty of good options even before Noise Pop starts.\u003c/p>\n\u003cp>On the local front, “slop pop” specialists \u003ca href=\"http://www.facebook.com/cocktails.the.band\">Cocktails\u003c/a> are celebrating their debut EP with a strong all-local rock and roll bill, featuring Bay Bridged favorites Warm Soda and DSTVV, while \u003ca href=\"http://www.facebook.com/thestonefoxes\">The Stone Foxes\u003c/a> are holding free performances on both sides of the Bay to promote \u003cem>Small Fires\u003c/em>. We’re also excited to see the return of electronic pop duo \u003ca href=\"http://www.facebook.com/paintedpalms?fref=ts\">Painted Palms\u003c/a>, who have a new 7″ coming in March on Polyvinyl, and are performing this month at the Brick and Mortar Music Hall to celebrate the one-year anniversary of the monthly \u003ca href=\"http://woodshoppesf.com/\">Wood Shoppe\u003c/a> series.\u003c/p>\n\u003cp>Weird-pop titans Unknown Mortal Orchestra return to San Francisco this month, but we’re as intrigued by the bands they’re bringing with them. Especially \u003ca href=\"http://www.facebook.com/foxygentheband?fref=ts\">Foxygen\u003c/a>, a psych-pop duo who call to mind UMO with their inventive spirit; the LA band’s new album, \u003cem>We Are the 21st Century Ambassadors of Peace & Magic\u003c/em>, has been getting rave reviews. Also promising is the return of \u003ca href=\"http://www.facebook.com/therubysuns\">The Ruby Suns\u003c/a>, whose globetrotting bandleader Ryan McPhun relocated from New Zealand to Norway to make the rich synth-pop found on \u003cem>Christopher\u003c/em>, the Suns’ fourth album.\u003c/p>\n\u003cp>Enjoy the podcast and then go see some shows!\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/cocktails.the.band\">Cocktails\u003c/a> — “Hey Winnie”\u003cbr>Celebrating the release of their self-titled EP at the \u003ca href=\"http://hemlocktavern.com/prog_guide.php?adate_id=2013-02-01\">Hemlock Tavern\u003c/a> on February 1 with Warm Soda and DSTVV.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://wildmoth.blogspot.com\">Wild Moth\u003c/a> — “Patience”\u003cbr>Playing at The Bay Bridged’s Noise Pop happy hour at \u003ca href=\"http://www.facebook.com/bendersbar\">Bender’s\u003c/a> on March 1 — more details to be announced soon!\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/pages/The-Night-Marchers/55636289510?fref=ts\">The Night Marchers\u003c/a> — “All Hits”\u003cbr>The Intelligence and Mrs. Magician round out the bill at \u003ca href=\"http://cafedunord.com/calendar/2%7C2013%7C15\">Cafe Du Nord\u003c/a> on February 21.\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/foxygentheband?fref=ts\">Foxygen\u003c/a> — “Shuggie”\u003cbr>Joining Unknown Mortal Orchestra and Wampire on February 13 at the \u003ca href=\"http://www.slimspresents.com/events/2013-02-13/unknown-mortal-orchestra/\">Great American Music Hall\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/seaponyband\">Seapony\u003c/a> — “Prove to Me”\u003cbr>Appearing at the \u003ca href=\"http://www.rickshawstop.com/event/200341-seapony-san-francisco/\">Rickshaw Stop\u003c/a> on February 6; Rose Melberg and French Cassettes support.\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/shugotokumaru?fref=ts\">Shugo Tokumaru\u003c/a> — “Decorate”\u003cbr>Supporting Kishi Bashi at the \u003ca href=\"http://www.slimspresents.com/events/2013-02-26/kishi-bashi/\">Great American Music Hall\u003c/a> on February 26.\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/bluescontrol\">Blues Control\u003c/a> — “Iron Pigs”\u003cbr>Co-headlining with Rangda at \u003ca href=\"http://www.thechapelsf.com/event/203383-rangda-blues-control-san-francisco/\">The Chapel\u003c/a> on February 23.\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/thestonefoxes\">The Stone Foxes\u003c/a> — “Everybody Knows”\u003cbr>Performing free shows at \u003ca href=\"http://www.amoeba.com/live-shows/upcoming/detail-2493/\">Amoeba SF\u003c/a> on February 12 and \u003ca href=\"http://www.thenewparish.com/event/212523-stone-foxes-oakland/\">The New Parish\u003c/a> on February 13.\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/twogallants?fref=ts&rf=103114093062022\">Two Gallants\u003c/a> — “Broken Eyes”\u003cbr>Akron/Family support the beloved duo at \u003ca href=\"http://www.livenation.com/venues/14270/the-fillmore\">The Fillmore\u003c/a> on February 2.\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/therubysuns\">The Ruby Suns\u003c/a> — “Kingfisher Call Me”\u003cbr>Coming to \u003ca href=\"http://www.bottomofthehill.com/calendar.html\">Bottom of the Hill\u003c/a> on February 13; Seatraffic opens the show.\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/paintedpalms?fref=ts\">Painted Palms\u003c/a> — “Falling Asleep”\u003cbr>Headlining the one year anniversary of Wood Shoppe at the \u003ca href=\"http://www.brickandmortarmusic.com/event/208059-painted-palms-san-francisco/\">Brick and Mortar Music Hall\u003c/a> on February 5.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/starredband\">Starred\u003c/a> — “No Good”\u003cbr>Playing at the \u003ca href=\"http://cafedunord.com/calendar/2%7C2013%7C15\">Swedish American Hall\u003c/a> with The Sister Ruby Band on February 14.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It seems like only yesterday we were celebrating Noise Pop’s 20th birthday, but somehow another year has flown by and it’s time for Noise Pop 2013! To get you excited as we are for this year’s incredible line up (Toro Y Moi, YACHT, Amon Tobin to name a few), we’re playing tracks from the artists we’re most excited to see. \u003ca href=\"http://www.noisepop.com/\">This year’s festival\u003c/a> takes place February 26-March 3, 2013 all around San Francisco.\u003c/p>\n\u003cp>\u003cb>Tracklist:\u003c/b>\u003cbr>1. “While I’m Alive” — Starfucker, \u003ci>Miracle Mile\u003c/i>\u003cbr>2. “Never Listen to Me” — The Thermals, \u003ci>Personal Life\u003c/i>\u003cbr>3. “Shout it In” — Dirty Ghosts, \u003ci>Metal Moon\u003c/i>\u003cbr>4. “Party Kids” — Sallie Ford and the Sound Outside, \u003ci>Untamed Beast\u003c/i>\u003cbr>5. “Say That” — Toro y Moi, \u003ci>Anything in Return\u003c/i>\u003cbr>6. “Psychic City” — YACHT, \u003ci>See Mystery Lights\u003c/i>\u003cbr>7. “Doused” — DIIV, \u003ci>Oshin\u003c/i>\u003cbr>8. “Lake Michigan” — Rogue Wave, \u003ci>Asleep at Heaven’s Gate\u003c/i>\u003cbr>9. “Museum of Flight” — Damian Jurado, \u003ci>Maraqopa\u003c/i>\u003cbr>10. “Electric Fever” — Free Energy, \u003ci>Love Sign\u003c/i>\u003cbr>11. “Hysteria” — Ceremony, \u003ci>Zoo\u003c/i>\u003cbr>12. “Tied2U” — XXYYXX, \u003ci>XXYYXX\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>It seems like only yesterday we were celebrating Noise Pop’s 20th birthday, but somehow another year has flown by and it’s time for Noise Pop 2013! To get you excited as we are for this year’s incredible line up (Toro Y Moi, YACHT, Amon Tobin to name a few), we’re playing tracks from the artists we’re most excited to see. \u003ca href=\"http://www.noisepop.com/\">This year’s festival\u003c/a> takes place February 26-March 3, 2013 all around San Francisco.\u003c/p>\n\u003cp>\u003cb>Tracklist:\u003c/b>\u003cbr>1. “While I’m Alive” — Starfucker, \u003ci>Miracle Mile\u003c/i>\u003cbr>2. “Never Listen to Me” — The Thermals, \u003ci>Personal Life\u003c/i>\u003cbr>3. “Shout it In” — Dirty Ghosts, \u003ci>Metal Moon\u003c/i>\u003cbr>4. “Party Kids” — Sallie Ford and the Sound Outside, \u003ci>Untamed Beast\u003c/i>\u003cbr>5. “Say That” — Toro y Moi, \u003ci>Anything in Return\u003c/i>\u003cbr>6. “Psychic City” — YACHT, \u003ci>See Mystery Lights\u003c/i>\u003cbr>7. “Doused” — DIIV, \u003ci>Oshin\u003c/i>\u003cbr>8. “Lake Michigan” — Rogue Wave, \u003ci>Asleep at Heaven’s Gate\u003c/i>\u003cbr>9. “Museum of Flight” — Damian Jurado, \u003ci>Maraqopa\u003c/i>\u003cbr>10. “Electric Fever” — Free Energy, \u003ci>Love Sign\u003c/i>\u003cbr>11. “Hysteria” — Ceremony, \u003ci>Zoo\u003c/i>\u003cbr>12. “Tied2U” — XXYYXX, \u003ci>XXYYXX\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>It’s not technically part of the Bay Area — and by “technically,” of course, we mean “at all” — but we’ve been known to cheat a little bit and claim a good number of Sacramento bands as adopted locals over the years. Can you really blame us? Plenty of acts from the state’s capital have made a big impact on independent music, including Death Grips, Chelsea Wolfe, and Trash Talk. All three of those groups eventually migrated to Los Angeles, with Death Grips leaking their latest album during a two-month stay at Hollywood’s infamous Chateau Marmont, but plenty of great bands still call Sacramento home.\u003c/p>\n\u003cp>This mix collects 14 of those performers, showing that Sacto talent comes in a variety of genres and sounds. On the rock side, there’s the stellar jangle of \u003ca href=\"http://www.facebook.com/finesteps\">Fine Steps\u003c/a> and \u003ca href=\"http://www.facebook.com/pages/The-English-Singles/258438924560?fref=ts\">English Singles\u003c/a>, \u003ca href=\"http://www.facebook.com/ggreenband?fref=ts\">G. Green\u003c/a>‘s fuzzy bursts, and \u003ca href=\"http://solosmusic.bandcamp.com\">Solos\u003c/a>‘ singer-songwriter-meets-prog charm. But this mix also features a strong number of electronic pop bands, from new highlight \u003ca href=\"http://www.facebook.com/pages/DOOMbird/133225003386696?fref=ts\">DOOMbird\u003c/a> to long-time favorites like \u003ca href=\"http://danielispregnant.com/\">Pregnant\u003c/a> and \u003ca href=\"http://www.facebook.com/sistercrayon?fref=ts\">Sister Crayon\u003c/a>. It also won’t be surprising that we’ve included several terrific bands we’ve hosted at past Bay Bridged events, like \u003ca href=\"http://www.facebook.com/pages/Sea-Of-Bees/197401657346?fref=ts\">Sea of Bees\u003c/a>, \u003ca href=\"http://www.facebook.com/raleighmoncrief?fref=ts\">Raleigh Moncrief\u003c/a>, and \u003ca href=\"http://www.facebook.com/appetitemuch\">Appetite\u003c/a>.\u003c/p>\n\u003cp>Enjoy the mix!\u003c/p>\n\u003cp>\u003cu>Tracklist:\u003c/u>\u003cbr>\u003ca href=\"http://www.facebook.com/finesteps\">Fine Steps\u003c/a> — “Tomorrow for All of Today”\u003cbr>\u003ca href=\"http://solosmusic.bandcamp.com\">Solos\u003c/a> — “All My Tribulations”\u003cbr>\u003ca href=\"http://www.facebook.com/pages/DOOMbird/133225003386696?fref=ts\">DOOMbird\u003c/a> — “An Die”\u003cbr>\u003ca href=\"http://www.facebook.com/raleighmoncrief?fref=ts\">Raleigh Moncrief\u003c/a> — “Beyond The Neon Lights”\u003cbr>Baby Grand — “My Song 15” (Note: several members of Baby Grand are now in \u003ca href=\"http://www.facebook.com/arts.leisure.music/\">Arts & Leisure\u003c/a>)\u003cbr>\u003ca href=\"http://www.facebook.com/pages/Sea-Of-Bees/197401657346?fref=ts\">Sea of Bees\u003c/a> — “Gone”\u003cbr>\u003ca href=\"http://www.facebook.com/sistercrayon?fref=ts\">Sister Crayon\u003c/a> — “Cynic”\u003cbr>\u003ca href=\"http://danielispregnant.com/\">Pregnant\u003c/a> — “Letter To A Friend”\u003cbr>\u003ca href=\"http://www.facebook.com/pages/The-English-Singles/258438924560?fref=ts\">English Singles\u003c/a> — “Finer Points”\u003cbr>\u003ca href=\"http://www.facebook.com/ggreenband?fref=ts\">G. Green\u003c/a> — “Our Boss”\u003cbr>\u003ca href=\"http://charlesalbright.bandcamp.com/\">Charles Albright\u003c/a> — “I Am The Counter Culture (Drop Out)”\u003cbr>\u003ca href=\"http://www.facebook.com/wreckandreference?ref=ts&fref=ts\">Wreck and Reference\u003c/a> — “Spectrum”\u003cbr>\u003ca href=\"http://www.essmusic.com\">E S S\u003c/a> — “Woke at Night”\u003cbr>\u003ca href=\"http://www.facebook.com/appetitemuch\">Appetite\u003c/a> — “Tussy”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s not technically part of the Bay Area — and by “technically,” of course, we mean “at all” — but we’ve been known to cheat a little bit and claim a good number of Sacramento bands as adopted locals over the years. Can you really blame us? Plenty of acts from the state’s capital have made a big impact on independent music, including Death Grips, Chelsea Wolfe, and Trash Talk. All three of those groups eventually migrated to Los Angeles, with Death Grips leaking their latest album during a two-month stay at Hollywood’s infamous Chateau Marmont, but plenty of great bands still call Sacramento home.\u003c/p>\n\u003cp>This mix collects 14 of those performers, showing that Sacto talent comes in a variety of genres and sounds. On the rock side, there’s the stellar jangle of \u003ca href=\"http://www.facebook.com/finesteps\">Fine Steps\u003c/a> and \u003ca href=\"http://www.facebook.com/pages/The-English-Singles/258438924560?fref=ts\">English Singles\u003c/a>, \u003ca href=\"http://www.facebook.com/ggreenband?fref=ts\">G. Green\u003c/a>‘s fuzzy bursts, and \u003ca href=\"http://solosmusic.bandcamp.com\">Solos\u003c/a>‘ singer-songwriter-meets-prog charm. But this mix also features a strong number of electronic pop bands, from new highlight \u003ca href=\"http://www.facebook.com/pages/DOOMbird/133225003386696?fref=ts\">DOOMbird\u003c/a> to long-time favorites like \u003ca href=\"http://danielispregnant.com/\">Pregnant\u003c/a> and \u003ca href=\"http://www.facebook.com/sistercrayon?fref=ts\">Sister Crayon\u003c/a>. It also won’t be surprising that we’ve included several terrific bands we’ve hosted at past Bay Bridged events, like \u003ca href=\"http://www.facebook.com/pages/Sea-Of-Bees/197401657346?fref=ts\">Sea of Bees\u003c/a>, \u003ca href=\"http://www.facebook.com/raleighmoncrief?fref=ts\">Raleigh Moncrief\u003c/a>, and \u003ca href=\"http://www.facebook.com/appetitemuch\">Appetite\u003c/a>.\u003c/p>\n\u003cp>Enjoy the mix!\u003c/p>\n\u003cp>\u003cu>Tracklist:\u003c/u>\u003cbr>\u003ca href=\"http://www.facebook.com/finesteps\">Fine Steps\u003c/a> — “Tomorrow for All of Today”\u003cbr>\u003ca href=\"http://solosmusic.bandcamp.com\">Solos\u003c/a> — “All My Tribulations”\u003cbr>\u003ca href=\"http://www.facebook.com/pages/DOOMbird/133225003386696?fref=ts\">DOOMbird\u003c/a> — “An Die”\u003cbr>\u003ca href=\"http://www.facebook.com/raleighmoncrief?fref=ts\">Raleigh Moncrief\u003c/a> — “Beyond The Neon Lights”\u003cbr>Baby Grand — “My Song 15” (Note: several members of Baby Grand are now in \u003ca href=\"http://www.facebook.com/arts.leisure.music/\">Arts & Leisure\u003c/a>)\u003cbr>\u003ca href=\"http://www.facebook.com/pages/Sea-Of-Bees/197401657346?fref=ts\">Sea of Bees\u003c/a> — “Gone”\u003cbr>\u003ca href=\"http://www.facebook.com/sistercrayon?fref=ts\">Sister Crayon\u003c/a> — “Cynic”\u003cbr>\u003ca href=\"http://danielispregnant.com/\">Pregnant\u003c/a> — “Letter To A Friend”\u003cbr>\u003ca href=\"http://www.facebook.com/pages/The-English-Singles/258438924560?fref=ts\">English Singles\u003c/a> — “Finer Points”\u003cbr>\u003ca href=\"http://www.facebook.com/ggreenband?fref=ts\">G. Green\u003c/a> — “Our Boss”\u003cbr>\u003ca href=\"http://charlesalbright.bandcamp.com/\">Charles Albright\u003c/a> — “I Am The Counter Culture (Drop Out)”\u003cbr>\u003ca href=\"http://www.facebook.com/wreckandreference?ref=ts&fref=ts\">Wreck and Reference\u003c/a> — “Spectrum”\u003cbr>\u003ca href=\"http://www.essmusic.com\">E S S\u003c/a> — “Woke at Night”\u003cbr>\u003ca href=\"http://www.facebook.com/appetitemuch\">Appetite\u003c/a> — “Tussy”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Well, we’re two weeks into the new year, which is pretty much enough time to predict a few things: which resolutions will stick (none), and which ones won’t (all), and what the new year may bring for new music. So, while we may be slipping into old habits, at least we have some great music to look forward to. Also speaking of looking forward to things, stay tuned for our next episode, in which we will play tracks from this year’s Noise Pop Festival artists.\u003c/p>\n\u003cp>\u003cb>Tracklist:\u003c/b>\u003cbr>1. “200 Words” — Fol Chen, \u003ci>The False Alarms\u003c/i>\u003cbr>2. “Coalition” — IceAge, \u003ci>You’re Nothing\u003c/i>\u003cbr>3. “Everything is Embarrassing” — Sky Ferreira, \u003ci>Ghost\u003c/i> EP\u003cbr>4. “Anxiety’s Door” — Merchandise, \u003ci>Totale Nite\u003c/i> EP\u003cbr>5. “Someday Our Love Will Sell Us Out” — Camper Van Beethoven, \u003ci>La Costa Perdida\u003c/i>\u003cbr>6. “Swim and Sleep (Like a Shark)” — Unknown Mortal Orchestra, \u003ci>II\u003c/i>\u003cbr>7. “Honey” — Torres, \u003ci>Torres\u003c/i>\u003cbr>8. “Kids Get Away” — Jamaican Queens, \u003ci>Wormfood\u003c/i>\u003cbr>9. “2099” — Dent May, single\u003cbr>10. “Pink Matter” — Frank Ocean feat. Andre 3000 & Big Boi, single\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Well, we’re two weeks into the new year, which is pretty much enough time to predict a few things: which resolutions will stick (none), and which ones won’t (all), and what the new year may bring for new music. So, while we may be slipping into old habits, at least we have some great music to look forward to. Also speaking of looking forward to things, stay tuned for our next episode, in which we will play tracks from this year’s Noise Pop Festival artists.\u003c/p>\n\u003cp>\u003cb>Tracklist:\u003c/b>\u003cbr>1. “200 Words” — Fol Chen, \u003ci>The False Alarms\u003c/i>\u003cbr>2. “Coalition” — IceAge, \u003ci>You’re Nothing\u003c/i>\u003cbr>3. “Everything is Embarrassing” — Sky Ferreira, \u003ci>Ghost\u003c/i> EP\u003cbr>4. “Anxiety’s Door” — Merchandise, \u003ci>Totale Nite\u003c/i> EP\u003cbr>5. “Someday Our Love Will Sell Us Out” — Camper Van Beethoven, \u003ci>La Costa Perdida\u003c/i>\u003cbr>6. “Swim and Sleep (Like a Shark)” — Unknown Mortal Orchestra, \u003ci>II\u003c/i>\u003cbr>7. “Honey” — Torres, \u003ci>Torres\u003c/i>\u003cbr>8. “Kids Get Away” — Jamaican Queens, \u003ci>Wormfood\u003c/i>\u003cbr>9. “2099” — Dent May, single\u003cbr>10. “Pink Matter” — Frank Ocean feat. Andre 3000 & Big Boi, single\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Bay Area's Three Sparkling New Music Venues",
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"content": "\u003cp>Last Friday marked the gala opening of Stanford University's new Bing Concert Hall. It's one of three new Bay Area concert spaces: Weill Hall at Sonoma State opened last fall, and the new SF Jazz Center opens later this month. Combined they've cost about $318 million. All are likely to become big draws for artists and audiences for decades to come.\u003c/p>\n\u003cp class=\"p1\">\tKQED's Cy Musiker took an acoustical tour of two of the halls to learn what makes a premier concert experience.\u003c/p>\n\u003cp class=\"p1\">\t\u003cb>Weill Hall, Sonoma State\u003c/b>\u003c/p>\n\u003cp class=\"p1\">\tLarry Kirkegaard designed the acoustics for \u003ca href=\"http://gmc.sonoma.edu/visit/about-hall/about_Weill_Hall/\" target=\"_blank\" rel=\"noopener\">Weill Hall\u003c/a> in Rohnert Park, a big shoebox of a room with a great pedigree. It's modeled after Ozawa Hall at Tanglewood, the music mecca in western Massachusetts.\u003c/p>\n\u003cp class=\"p1\">\tKirkegaard designed the room to have \"a sound that is really full and full bodied in character, that's articulate so you hear absolutely every subtlety of attack.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp class=\"p2\">\tLast September, Lang Lang played a Chopin \u003ci>ballade\u003c/i> at Weill's inaugural concert. The music sounded crisp, but not shrill, warm, but not muddy. That's basically the goal for Kirkegaard and the other sound designers.\u003c/p>\n\u003cp class=\"p1\">\tWeill Hall features hard surfaces — wood floors and walls backed by hard masonry to better reflect the sound waves. And it features acoustical banners — like curtains — a common feature these days in many halls that can be extended to soften the sound if it's too bright. \u003c/p>\n\u003cp class=\"p2\">\tSo far, musicians are praising the hall.\u003c/p>\n\u003cp class=\"p2\">\t\"It was very exciting, it wasn't completely finished, and everybody loved it,\" said Steve Dibner, the associate principal bassoon player for the San Francisco Symphony. \u003c/p>\n\u003cp class=\"p1\">\tDibner and a few other musicians tested out the room while it was still under construction, and Dibner says it sounded even better when the whole orchestra returned for a concert in December.\u003c/p>\n\u003cp class=\"p1\">\t\"We are expected to make a huge range of sounds, and so I felt this hall responded to the quite intimate whispers and the huge blasts that are possible from a symphony orchestra,\" Dibner said.\u003c/p>\n\u003cp class=\"p1\">\t\u003cb>Bing Concert Hall, Stanford University\u003c/b>\u003c/p>\n\u003cp class=\"p1\">\t\u003ca href=\"http://live.stanford.edu/bingconcerthall/\" target=\"_blank\" rel=\"noopener\">Bing Concert Hall \u003c/a>was designed by Yasuhisa Toyota, who collaborated with architect Frank Gehry on the \u003ca href=\"http://www.laphil.com/philpedia/about-walt-disney-concert-hall\" target=\"_blank\" rel=\"noopener\">Walt Disney Concert Hall\u003c/a> in Los Angeles. He favors what's called a vineyard design, with the seats on a series of rising tiers, like terraced vineyards. On the walls are 10 huge convex screens with a nubby coating designed to both reflect and diffuse the sound. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\t\u003ciframe loading=\"lazy\" allowfullscreen=\"\" frameborder=\"0\" height=\"281\" mozallowfullscreen=\"\" src=\"http://player.vimeo.com/video/56115622\" webkitallowfullscreen=\"\" width=\"500\">\u003c/iframe>\n\u003cp>\t\u003ca href=\"http://vimeo.com/56115622\">Bing Concert Hall Fly-Through\u003c/a> from \u003ca href=\"http://vimeo.com/stanfordlive\">Stanford Live\u003c/a> on \u003ca href=\"http://vimeo.com\">Vimeo\u003c/a>.\u003c/p>\u003c/center>\n\u003cp class=\"p1\">\t\"We call them sails. Above there's another enormous elliptical shape. We call that a cloud,\" says Toyota. \"And the stage is like the valley around which all the people of the community cluster to listen to the musicians.\"\u003c/p>\n\u003cp class=\"p1\">\tExecutive Director Wiley Hausam demonstrates one of Bing's most eccentric features.\u003c/p>\n\u003cp class=\"p1\">\t\"This is the Alaskan cedar stage. And go like this,\" he says tapping the floor just off the stage. Then we go out to the stage and tap our feet again. We're greeted by a reverberating \u003ci>boom! boom! boom! \u003c/i>and Hausam laughs\u003c/p>\n\u003cp class=\"p1\">\t\"There's a big cavern of space underneath the stage that creates all that resonance,\" he says. \"Why do you want that? Because it makes a great sound, the softer the sound is here almost the more wonderful it is. \"\u003c/p>\n\u003cp class=\"p2\">\tThat resonant stage is one aspect of the Bing Concert Hall that worries Geoff Nuttall, violinist with the St. Lawrence String Quartet. The quartet's members tend to dance a bit as they play. \u003c/p>\n\u003cp class=\"p1\">\t\"You have to be careful because footsteps are loud. I mean you bang your foot it's part of the show almost more than any space I've ever been in,\" Nuttall says. \"We should just play barefoot it would be great.\"\u003c/p>\n\u003cp class=\"p2\">\tAll the quartet members are Stanford faculty, and have been helping fine-tune the concert hall's acoustics for months. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp class=\"p1\">\t\"One of the great things about Bing is you hear each other really well, and that's not often the case in halls that are that warm,\" Nuttall says. \" So it's a great combination of clarity on stage and creating this real beautiful bloom in the sound for the audience.\"\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last Friday marked the gala opening of Stanford University's new Bing Concert Hall. It's one of three new Bay Area concert spaces: Weill Hall at Sonoma State opened last fall, and the new SF Jazz Center opens later this month. Combined they've cost about $318 million. All are likely to become big draws for artists and audiences for decades to come.\u003c/p>\n\u003cp class=\"p1\">\tKQED's Cy Musiker took an acoustical tour of two of the halls to learn what makes a premier concert experience.\u003c/p>\n\u003cp class=\"p1\">\t\u003cb>Weill Hall, Sonoma State\u003c/b>\u003c/p>\n\u003cp class=\"p1\">\tLarry Kirkegaard designed the acoustics for \u003ca href=\"http://gmc.sonoma.edu/visit/about-hall/about_Weill_Hall/\" target=\"_blank\" rel=\"noopener\">Weill Hall\u003c/a> in Rohnert Park, a big shoebox of a room with a great pedigree. It's modeled after Ozawa Hall at Tanglewood, the music mecca in western Massachusetts.\u003c/p>\n\u003cp class=\"p1\">\tKirkegaard designed the room to have \"a sound that is really full and full bodied in character, that's articulate so you hear absolutely every subtlety of attack.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp class=\"p2\">\tLast September, Lang Lang played a Chopin \u003ci>ballade\u003c/i> at Weill's inaugural concert. The music sounded crisp, but not shrill, warm, but not muddy. That's basically the goal for Kirkegaard and the other sound designers.\u003c/p>\n\u003cp class=\"p1\">\tWeill Hall features hard surfaces — wood floors and walls backed by hard masonry to better reflect the sound waves. And it features acoustical banners — like curtains — a common feature these days in many halls that can be extended to soften the sound if it's too bright. \u003c/p>\n\u003cp class=\"p2\">\tSo far, musicians are praising the hall.\u003c/p>\n\u003cp class=\"p2\">\t\"It was very exciting, it wasn't completely finished, and everybody loved it,\" said Steve Dibner, the associate principal bassoon player for the San Francisco Symphony. \u003c/p>\n\u003cp class=\"p1\">\tDibner and a few other musicians tested out the room while it was still under construction, and Dibner says it sounded even better when the whole orchestra returned for a concert in December.\u003c/p>\n\u003cp class=\"p1\">\t\"We are expected to make a huge range of sounds, and so I felt this hall responded to the quite intimate whispers and the huge blasts that are possible from a symphony orchestra,\" Dibner said.\u003c/p>\n\u003cp class=\"p1\">\t\u003cb>Bing Concert Hall, Stanford University\u003c/b>\u003c/p>\n\u003cp class=\"p1\">\t\u003ca href=\"http://live.stanford.edu/bingconcerthall/\" target=\"_blank\" rel=\"noopener\">Bing Concert Hall \u003c/a>was designed by Yasuhisa Toyota, who collaborated with architect Frank Gehry on the \u003ca href=\"http://www.laphil.com/philpedia/about-walt-disney-concert-hall\" target=\"_blank\" rel=\"noopener\">Walt Disney Concert Hall\u003c/a> in Los Angeles. He favors what's called a vineyard design, with the seats on a series of rising tiers, like terraced vineyards. On the walls are 10 huge convex screens with a nubby coating designed to both reflect and diffuse the sound. \u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\t\u003ciframe loading=\"lazy\" allowfullscreen=\"\" frameborder=\"0\" height=\"281\" mozallowfullscreen=\"\" src=\"http://player.vimeo.com/video/56115622\" webkitallowfullscreen=\"\" width=\"500\">\u003c/iframe>\n\u003cp>\t\u003ca href=\"http://vimeo.com/56115622\">Bing Concert Hall Fly-Through\u003c/a> from \u003ca href=\"http://vimeo.com/stanfordlive\">Stanford Live\u003c/a> on \u003ca href=\"http://vimeo.com\">Vimeo\u003c/a>.\u003c/p>\u003c/center>\n\u003cp class=\"p1\">\t\"We call them sails. Above there's another enormous elliptical shape. We call that a cloud,\" says Toyota. \"And the stage is like the valley around which all the people of the community cluster to listen to the musicians.\"\u003c/p>\n\u003cp class=\"p1\">\tExecutive Director Wiley Hausam demonstrates one of Bing's most eccentric features.\u003c/p>\n\u003cp class=\"p1\">\t\"This is the Alaskan cedar stage. And go like this,\" he says tapping the floor just off the stage. Then we go out to the stage and tap our feet again. We're greeted by a reverberating \u003ci>boom! boom! boom! \u003c/i>and Hausam laughs\u003c/p>\n\u003cp class=\"p1\">\t\"There's a big cavern of space underneath the stage that creates all that resonance,\" he says. \"Why do you want that? Because it makes a great sound, the softer the sound is here almost the more wonderful it is. \"\u003c/p>\n\u003cp class=\"p2\">\tThat resonant stage is one aspect of the Bing Concert Hall that worries Geoff Nuttall, violinist with the St. Lawrence String Quartet. The quartet's members tend to dance a bit as they play. \u003c/p>\n\u003cp class=\"p1\">\t\"You have to be careful because footsteps are loud. I mean you bang your foot it's part of the show almost more than any space I've ever been in,\" Nuttall says. \"We should just play barefoot it would be great.\"\u003c/p>\n\u003cp class=\"p2\">\tAll the quartet members are Stanford faculty, and have been helping fine-tune the concert hall's acoustics for months. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp class=\"p1\">\t\"One of the great things about Bing is you hear each other really well, and that's not often the case in halls that are that warm,\" Nuttall says. \" So it's a great combination of clarity on stage and creating this real beautiful bloom in the sound for the audience.\"\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Live This Month: January 2013",
"headTitle": "Live This Month: January 2013 | KQED",
"content": "\u003cp>Plenty of local bands are highlighted among this month’s picks, including \u003ca href=\"http://www.facebook.com/kowloonwalledcity\">Kowloon Walled City\u003c/a>, a heavy SF quartet celebrating their new LP, \u003cem>Container Ships\u003c/em>, with a show at the Hemlock Tavern. It’s a great bill from top to bottom, rounded out by SF psych rockers Golden Void and instrumental trio Minot. Meanwhile, after last year’s terrific \u003cem>Under Neon\u003c/em> EP, \u003ca href=\"http://www.facebook.com/LENZsound\">Lenz\u003c/a> is poised to release \u003cem>Ways To End A Day\u003c/em> on 1-2-3-4 Go! Records in January. The band includes members of now-defunct Bay Area groups like The Cuts and Impediments, so it’s no surprise that Lenz’s songs are catchy as hell.\u003c/p>\n\u003cp>With last year’s \u003cem>Light Up Gold\u003c/em> being re-released by What’s Your Rupture? this month, New York punk band \u003ca href=\"http://parquetcourts.wordpress.com/\">Parquet Courts\u003c/a> are headed on their first U.S. tour; songs don’t come much nervier than “Borrowed Time,” which we’ve included in the mix. Unlike Parquet Courts, LA’s \u003ca href=\"http://www.facebook.com/fidlarLA\">FIDLAR\u003c/a> has been to the Bay Area numerous times, delighting crowds with their rowdy surf punk. Their latest show is part of a cross-California jaunt coinciding with the launch of the band’s first self-titled LP.\u003c/p>\n\u003cp>Those highlights just scrape the surface, though; fans of electronic pop, psychy prog rock, and folk music will also find plenty to like in this mix. Enjoy the podcast and then go see some shows!\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/LENZsound\">Lenz\u003c/a> — “Leaving (The 21st Century)”\u003cbr>Playing at \u003ca href=\"http://www.facebook.com/events/179309288880888/\">Monarch\u003c/a> January 10 and headlining a free album release show at \u003ca href=\"http://www.thenewparish.com/\">The New Parish\u003c/a> on January 23\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/warmsoda777\">Warm Soda\u003c/a> — “Spell Bound”\u003cbr>Opening for Thee Oh Sees at The Independent on \u003ca href=\"http://www.theindependentsf.com/event/185709-thee-oh-sees-san-francisco/\">January 11\u003c/a> and \u003ca href=\"http://www.theindependentsf.com/event/185713-thee-oh-sees-san-francisco/\">January 12\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"http://parquetcourts.wordpress.com/\">Parquet Courts\u003c/a> — “Borrowed Time”\u003cbr>Playing January 16 at the \u003ca href=\"http://hemlocktavern.com/prog_guide.php?adate_id=2013-01-16\">Hemlock Tavern\u003c/a> with Andy Human and Fine Steps.\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/fidlarLA\">FIDLAR\u003c/a> — “Cheap Beer”\u003cbr>Touring with Pangea and Meat Market and coming to \u003ca href=\"http://www.amoeba.com/live-shows/upcoming/detail-2460/\">Amoeba SF\u003c/a> and \u003ca href=\"http://www.bottomofthehill.com/calendar.html\">Bottom of the Hill\u003c/a> on January 18.\u003c/p>\n\u003cp>\u003ca href=\"http://solosmusic.bandcamp.com/\">Solos\u003c/a> — “Carpe Diem”\u003cbr>Headlining \u003ca href=\"http://www.bottomofthehill.com/calendar.html\">Bottom of the Hill\u003c/a> on January 10 with E V Kain and San Francesca.\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/kowloonwalledcity\">Kowloon Walled City\u003c/a> — “The Pressure Keeps Me Alive”\u003cbr>Headlining the \u003ca href=\"http://hemlocktavern.com/prog_guide.php?adate_id=2013-01-19\">Hemlock Tavern\u003c/a> in support of their new album, \u003cem>Container Ships\u003c/em>. Minot and Golden Void also perform.\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/radarbrothers\">Radar Brothers\u003c/a> — “If We Were Banished”\u003cbr>Appearing at the \u003ca href=\"http://hemlocktavern.com/prog_guide.php?adate_id=2013-01-31\">Hemlock Tavern\u003c/a> with Michael Zapruder on January 31.\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/pages/White-Fence/109125289153214?fref=ts\">White Fence\u003c/a> — “King of the Decade”\u003cbr>Supporting Ty Segall at \u003ca href=\"http://www.ticketmaster.com/Ty-Segall-tickets/artist/1320937\">The Fillmore\u003c/a> on January 18.\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/pages/Marissa-Nadler/300932499775?fref=ts\">Marissa Nadler\u003c/a> — “Apostle”\u003cbr>Performing at \u003ca href=\"http://www.thechapelsf.com/event/178605-marissa-nadler-entrance-guy-san-francisco/\">The Chapel\u003c/a> with Entrance on January 5.\u003c/p>\n\u003cp>\u003ca href=\"http://bells-music.com/\">Bells\u003c/a> — “Kazoo”\u003cbr>Celebrating the release of a new single on January 10 at the \u003ca href=\"http://www.brickandmortarmusic.com/event/185679-bells-san-francisco/\">Brick & Mortar Music Hall\u003c/a>; Yesway and Zakiya Harris support.\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/nikiandthedove\">Niki & The Dove\u003c/a> — “The Fox”\u003cbr>Coming to \u003ca href=\"http://www.theindependentsf.com/event/185697-niki-dove-san-francisco/\">The Independent\u003c/a> on January 26. Vacationer and DJ Aaron Axelsen also perform.\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/MisterLiesMusic\">Mister Lies\u003c/a> — “Dionysian”\u003cbr>Performing with Giraffage and Some Ember at \u003ca href=\"http://www.bottomofthehill.com/calendar.html\">Bottom of the Hill\u003c/a> on January 11.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/jeffreyjerusalem\">Jeffrey Jerusalem\u003c/a> — “This Week”\u003cbr>Joining Yacht (who is doing a DJ set) at \u003ca href=\"http://www.facebook.com/events/185676388238586/\">“Push the Feeling”\u003c/a> on January 11 at \u003ca href=\"http://yachtdj.eventbrite.com/\">Underground SF\u003c/a>.\u003c/p>\n\n",
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"excerpt": "Listen to \u003ci>The Bay Bridged\u003c/i> mix of bands playing the Bay Area this month, including Lenz, Kowloon Walled City, White Fence, Warm Soda, Mister Lies, and more.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Plenty of local bands are highlighted among this month’s picks, including \u003ca href=\"http://www.facebook.com/kowloonwalledcity\">Kowloon Walled City\u003c/a>, a heavy SF quartet celebrating their new LP, \u003cem>Container Ships\u003c/em>, with a show at the Hemlock Tavern. It’s a great bill from top to bottom, rounded out by SF psych rockers Golden Void and instrumental trio Minot. Meanwhile, after last year’s terrific \u003cem>Under Neon\u003c/em> EP, \u003ca href=\"http://www.facebook.com/LENZsound\">Lenz\u003c/a> is poised to release \u003cem>Ways To End A Day\u003c/em> on 1-2-3-4 Go! Records in January. The band includes members of now-defunct Bay Area groups like The Cuts and Impediments, so it’s no surprise that Lenz’s songs are catchy as hell.\u003c/p>\n\u003cp>With last year’s \u003cem>Light Up Gold\u003c/em> being re-released by What’s Your Rupture? this month, New York punk band \u003ca href=\"http://parquetcourts.wordpress.com/\">Parquet Courts\u003c/a> are headed on their first U.S. tour; songs don’t come much nervier than “Borrowed Time,” which we’ve included in the mix. Unlike Parquet Courts, LA’s \u003ca href=\"http://www.facebook.com/fidlarLA\">FIDLAR\u003c/a> has been to the Bay Area numerous times, delighting crowds with their rowdy surf punk. Their latest show is part of a cross-California jaunt coinciding with the launch of the band’s first self-titled LP.\u003c/p>\n\u003cp>Those highlights just scrape the surface, though; fans of electronic pop, psychy prog rock, and folk music will also find plenty to like in this mix. Enjoy the podcast and then go see some shows!\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/LENZsound\">Lenz\u003c/a> — “Leaving (The 21st Century)”\u003cbr>Playing at \u003ca href=\"http://www.facebook.com/events/179309288880888/\">Monarch\u003c/a> January 10 and headlining a free album release show at \u003ca href=\"http://www.thenewparish.com/\">The New Parish\u003c/a> on January 23\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/warmsoda777\">Warm Soda\u003c/a> — “Spell Bound”\u003cbr>Opening for Thee Oh Sees at The Independent on \u003ca href=\"http://www.theindependentsf.com/event/185709-thee-oh-sees-san-francisco/\">January 11\u003c/a> and \u003ca href=\"http://www.theindependentsf.com/event/185713-thee-oh-sees-san-francisco/\">January 12\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://parquetcourts.wordpress.com/\">Parquet Courts\u003c/a> — “Borrowed Time”\u003cbr>Playing January 16 at the \u003ca href=\"http://hemlocktavern.com/prog_guide.php?adate_id=2013-01-16\">Hemlock Tavern\u003c/a> with Andy Human and Fine Steps.\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/fidlarLA\">FIDLAR\u003c/a> — “Cheap Beer”\u003cbr>Touring with Pangea and Meat Market and coming to \u003ca href=\"http://www.amoeba.com/live-shows/upcoming/detail-2460/\">Amoeba SF\u003c/a> and \u003ca href=\"http://www.bottomofthehill.com/calendar.html\">Bottom of the Hill\u003c/a> on January 18.\u003c/p>\n\u003cp>\u003ca href=\"http://solosmusic.bandcamp.com/\">Solos\u003c/a> — “Carpe Diem”\u003cbr>Headlining \u003ca href=\"http://www.bottomofthehill.com/calendar.html\">Bottom of the Hill\u003c/a> on January 10 with E V Kain and San Francesca.\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/kowloonwalledcity\">Kowloon Walled City\u003c/a> — “The Pressure Keeps Me Alive”\u003cbr>Headlining the \u003ca href=\"http://hemlocktavern.com/prog_guide.php?adate_id=2013-01-19\">Hemlock Tavern\u003c/a> in support of their new album, \u003cem>Container Ships\u003c/em>. Minot and Golden Void also perform.\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/radarbrothers\">Radar Brothers\u003c/a> — “If We Were Banished”\u003cbr>Appearing at the \u003ca href=\"http://hemlocktavern.com/prog_guide.php?adate_id=2013-01-31\">Hemlock Tavern\u003c/a> with Michael Zapruder on January 31.\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/pages/White-Fence/109125289153214?fref=ts\">White Fence\u003c/a> — “King of the Decade”\u003cbr>Supporting Ty Segall at \u003ca href=\"http://www.ticketmaster.com/Ty-Segall-tickets/artist/1320937\">The Fillmore\u003c/a> on January 18.\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/pages/Marissa-Nadler/300932499775?fref=ts\">Marissa Nadler\u003c/a> — “Apostle”\u003cbr>Performing at \u003ca href=\"http://www.thechapelsf.com/event/178605-marissa-nadler-entrance-guy-san-francisco/\">The Chapel\u003c/a> with Entrance on January 5.\u003c/p>\n\u003cp>\u003ca href=\"http://bells-music.com/\">Bells\u003c/a> — “Kazoo”\u003cbr>Celebrating the release of a new single on January 10 at the \u003ca href=\"http://www.brickandmortarmusic.com/event/185679-bells-san-francisco/\">Brick & Mortar Music Hall\u003c/a>; Yesway and Zakiya Harris support.\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/nikiandthedove\">Niki & The Dove\u003c/a> — “The Fox”\u003cbr>Coming to \u003ca href=\"http://www.theindependentsf.com/event/185697-niki-dove-san-francisco/\">The Independent\u003c/a> on January 26. Vacationer and DJ Aaron Axelsen also perform.\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/MisterLiesMusic\">Mister Lies\u003c/a> — “Dionysian”\u003cbr>Performing with Giraffage and Some Ember at \u003ca href=\"http://www.bottomofthehill.com/calendar.html\">Bottom of the Hill\u003c/a> on January 11.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/jeffreyjerusalem\">Jeffrey Jerusalem\u003c/a> — “This Week”\u003cbr>Joining Yacht (who is doing a DJ set) at \u003ca href=\"http://www.facebook.com/events/185676388238586/\">“Push the Feeling”\u003c/a> on January 11 at \u003ca href=\"http://yachtdj.eventbrite.com/\">Underground SF\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Mixtape: Twelve Bay Area Highlights from 2012",
"headTitle": "Mixtape: Twelve Bay Area Highlights from 2012 | KQED",
"content": "\u003cp>“Best of” lists are intrinsically a tricky proposition, but compiling them is made all the more difficult by the San Francisco Bay Area’s rich pool of musical talent. This mix tape compiles twelve of our favorite local performers, all of whom had big years in their respective genres. Limiting the list to twelve meant that a lot of talented folks were left off, but this mix offers a nice sampling of some of the best that 2012 had to offer.\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline;\">\u003cstrong>About the bands:\u003c/strong>\u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"http://ty-segall.com/\">Ty Segall Band\u003c/a> — “Wave Goodbye”\u003cbr>\nTy Segall topped a stellar 2011 with an unbelievable 2012, releasing an album with White Fence (\u003cem>Hair\u003c/em>), a collaboration with his live band (\u003cem>Slaughterhouse\u003c/em>), and a new solo album (\u003cem>Twins\u003c/em>). All that time in the studio, though, didn’t stop Segall’s relentless touring and delivering reliably great live shows. Three albums in one year is crazy enough, but that they’re all so good? Scary.\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/dirtyghosts?fref=ts\">Dirty Ghosts\u003c/a> — “Katana Rock”\u003cbr>\nIt took years after Parchman Farm’s dissolution for Allyson Baker’s new project to release its debut, but it was sure worth the wait. \u003cem>Metal Moon\u003c/em> is a genre-mashing record brimming with energy, and now that Baker’s solidified her bandmates, we’re excited to see where Dirty Ghosts are headed in the future.\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/terrymalts?fref=ts\">Terry Malts\u003c/a> — “Nauseous”\u003cbr>\nOff a couple of seven inches and riotous live shows, Terry Malts were one of our favorite bands of 2011 and stayed one of our favorites in 2012. The release of their debut LP, \u003cem>Killing Time\u003c/em>, this year showcased a lean, winning approach — feedback, super-charged tempos, and Ramones-worthy choruses.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/pages/The-Fresh-Onlys/208978487600?ref=ts&fref=ts\">The Fresh & Onlys\u003c/a> — “Yes or No”\u003cbr>\nMy favorite Fresh & Onlys album used to be the mid-fi pop glory of \u003cem>Grey-Eyed Girls\u003c/em>, until the band released \u003cem>Long Slow Dance\u003c/em>, which confidently soared to remarkable new heights. It’s the cleanest sounding set from the group yet, full of songs that are layered and dynamic while retaining Tim Cohen’s touching sense of melancholy.\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/BlackbirdBlackbirdSF?fref=ts\">Blackbird Blackbird\u003c/a> — “Tear”\u003cbr>\nSF’s Mikey Maramag served up lush, beat-driven songs on 2012’s \u003cem>Boracay Planet\u003c/em>, blending organic and electronic sounds into tracks suited equally well for a set of headphones or the dancefloor. An upcoming tour with Starfucker is just the latest high profile slot for this young talent.\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/SocialStudies101?fref=ts\">Social Studies\u003c/a> — “Away For The Weekend”\u003cbr>\nWith \u003cem>Developer\u003c/em>, their second full length, Social Studies crafted one of the year’s best indie pop albums. Between Natalia Rogovin’s compelling vocals and the group’s tight musicianship, it’s a mature, thoughtful batch of songs that should win them plenty of new fans.\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/friendzonemusic\">Friendzone\u003c/a> — “!!-MAJOR”\u003cbr>\nOur \u003ca href=\"http://www.thebaybridged.com/2012/04/20/mixtape-checking-out-new-bay-area-hip-hop-podcast-277/\">Bay Area rap mixtape\u003c/a> was one of our more popular podcasts this year, and a lot of that had to do with the work of Friendzone. This Oakland duo has produced some of our favorite songs for Main Attrakionz and others, and the flawless \u003cem>Collection I\u003c/em> underscored the depth of their instrumental compositions. Hopefully, the duo’s song on A$AP Rocky’s anticipated major label debut is the first step in a lot of long overdue recognition.\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/pages/Antwon/226867997346451?ref=ts&fref=ts\">Antwon\u003c/a> — “Living Every Dream”\u003cbr>\nThe Bay Area has a wealth of rappers with unique personalities, but Antwon emerged as the year’s most promising. The San Jose rapper’s \u003cem>End of Earth\u003c/em> mixtape had an eclectic set of beats that were weird or catchy or, most excitingly, often both, and his funny, vulgar, and dark lyrics offer a welcome unpredictability.\u003c/p>\n\u003cp>\u003ca href=\"http://www.ceremonyhc.com/\">Ceremony\u003c/a> — “Hysteria”\u003cbr>\nIt was something of a surprise when Matador Records announced that they’d signed Rohnert Park hardcore band Ceremony. Their debut for the label, \u003cem>Zoo\u003c/em>, which arrived in March, showed that the band had retained its intensity amid the heightened profile, and backed it up with relentless touring throughout the year.\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/goldenvoid?fref=ts\">Golden Void\u003c/a> — “1983… (A Merman I Should Turn to Be)” (Jimi Hendrix Experience cover)\u003cbr>\nGiven the band members’ backgrounds in Earthless, Roots of Orchis, and Assemble Head in Sunburst Sound, it wasn’t much of a surprise that Golden Void’s debut rocked, but the LP was a welcome chance to hear Isaiah Mitchell as a strong vocalist in addition to a phenomenal guitar player. The band’s psychy jams have a nice vintage feel, and the solos are killer — what more could you want?\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/jessicalynnpratt?fref=ts\">Jessica Pratt\u003c/a> — “Night Faces”\u003cbr>\nThat White Fence’s Tim Presley set up a record label to release Jessica Pratt’s debut album should be the only endorsement one needs to offer. Give this self-titled record a listen, and you’ll find stellar psych-folk that rewards — and demands — close listening, and the emergence of an amazing new SF talent.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/pages/The-Mallard/102026253183781?fref=ts\">The Mallard\u003c/a> — “There She Goes Again” (Velvet Underground cover)\u003cbr>\nDid any Bay Area band play more local shows this year than The Mallard? Was any band as reliably entertaining live? That The Mallard fit so well alongside so many other bands speaks to the power of the group’s idiosyncratic, stripped down rock and roll. Here’s to expecting more people to get wise to this band, and the great \u003cem>Yes on Blood\u003c/em>, in 2013.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Best of” lists are intrinsically a tricky proposition, but compiling them is made all the more difficult by the San Francisco Bay Area’s rich pool of musical talent. This mix tape compiles twelve of our favorite local performers, all of whom had big years in their respective genres. Limiting the list to twelve meant that a lot of talented folks were left off, but this mix offers a nice sampling of some of the best that 2012 had to offer.\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline;\">\u003cstrong>About the bands:\u003c/strong>\u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"http://ty-segall.com/\">Ty Segall Band\u003c/a> — “Wave Goodbye”\u003cbr>\nTy Segall topped a stellar 2011 with an unbelievable 2012, releasing an album with White Fence (\u003cem>Hair\u003c/em>), a collaboration with his live band (\u003cem>Slaughterhouse\u003c/em>), and a new solo album (\u003cem>Twins\u003c/em>). All that time in the studio, though, didn’t stop Segall’s relentless touring and delivering reliably great live shows. Three albums in one year is crazy enough, but that they’re all so good? Scary.\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/dirtyghosts?fref=ts\">Dirty Ghosts\u003c/a> — “Katana Rock”\u003cbr>\nIt took years after Parchman Farm’s dissolution for Allyson Baker’s new project to release its debut, but it was sure worth the wait. \u003cem>Metal Moon\u003c/em> is a genre-mashing record brimming with energy, and now that Baker’s solidified her bandmates, we’re excited to see where Dirty Ghosts are headed in the future.\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/terrymalts?fref=ts\">Terry Malts\u003c/a> — “Nauseous”\u003cbr>\nOff a couple of seven inches and riotous live shows, Terry Malts were one of our favorite bands of 2011 and stayed one of our favorites in 2012. The release of their debut LP, \u003cem>Killing Time\u003c/em>, this year showcased a lean, winning approach — feedback, super-charged tempos, and Ramones-worthy choruses.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/pages/The-Fresh-Onlys/208978487600?ref=ts&fref=ts\">The Fresh & Onlys\u003c/a> — “Yes or No”\u003cbr>\nMy favorite Fresh & Onlys album used to be the mid-fi pop glory of \u003cem>Grey-Eyed Girls\u003c/em>, until the band released \u003cem>Long Slow Dance\u003c/em>, which confidently soared to remarkable new heights. It’s the cleanest sounding set from the group yet, full of songs that are layered and dynamic while retaining Tim Cohen’s touching sense of melancholy.\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/BlackbirdBlackbirdSF?fref=ts\">Blackbird Blackbird\u003c/a> — “Tear”\u003cbr>\nSF’s Mikey Maramag served up lush, beat-driven songs on 2012’s \u003cem>Boracay Planet\u003c/em>, blending organic and electronic sounds into tracks suited equally well for a set of headphones or the dancefloor. An upcoming tour with Starfucker is just the latest high profile slot for this young talent.\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/SocialStudies101?fref=ts\">Social Studies\u003c/a> — “Away For The Weekend”\u003cbr>\nWith \u003cem>Developer\u003c/em>, their second full length, Social Studies crafted one of the year’s best indie pop albums. Between Natalia Rogovin’s compelling vocals and the group’s tight musicianship, it’s a mature, thoughtful batch of songs that should win them plenty of new fans.\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/friendzonemusic\">Friendzone\u003c/a> — “!!-MAJOR”\u003cbr>\nOur \u003ca href=\"http://www.thebaybridged.com/2012/04/20/mixtape-checking-out-new-bay-area-hip-hop-podcast-277/\">Bay Area rap mixtape\u003c/a> was one of our more popular podcasts this year, and a lot of that had to do with the work of Friendzone. This Oakland duo has produced some of our favorite songs for Main Attrakionz and others, and the flawless \u003cem>Collection I\u003c/em> underscored the depth of their instrumental compositions. Hopefully, the duo’s song on A$AP Rocky’s anticipated major label debut is the first step in a lot of long overdue recognition.\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/pages/Antwon/226867997346451?ref=ts&fref=ts\">Antwon\u003c/a> — “Living Every Dream”\u003cbr>\nThe Bay Area has a wealth of rappers with unique personalities, but Antwon emerged as the year’s most promising. The San Jose rapper’s \u003cem>End of Earth\u003c/em> mixtape had an eclectic set of beats that were weird or catchy or, most excitingly, often both, and his funny, vulgar, and dark lyrics offer a welcome unpredictability.\u003c/p>\n\u003cp>\u003ca href=\"http://www.ceremonyhc.com/\">Ceremony\u003c/a> — “Hysteria”\u003cbr>\nIt was something of a surprise when Matador Records announced that they’d signed Rohnert Park hardcore band Ceremony. Their debut for the label, \u003cem>Zoo\u003c/em>, which arrived in March, showed that the band had retained its intensity amid the heightened profile, and backed it up with relentless touring throughout the year.\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/goldenvoid?fref=ts\">Golden Void\u003c/a> — “1983… (A Merman I Should Turn to Be)” (Jimi Hendrix Experience cover)\u003cbr>\nGiven the band members’ backgrounds in Earthless, Roots of Orchis, and Assemble Head in Sunburst Sound, it wasn’t much of a surprise that Golden Void’s debut rocked, but the LP was a welcome chance to hear Isaiah Mitchell as a strong vocalist in addition to a phenomenal guitar player. The band’s psychy jams have a nice vintage feel, and the solos are killer — what more could you want?\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/jessicalynnpratt?fref=ts\">Jessica Pratt\u003c/a> — “Night Faces”\u003cbr>\nThat White Fence’s Tim Presley set up a record label to release Jessica Pratt’s debut album should be the only endorsement one needs to offer. Give this self-titled record a listen, and you’ll find stellar psych-folk that rewards — and demands — close listening, and the emergence of an amazing new SF talent.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/pages/The-Mallard/102026253183781?fref=ts\">The Mallard\u003c/a> — “There She Goes Again” (Velvet Underground cover)\u003cbr>\nDid any Bay Area band play more local shows this year than The Mallard? Was any band as reliably entertaining live? That The Mallard fit so well alongside so many other bands speaks to the power of the group’s idiosyncratic, stripped down rock and roll. Here’s to expecting more people to get wise to this band, and the great \u003cem>Yes on Blood\u003c/em>, in 2013.\u003c/p>\n\n\u003c/div>\u003c/p>",
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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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"meta": {
"site": "radio",
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},
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"rss": "https://feeds.npr.org/510312/podcast.xml"
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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",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
"forum": {
"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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},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"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/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"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.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/fresh-air/",
"meta": {
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
"airtime": "MON-THU 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
}
},
"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.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"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": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"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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"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"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",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"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",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"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",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"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"
}
},
"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)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"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": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"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/",
"meta": {
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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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"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"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",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
"site": "radio",
"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
}
},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"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.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
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