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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But there’s also a softer, milder side to Sleigh Bells. On the perfectly feminine “Run the Heart,” Krauss coos, “You wanna hang your name on me,” before telling her latest suitor that he can’t handle her. And on “Rill Rill,” which features a downright \u003ca href=\"http://www.youtube.com/watch?v=8rrOdcnFbAY\">groovy Funkadelic sample\u003c/a>, the band manages to stick an ominous reference to the devil’s call sign (666) and the Pentagon right alongside a ridiculously amusing line like: “Wonder what your boyfriend thinks about your braces.”\u003c/p>\n\u003cp>There’s a certain adolescent playfulness all over \u003cb>Treats\u003c/b> and the album’s cover art speaks directly to that. At first glance, it’s an ordinary scene ripped from a high school yearbook: a pyramid of spunky cheerleaders armed with pom-poms. But, on closer inspection, their faces appear to have melted off. This corrupted pep is what Sleigh Bells is all about: each song is skeletally a pop melody that is then warped and violated by thunderous synth explosions, chain saws, and intergalactic gunfights. It’s as if a hardcore sensibility infected the air of a pep rally: out of nowhere, the rahs become roars and the cheerleaders start punching each other out. If only high school could have been this entertaining.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Treats\u003c/b> is available on iTunes right now for only $6.99. Buy it, if your ears can handle it.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Representing some truth in advertising, San Francisco’s \u003ca href=\"http://www.myspace.com/moonduo\">Moon Duo\u003c/a> is a duo, although \u003cstrong>Escape\u003c/strong>, the band’s full length debut, finds them exploring spaced-out rock terrain well beyond our solar system. The group, comprised of guitarist/vocalist Eric “Ripley” Johnson and keyboardist Sanae Yamada, have released a handful of records since forming last year, no small feat considering that Johnson is also one-fourth of acclaimed SF psych-rock band Wooden Shjips.\u003c/p>\n\u003cp>“Motorcycle, I Love You” kicks off \u003cstrong>Escape\u003c/strong>‘s Side A, luring listeners in with a metronomic drum pattern and a wobbly bass line before simple, repetitive guitar and keyboard lines give way to freeform sonic workouts. This is an album powered by German-engineered rhythms, pushing forward with an unrelenting heft. Each song flirts, to varying degrees, with melodic rock narratives, but Johnson’s vocals are buried in the mix, and he and Yamada seem far more interested in moving forward than revisiting familiar refrains. This approach will either bowl you over or shove you away, depending on your interest in the ebbs and flows of distorted guitar and synths.\u003c/p>\n\u003cp>\u003cstrong>Escape\u003c/strong>‘s perpetual motion might make it easy to miss some of the nuances, but “In The Trees” steps back from the churn, showcasing melodic grooves that are as brooding as the song’s thick electric layers are blistering. Once again, there are initially muffled lyrics and a vocal melody, but these are but jumping off points for the band’s real interest: a two-headed psych-drone assault that finds Johnson’s warped six-string roaming as Yamada creates sweeping synth oscillations. Headphones are probably the best way to experience the nuanced push-and-pull at work here, and the reward is a head-spinning back-and-forth dialogue of sounds.\u003c/p>\n\u003cp>Fans of Wooden Shjips’ repetitive, minimalistic songwriting will find some similar aesthetic sensibilities at work in \u003cstrong>Escape\u003c/strong>‘s sparse structures. But while the Shijps called to mind a specific segment of classic psych rock with haunting organs and Ripley’s echoey vocals, Moon Duo feels considerably more freeform, and its jams suggest traces of the past several decades of rock music. Underneath all of the noise, the influence of melodic drone-rock pioneers The Velvet Underground is inescapable, while the band’s primitive beats recall Suicide minus some of that duo’s art-punk nihilism. There are even hints of Jesus and Mary Chain early on in “Escape,” before that song expands into the stratosphere.\u003c/p>\n\u003cp>An invented game of “spot the reference,” however, would entirely miss the point. \u003cstrong>Escape\u003c/strong>‘s power doesn’t derive from any particular aural sense-memory it triggers, but from its bold four-song declaration that a two-member band can transcend minimalist forms to create a consistently hypnotic exploration of mind-expanding rock bliss.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Moon Duo will be performing at \u003ca href=\"http://www.myspace.com/maximumfreedom\">Operation: Restore Maximum Freedom IX\u003c/a> in Woodland on May 23, 2010 and at the \u003ca href=\"http://www.henrymiller.org/\">Henry Miller Library\u003c/a> in Big Sur on June 12.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Ben Van Houten is the Programming Director of \u003ca href=\"http://www.thebaybridged.com\">The Bay Bridged\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Representing some truth in advertising, San Francisco’s \u003ca href=\"http://www.myspace.com/moonduo\">Moon Duo\u003c/a> is a duo, although \u003cstrong>Escape\u003c/strong>, the band’s full length debut, finds them exploring spaced-out rock terrain well beyond our solar system. The group, comprised of guitarist/vocalist Eric “Ripley” Johnson and keyboardist Sanae Yamada, have released a handful of records since forming last year, no small feat considering that Johnson is also one-fourth of acclaimed SF psych-rock band Wooden Shjips.\u003c/p>\n\u003cp>“Motorcycle, I Love You” kicks off \u003cstrong>Escape\u003c/strong>‘s Side A, luring listeners in with a metronomic drum pattern and a wobbly bass line before simple, repetitive guitar and keyboard lines give way to freeform sonic workouts. This is an album powered by German-engineered rhythms, pushing forward with an unrelenting heft. Each song flirts, to varying degrees, with melodic rock narratives, but Johnson’s vocals are buried in the mix, and he and Yamada seem far more interested in moving forward than revisiting familiar refrains. This approach will either bowl you over or shove you away, depending on your interest in the ebbs and flows of distorted guitar and synths.\u003c/p>\n\u003cp>\u003cstrong>Escape\u003c/strong>‘s perpetual motion might make it easy to miss some of the nuances, but “In The Trees” steps back from the churn, showcasing melodic grooves that are as brooding as the song’s thick electric layers are blistering. Once again, there are initially muffled lyrics and a vocal melody, but these are but jumping off points for the band’s real interest: a two-headed psych-drone assault that finds Johnson’s warped six-string roaming as Yamada creates sweeping synth oscillations. Headphones are probably the best way to experience the nuanced push-and-pull at work here, and the reward is a head-spinning back-and-forth dialogue of sounds.\u003c/p>\n\u003cp>Fans of Wooden Shjips’ repetitive, minimalistic songwriting will find some similar aesthetic sensibilities at work in \u003cstrong>Escape\u003c/strong>‘s sparse structures. But while the Shijps called to mind a specific segment of classic psych rock with haunting organs and Ripley’s echoey vocals, Moon Duo feels considerably more freeform, and its jams suggest traces of the past several decades of rock music. Underneath all of the noise, the influence of melodic drone-rock pioneers The Velvet Underground is inescapable, while the band’s primitive beats recall Suicide minus some of that duo’s art-punk nihilism. There are even hints of Jesus and Mary Chain early on in “Escape,” before that song expands into the stratosphere.\u003c/p>\n\u003cp>An invented game of “spot the reference,” however, would entirely miss the point. \u003cstrong>Escape\u003c/strong>‘s power doesn’t derive from any particular aural sense-memory it triggers, but from its bold four-song declaration that a two-member band can transcend minimalist forms to create a consistently hypnotic exploration of mind-expanding rock bliss.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Moon Duo will be performing at \u003ca href=\"http://www.myspace.com/maximumfreedom\">Operation: Restore Maximum Freedom IX\u003c/a> in Woodland on May 23, 2010 and at the \u003ca href=\"http://www.henrymiller.org/\">Henry Miller Library\u003c/a> in Big Sur on June 12.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Ben Van Houten is the Programming Director of \u003ca href=\"http://www.thebaybridged.com\">The Bay Bridged\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Whatever you want to call them, at present they prefer Thee Oh Sees, but that’s really subject to change at any moment (they’ve been The Ohsees, OCS, Orange County Sound and Orinoka Crash Suite in the past), one thing you have to appreciate about the San Francisco band is the sheer \u003ci>volume\u003c/i> of their work. They produce the kind of hyperactive, reverb-bleeding garage rock that you want to listen to turned all the way up to 11. And they produce a lot of it. \u003cb>Warm Slime\u003c/b>, out Tuesday, May 11, 2010, is the band’s eleventh full-length album (that number doesn’t include an additional six EPs and seven 7-inches).\u003c/p>\n\u003cp>With that much music to their name, Thee Oh Sees have certainly earned the right to call themselves whatever they want. The band started life as an experimental outlet for lead singer John Dwyer, who has fronted a number of other projects, including Pink and Brown and the Coachwhips, and it continues to push itself to occupy different musical spaces. The band has taken a variety of forms over the years, but it currently consists of four members — Dwyer, who plays guitar and provides the majority of the (largely unintelligible) vocals, Brigid Dawson, who contributes supporting vocals and plays the keyboard, Petey Dammit on guitar, and Mike Shoun on drums.\u003c/p>\n\u003cp>Like the band itself, their eleventh studio-album is something of a shape-shifter. It opens with a title track that clocks in at an impressive \u003ci>thirteen\u003c/i> minutes and thirty seconds. “Warm Slime” starts with a whistle, before descending with a crash into two buzzy guitar-driven minutes, punctured at intervals with a howling refrain. Around minute three it begins to slow, elements gradually fading into the background until there is only a whispery chant to a soft tapping. The song picks up again, slows again, picks up again, slows it down once more — all the while treating the listener to a rollicking, detail-filled aural experience.\u003c/p>\n\u003cp>When the first track comes to a close, you might start to wonder what the band could still have up its sleeve. Not to worry, \u003cb>Warm Slime\u003c/b> has a few other treats in store — the clangy, jangly delight “I Was Denied;” the lovely, howly, military-march “Everything Went Black;” and “Castiatic Tackle,” a surf-rock piece that recalls The Surfari’s 1962 class “Wipe Out,” just in time for summer.\u003c/p>\n\u003cp>\u003cb>Warm Slime\u003c/b> is out May 11. For \u003ca href=\"http://www.myspace.com/ohsees\">tour-dates and more information\u003c/a> visit Thee Oh Sees on Myspace.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Whatever you want to call them, at present they prefer Thee Oh Sees, but that’s really subject to change at any moment (they’ve been The Ohsees, OCS, Orange County Sound and Orinoka Crash Suite in the past), one thing you have to appreciate about the San Francisco band is the sheer \u003ci>volume\u003c/i> of their work. They produce the kind of hyperactive, reverb-bleeding garage rock that you want to listen to turned all the way up to 11. And they produce a lot of it. \u003cb>Warm Slime\u003c/b>, out Tuesday, May 11, 2010, is the band’s eleventh full-length album (that number doesn’t include an additional six EPs and seven 7-inches).\u003c/p>\n\u003cp>With that much music to their name, Thee Oh Sees have certainly earned the right to call themselves whatever they want. The band started life as an experimental outlet for lead singer John Dwyer, who has fronted a number of other projects, including Pink and Brown and the Coachwhips, and it continues to push itself to occupy different musical spaces. The band has taken a variety of forms over the years, but it currently consists of four members — Dwyer, who plays guitar and provides the majority of the (largely unintelligible) vocals, Brigid Dawson, who contributes supporting vocals and plays the keyboard, Petey Dammit on guitar, and Mike Shoun on drums.\u003c/p>\n\u003cp>Like the band itself, their eleventh studio-album is something of a shape-shifter. It opens with a title track that clocks in at an impressive \u003ci>thirteen\u003c/i> minutes and thirty seconds. “Warm Slime” starts with a whistle, before descending with a crash into two buzzy guitar-driven minutes, punctured at intervals with a howling refrain. Around minute three it begins to slow, elements gradually fading into the background until there is only a whispery chant to a soft tapping. The song picks up again, slows again, picks up again, slows it down once more — all the while treating the listener to a rollicking, detail-filled aural experience.\u003c/p>\n\u003cp>When the first track comes to a close, you might start to wonder what the band could still have up its sleeve. Not to worry, \u003cb>Warm Slime\u003c/b> has a few other treats in store — the clangy, jangly delight “I Was Denied;” the lovely, howly, military-march “Everything Went Black;” and “Castiatic Tackle,” a surf-rock piece that recalls The Surfari’s 1962 class “Wipe Out,” just in time for summer.\u003c/p>\n\u003cp>\u003cb>Warm Slime\u003c/b> is out May 11. For \u003ca href=\"http://www.myspace.com/ohsees\">tour-dates and more information\u003c/a> visit Thee Oh Sees on Myspace.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>This month The Besnard Lakes’ heavy shoegaze is sure to create a “roaring night,” SF Popfest showcases all things indie pop and beyond, and Fool’s Gold offer up a truly global rock sound to celebrate Shavuot.\u003c/p>\n\u003cp>We’re now quickly approaching a point where the number of bands described with reference to The Beach Boys will eclipse the number of bands prefaced otherwise. And while there’s a strongly Wilsonian feel to Jace Lasek’s falsetto on \u003ca href=\"http://www.myspace.com/thebesnardlakes\">The Besnard Lakes\u003c/a>‘ latest record, \u003cstrong>The Besnard Lakes Are The Roaring Night\u003c/strong>, the hints of California pop are consumed by a truly massive sense of space, precisely defined and filled with sounds informed by prog rock, shoegaze and psych. The album was developed in the studio by Lasek and wife Olga Goreas, the core of the Montreal band since its inception, and the obsessive sonic construction amplifies the intensity of big songs like the magnetic single, \u003ca href=\"http://www.scjag.com/mp3/jag/albatross.mp3\">“Albatross.”\u003c/a> How will such a massive record translate live? Find out at \u003ca href=\"http://www.theindependentsf.com/\">The Independent\u003c/a> May 10.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=xYIFj5ZkZCU&hl=en_US&fs=1&],br />\u003c/p>\n\u003cp>Additional great shows taking place in SF within the next thirty days:\u003cbr>May 23: \u003ca href=\"http://www.myspace.com/emilyjanewhite\">Emily Jane White\u003c/a> celebrates the release of \u003cb>Victorian America\u003c/b>, her second album of haunting gothic folk, at \u003ca href=\"http://www.cafedunord.com/\">Cafe Du Nord\u003c/a>, with fellow locals \u003ca href=\"http://www.myspace.com/slowmovin\">Slow Motion Cowboys\u003c/a> and \u003ca href=\"http://www.myspace.com/buildingsofheart\">Devotionals\u003c/a>. White’s new record was \u003ca href=\"www.kqed.org/arts/music/index.jsp?id=29209\">recently reviewed\u003c/a> on \u003cb>KQED Arts\u003c/b>.\u003c/p>\n\u003cp>May 14: \u003ca href=\"http://www.myspace.com/pyramidddmusic\">Starf***er\u003c/a> is once again Starf***er, after flirting with a few more radio-friendly monikers, and they’re at the \u003ca href=\"http://www.rickshawstop.com/\">Rickshaw Stop\u003c/a> on May 14. The electro-prog-pop band has been working on a long-awaited full length for some time now, following last year’s new songs/leftovers record, \u003cstrong>Jupiter\u003c/strong>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Ben Van Houten is the Programming Director at \u003ca href=\"http://www.thebaybridged.com\">The Bay Bridged\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This month The Besnard Lakes’ heavy shoegaze is sure to create a “roaring night,” SF Popfest showcases all things indie pop and beyond, and Fool’s Gold offer up a truly global rock sound to celebrate Shavuot.\u003c/p>\n\u003cp>We’re now quickly approaching a point where the number of bands described with reference to The Beach Boys will eclipse the number of bands prefaced otherwise. And while there’s a strongly Wilsonian feel to Jace Lasek’s falsetto on \u003ca href=\"http://www.myspace.com/thebesnardlakes\">The Besnard Lakes\u003c/a>‘ latest record, \u003cstrong>The Besnard Lakes Are The Roaring Night\u003c/strong>, the hints of California pop are consumed by a truly massive sense of space, precisely defined and filled with sounds informed by prog rock, shoegaze and psych. The album was developed in the studio by Lasek and wife Olga Goreas, the core of the Montreal band since its inception, and the obsessive sonic construction amplifies the intensity of big songs like the magnetic single, \u003ca href=\"http://www.scjag.com/mp3/jag/albatross.mp3\">“Albatross.”\u003c/a> How will such a massive record translate live? Find out at \u003ca href=\"http://www.theindependentsf.com/\">The Independent\u003c/a> May 10.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/xYIFj5ZkZCU'\n title='//www.youtube.com/embed/xYIFj5ZkZCU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>,br />\u003c/p>\n\u003cp>Additional great shows taking place in SF within the next thirty days:\u003cbr>May 23: \u003ca href=\"http://www.myspace.com/emilyjanewhite\">Emily Jane White\u003c/a> celebrates the release of \u003cb>Victorian America\u003c/b>, her second album of haunting gothic folk, at \u003ca href=\"http://www.cafedunord.com/\">Cafe Du Nord\u003c/a>, with fellow locals \u003ca href=\"http://www.myspace.com/slowmovin\">Slow Motion Cowboys\u003c/a> and \u003ca href=\"http://www.myspace.com/buildingsofheart\">Devotionals\u003c/a>. White’s new record was \u003ca href=\"www.kqed.org/arts/music/index.jsp?id=29209\">recently reviewed\u003c/a> on \u003cb>KQED Arts\u003c/b>.\u003c/p>\n\u003cp>May 14: \u003ca href=\"http://www.myspace.com/pyramidddmusic\">Starf***er\u003c/a> is once again Starf***er, after flirting with a few more radio-friendly monikers, and they’re at the \u003ca href=\"http://www.rickshawstop.com/\">Rickshaw Stop\u003c/a> on May 14. The electro-prog-pop band has been working on a long-awaited full length for some time now, following last year’s new songs/leftovers record, \u003cstrong>Jupiter\u003c/strong>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>It’s fairly likely that you have never heard of Emily Jane White or her music, even though she is native to these parts (she grew up in Fort Bragg on the Mendocino coast, went to UC Santa Cruz, and lives in the Bay Area). Her first album, \u003cb>Dark Undercoat\u003c/b>, was released in 2007 to critical acclaim and spawned a loyal, but limited following. She may not have name recognition in the states just yet, but that isn’t the case in other parts of the globe: the French really, really dig her. With the release of her second album, \u003cb>Victorian America\u003c/b>, which she recorded over three years in San Francisco and Oakland, she is bound to get the attention from her fellow countrymen that she deserves.\u003c/p>\n\u003cp>In the album opener “Never Dead,” we meet White on a particularly hard night on which “bad news blew right through [her].” Over mournful guitar chords, she pleads with the morning sun to come and wipe the sorrow away. Pretty somber territory for the first number, but White manages to instantly transport her listener to that particular dark corner of the heart. The mood does pick up though with “Stairs,” a winding song that swerves and swells as it progresses, its tempo seamlessly morphing into something unexpected over and over again.\u003c/p>\n\u003cp>More surprising than tempo shifts is White’s subject matter. On the twangy “Victorian America,” she melds the plight of women in the Victorian era with the cataclysmic aftermath of Hurricane Katrina. Say what? Those two topics don’t seem like likely bedfellows, but she somehow makes it work. White sings of the women who lost themselves to Victorian era sexism and of the hurricane survivors who lost their homes as well as their hope in their country. “A giant flood took Louisiana but it took more than the city of New Orleans,” she sings matter-of-factly in her trademark smokey voice. Other powerful tracks worth a listen are the thunderstormy “Liza” and the gothic “A Shot Rang Out.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I’m drawn to writing sad songs. It’s not my job to create happy music. I’m okay with that,” White admits. And, listening to this pack of bluesy songs, we come to accept that fact as well. Each song explores what White calls “the shadow side of life” — the things that people are afraid to confront — whether that’s death, injustice, or decaying love. She does all of this beautifully of course, but, toward the end of the album, all the heartache starts to take its toll. No one said being sad was easy, but Emily Jane White sure makes it look that way.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Victorian America\u003c/b> is out now. Catch Emily Jane White at \u003ca href=\"http://www.hemlocktavern.com/calendar.php\">the Hemlock\u003c/a> on April 29, 2010 at 8pm.\u003c/p>\n\n",
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"content": "\u003cp>Pianist Yuja Wang made a sensational San Francisco Symphony debut in 2007 playing Beethoven’s Piano Concerto #2, when she was just 19 years old. She returned to Davies Symphony Hall two years later to play Prokofiev’s knuckle-busting second Piano Concerto, and in June she’ll be back to play Ravel, Stravinsky and Poulenc. If that weren’t enough, she has also played a couple of solo recitals, Mendelssohn with the Academy of St. Martin-in-the-Fields, and possibly also shortstop with the A’s for a few innings. This is an awful lot of concerts in one market for such a young artist in such a short period of time. But the amazing part about this phenomenon is that, even if you had heard every note, it would have been worth hearing, and re-hearing. Wang is an extraordinary pianist on the cusp of an extraordinary career, and you have another chance to catch her in solo recital when San Francisco Performances brings the pianist to the Herbst Theater Thursday, April 22 at 8pm. \u003cb>NOTE: THIS THURSDAY APRIL 22 RECITAL WAS CANCELED ON APRIL 20, 2010; RESCHEDULED FOR SUNDAY JUNE 20 AT THE HERBST THEATRE.\u003c/b>\u003c/p>\n\u003cp>I can’t remember too many other times I have been as astonished by a new artist as I was when I heard Yuja Wang at that Beethoven concert in 2007. (\u003ci>SF Chronicle\u003c/i> critic Joshua Kosman thought so, too; it was one of his \u003ca href=\"http://%20http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2007/12/30/PKCMTTRJ3.DTL/\">Top 10 Classical Music Events of the Year\u003c/a>) It was the same feeling I had when I first heard violinist Julia Fischer a couple of years earlier: here was not just another teenager with awesome technique, but a real, maturing artist with something important to say. The Beethoven was not just flashy, but full of nuance, tender at times, ferocious when it needed to be. Then she came back two years later and blew the doors off Davies Symphony Hall with the Prokofiev Piano Concerto #2. It’s one of the hardest concertos ever written, and she was not only dazzling in the fast passages, but the power she generated with those rail-thin arms was astonishing. Lots of critics have said it, and it’s part of her publicity materials, but it’s true: she is redefining how well the piano can be played.\u003c/p>\n\u003cp>Check out this \u003ca href=\"http://%20http://www.youtube.com/watch?v=j1fgo7hp-Ko/\"> YouTube video\u003c/a> of Yuja backstage before a concert, playing Arcadi Volodos’ arrangement of Mozart’s “Turkish Rondo.” This is one of those insane piano pieces that someone would play only to prove that they can, but she knocks it out for a warm-up piece! (Note the pink cell phone on the piano — nice touch.)\u003c/p>\n\u003cp>Yuja Wang’s first CD, \u003cb>Sonatas and Etudes\u003c/b>, which came out in 2009, was nominated for a Grammy Award; the new one comes out this week, and it’s called \u003cb>Transformations\u003c/b>, a title which not only describes the music (Stravinsky, Scarlatti, Brahms and Ravel) but her career as well, which is quickly becoming one of legend. Wang was born in Beijing, started piano lessons when she was six, won the Aspen Music Festival concerto competition in 2002 at age 15, then moved to the US to study with Gary Graffman at the Curtis Institute in Philadelphia. Six years later she won the Gilmore Young Artist Award, one of the most prestigious honors in music. This is a prize you don’t compete for; your career is “discreetly” evaluated over a period of time by an Artistic Advisory Committee, and then one day someone calls you up to tell you you’ve won. It’s kind of like having a musical Fairy Godmother transform your career.\u003c/p>\n\u003cp> I do find it curious that the music she’s playing in this concert has nothing to do with either one of her CDs. (Classical musicians have only recently caught on to the idea of “supporting the album” that pop stars have subscribed to for years, touring with the music on your latest release.) It really doesn’t matter, though. Schumann, Scriabin, Prokofiev, and Liszt’s transcriptions of Schubert songs all require a combination of power and passion that is very rare to find, but which Yuja Wang most definitely has. With any luck, you’ll have many more chances to hear this remarkable artist grow (including next season with the San Francisco Symphony), but there’s still time to say “I heard her when…” \u003cb>Yuja Wang\u003c/b> plays the Herbst Theater on Thursday, April 22, 2010 at 8pm. For \u003ca href=\"http://performances.org/performances/0910/wang.html\">ticketsand information\u003c/a> visit performances.org.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>San Francisco band Photons is a seven-person group that first caught our ears with their self-titled debut EP of Brit-influenced chamber pop. The band began as a new project for drummer Calvin Liu, who found kinship with a talented group of multi-instrumentalists and, perhaps improbably, former metal singer James Parrish. \u003cb>The Glory!\u003c/b> EP followed \u003cb>Photons\u003c/b> in 2009, further showcasing the band’s knack for rich, crazy-catchy orchestral pop, and built anticipation for their first full length record.\u003c/p>\n\u003cp>And now here’s the bad news. Just as we are featuring them on the podcast comes news that the group is breaking up, releasing the new full length at their final show at the beginning of May. It’s a sad development for indie pop fans, but they’ve given us with some terrific music during their existence, and we hope the band’s members will find new projects soon.\u003c/p>\n\u003cp>We sat down with Photons in January to discuss their beginnings, as well as what to expect on their first full length album. We’ve also included four songs from Photons’ catalog, including a brand new one, in the show.\u003c/p>\n\u003cp>\u003cb>Upcoming Shows:\u003c/b>\u003cbr>Friday, April 23, 2010\u003cbr>House of Shields\u003cbr>with Odd Owl\u003cbr>10pm, $5\u003c/p>\n\u003cp>Friday, May 1, 2010\u003cbr>Make-Out Room\u003cbr>with Tremor Low (Photons’ Final Show and CD Release Party!)\u003cbr>7:30pm, $7\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>Art and music have long had a complementary relationship in San Francisco. In the 1960s and ’70s, Chet Helms and Bill Graham commissioned now-classic psychedelic posters by artists such as \u003ca href=\"http://www.wes-wilson.com/\">Wes Wilson\u003c/a>, \u003ca href=\"http://www.mousestudios.com/\">Stanley Mouse\u003c/a> and \u003ca href=\"http://davidsinger.com/\">David Singer\u003c/a> to advertise “dance concerts” at the Avalon, Winterland and a pair of Fillmores. Back then a light show and a free poster came with the price of admission. In the 1980s Graham revived the poster part of this fine tradition at the Warfield and his reopened Fillmore (the practice continues there to this day). At the end of the night, fans were often handed posters created by a new generation of artists, including \u003ca href=\"http://chucksperry.net/\">Chuck Sperry\u003c/a> and \u003ca href=\"http://homepage.mac.com/c.shaw/Menu5.html\">Chris Shaw\u003c/a>.\u003c/p>\n\u003cp>Roger McNamee, who fronts a jammy rock band called Moonalice when he isn’t rubbing elbows with Bono and his other investment colleagues at Elevation Partners, is the latest patron of the poster, as anyone who attends the Moonalice show at Slim’s on April 20, 2010 will quickly see. No doubt a lot of people will be at Slim’s that night because of the date (unofficially, 4/20 is national marijuana day), as well as the clown-shoes ticket price ($4.20). Others will go because they enjoy the good-natured vibe projected by Roger and his vocalist wife, Ann, and some folks will attend because they are huge fans of Barry Sless (lead guitar, pedal steel), Pete Sears (bass, vocals, keys) and John Molo (is there a better drummer on the planet?).\u003c/p>\n\u003cp>I definitely fall into that latter category, but I’ll also be there for the posters, which Moonalice has been giving away since its first gig on May 5, 2007. At last April’s Slim’s show, everyone was invited to help themselves to an archival sleeve containing not one but five Moonalice posters, created for the occasion by Shaw, Alexandra Fischer, Sperry (he produced two) and Singer. This year, six to eight posters are planned as gifts to the crowd, including one each by ’60s rock-poster legends Wilson and Mouse.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/moonalice-shaw.jpg\" style=\"margin-bottom: 10px\">\u003cbr>United Nations Plaza, May 5, 2007 by Chris Shaw\u003c/p>\n\u003cp>Artist Chris Shaw has been the art director of the Moonalice poster program since day one. Almost 300 gigs and as many posters later, Shaw is still running the show, which appears to suit both McNamee and Shaw’s fellow artists just fine. “As far as I’m concerned,” McNamee says, “Chris is a member of the band.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Chris is as good an art director as he is an artist,” continues David Singer. “He understands artists because he’s one himself. We did five posters last year,” Singer recalls. “It was good for the artists. We all hung out backstage, gabbing about the poster scene. We don’t usually get to connect in that way.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/moonalice-2.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Slim’s, April 3, 2009 by Ron Donovan\u003c/p>\n\u003cp>For his part, Shaw seems quite comfortable with his dual role as artist and art director. “I’ve tried to create an artist-friendly environment,” he says. “I hassle people technically, but not about their ideas.”\u003c/p>\n\u003cp>A tangent to this commitment to artistic freedom is the business relationship McNamee and Shaw have struck with the growing stable of Moonalice artists. “The work-for-hire copyright deals proved to be unfair to artists,” says McNamee, “so we chose a different structure. We haven’t broken the code yet, but between the ‘Moonalice Legend’ books, poster sales, and high-end prints, we hope to give the artists another source of income.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/moonalice-3.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Domino Room, February 19, 2010 by David Singer\u003c/p>\n\u003cp>The difference, of course, between Fillmore and Avalon posters and those created for Moonalice is that just about all Moonalice posters feature the same band name on them. Collectors of ’60s posters often pay a premium for posters advertising concerts by 13th Floor Elevators or Led Zeppelin. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Art and music have long had a complementary relationship in San Francisco. In the 1960s and ’70s, Chet Helms and Bill Graham commissioned now-classic psychedelic posters by artists such as \u003ca href=\"http://www.wes-wilson.com/\">Wes Wilson\u003c/a>, \u003ca href=\"http://www.mousestudios.com/\">Stanley Mouse\u003c/a> and \u003ca href=\"http://davidsinger.com/\">David Singer\u003c/a> to advertise “dance concerts” at the Avalon, Winterland and a pair of Fillmores. Back then a light show and a free poster came with the price of admission. In the 1980s Graham revived the poster part of this fine tradition at the Warfield and his reopened Fillmore (the practice continues there to this day). At the end of the night, fans were often handed posters created by a new generation of artists, including \u003ca href=\"http://chucksperry.net/\">Chuck Sperry\u003c/a> and \u003ca href=\"http://homepage.mac.com/c.shaw/Menu5.html\">Chris Shaw\u003c/a>.\u003c/p>\n\u003cp>Roger McNamee, who fronts a jammy rock band called Moonalice when he isn’t rubbing elbows with Bono and his other investment colleagues at Elevation Partners, is the latest patron of the poster, as anyone who attends the Moonalice show at Slim’s on April 20, 2010 will quickly see. No doubt a lot of people will be at Slim’s that night because of the date (unofficially, 4/20 is national marijuana day), as well as the clown-shoes ticket price ($4.20). Others will go because they enjoy the good-natured vibe projected by Roger and his vocalist wife, Ann, and some folks will attend because they are huge fans of Barry Sless (lead guitar, pedal steel), Pete Sears (bass, vocals, keys) and John Molo (is there a better drummer on the planet?).\u003c/p>\n\u003cp>I definitely fall into that latter category, but I’ll also be there for the posters, which Moonalice has been giving away since its first gig on May 5, 2007. At last April’s Slim’s show, everyone was invited to help themselves to an archival sleeve containing not one but five Moonalice posters, created for the occasion by Shaw, Alexandra Fischer, Sperry (he produced two) and Singer. This year, six to eight posters are planned as gifts to the crowd, including one each by ’60s rock-poster legends Wilson and Mouse.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/moonalice-shaw.jpg\" style=\"margin-bottom: 10px\">\u003cbr>United Nations Plaza, May 5, 2007 by Chris Shaw\u003c/p>\n\u003cp>Artist Chris Shaw has been the art director of the Moonalice poster program since day one. Almost 300 gigs and as many posters later, Shaw is still running the show, which appears to suit both McNamee and Shaw’s fellow artists just fine. “As far as I’m concerned,” McNamee says, “Chris is a member of the band.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Chris is as good an art director as he is an artist,” continues David Singer. “He understands artists because he’s one himself. We did five posters last year,” Singer recalls. “It was good for the artists. We all hung out backstage, gabbing about the poster scene. We don’t usually get to connect in that way.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/moonalice-2.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Slim’s, April 3, 2009 by Ron Donovan\u003c/p>\n\u003cp>For his part, Shaw seems quite comfortable with his dual role as artist and art director. “I’ve tried to create an artist-friendly environment,” he says. “I hassle people technically, but not about their ideas.”\u003c/p>\n\u003cp>A tangent to this commitment to artistic freedom is the business relationship McNamee and Shaw have struck with the growing stable of Moonalice artists. “The work-for-hire copyright deals proved to be unfair to artists,” says McNamee, “so we chose a different structure. We haven’t broken the code yet, but between the ‘Moonalice Legend’ books, poster sales, and high-end prints, we hope to give the artists another source of income.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/moonalice-3.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Domino Room, February 19, 2010 by David Singer\u003c/p>\n\u003cp>The difference, of course, between Fillmore and Avalon posters and those created for Moonalice is that just about all Moonalice posters feature the same band name on them. Collectors of ’60s posters often pay a premium for posters advertising concerts by 13th Floor Elevators or Led Zeppelin. All Moonalice posters have going for them is their art, which apparently is enough. “It’s become more of a collectible because you have to go to a show to get a poster,” says Shaw. “The collectors have been noticing the series — that’s kind of nice.”\u003c/p>\n\u003cp>McNamee thinks so, too, and is pleased to see the Moonalice poster artists getting their due. “They deserve it,” he says emphatically.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Moonalice plays Slim’s on April 20, 2010. For \u003ca href=\"http://www.slims-sf.com/\" target=\"offsite\" rel=\"noopener\">tickets and information\u003c/a>, visit slims-sf.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The cover of \u003cb>Congratulations\u003c/b>, MGMT’s sophomore album (out April 13), depicts a two-headed cartoon cat on a surfboard — one head looking forward, the other looking back — on the verge of being eaten by the wave it’s surfing. And that pretty much sums it up.\u003c/p>\n\u003cp>Like the cover, the album itself is a piece of psychedelia, half-teasing, half-earnest, and utterly trippy. It begins with “It’s Working,” a piece of up-tempo surf-rock, with the chanting refrain, “It’s working in your blood.” The song is hyperactive — it bounces along, building to a crescendo, stops dead and crashes down, before picking up again at an even more frenzied pace. “It’s Working” sets a tone for the rest of the album, a schizophrenic nine-song joy-ride, among which listeners will find the raucous Bowie-Beatles blend “Flash Delirium,” twelve space-and-time-sprawling minutes called “Siberian Breaks,” an instrumental (“Lady Dada’s Nightmare”) and the gorgeous title track.\u003c/p>\n\u003cp>Since it leaked a few weeks ago, the majority of what has been said about the album is about what it is not — quite simply, another \u003cb>Oracular Spectacular\u003c/b>, the 2007 album that made the band famous with catchy hits like “Kids” and “Time to Pretend.”\u003c/p>\n\u003cp>Critics, egged on in part by comments made by the Brooklyn-based duo (Ben Goldwasser and Andrew VanWyngarden), have fretted over the commercial viability of the album. Peter Kember, who helped produced it, has said, “Nobody really knows how the album is going to be received.” The band’s co-manager Mark Kates has voiced a similar sentiment, “Every indication we’re getting is that people really want it… that doesn’t mean they’re going to like it, or that they’re going to buy it, or that it will sell more or less than the last record.”\u003c/p>\n\u003cp>VanWyngarden has said of \u003cb>Congratulations\u003c/b>, “The people responsible for making money hoped that we’d record another ‘Time to Pretend’…but everyone close to us knew we weren’t going to do that.” The video for “Flash Delirium” eludes to a struggle over creative control: half-way through, Ben rips a bandage from his throat, revealing a gaping hole that appears to sing for a moment, before two suits rush forward to wrestle a wriggling eel from the wound. The eel is taken and forcibly deposited in a giant contraption that appears to have some transformative capacity… I’m not making this up! \u003ca href=\"http://www.youtube.com/watch?v=QvSMp7T2Kes\">See for yourself\u003c/a>…\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s true, \u003cb>Congratulations\u003c/b> is different than \u003cb>Oracular\u003c/b>. But that is what is good about it. At this point, most of us have heard “Kids” so many times — in heavy radio-rotation, on \u003cb>Gossip Girl\u003c/b>, in ads for French President Nicolas Sarkozy’s UMP party — that the high-pitched opening bars, and overlaid children’s squeals, have become grating. That includes MGMT themselves, “If we tried to re-create our last album and someone didn’t like it, I think it would have been really difficult to look them in the eye and tell them we really believed in the album… But now, if someone tells us that it sucks, we don’t give a shit.” Goldwasser said in an \u003ca href=\"http://www.blackbookmag.com/article/mgmt/17441\">interview\u003c/a>\u003c/p>\n\u003cp>\u003cb>Congratulations\u003c/b> doesn’t suck — it is affecting and intricate, and sometimes subtle, and sometimes dense, almost inscrutable, and a pleasure all the way through, over and over again. Whether the album proves to be a commercial success has yet to be seen, but it doesn’t seem as though that is even the goal this time around.\u003c/p>\n\u003cp>The success that MGMT mocked in “Time to Pretend” (singing, “Lets make some music, make some money, find some models for wives.”) is treated as a double-edged sword on \u003cb>Congratulations\u003c/b> — it is both the wave they are riding, and the one that threatens to consume them. Nowhere is this ambivalence more apparent than on the final and title track of the album, on which VanWyngarden sings, “I’ve got someone to make reports/ That tell me how my money’s spent/ To book my stays and draw my blinds/ So I can’t see what’s really there/ And all I need’s a great big congratulations.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Congratulations\u003c/b> drops April 13, 2010 until then you can \u003ca href=\"http://whoismgmt.com\">hear it\u003c/a>\u003ca>\u003c/a> streaming on their website, WHOISMGMT.com. MGMT play the Fillmore in San Francisco April 12 and 13. For \u003ca href=\"http://LiveNation.com/\">tickets and information\u003c/a> visit LiveNation.com or call (415) 346-6000.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The cover of \u003cb>Congratulations\u003c/b>, MGMT’s sophomore album (out April 13), depicts a two-headed cartoon cat on a surfboard — one head looking forward, the other looking back — on the verge of being eaten by the wave it’s surfing. And that pretty much sums it up.\u003c/p>\n\u003cp>Like the cover, the album itself is a piece of psychedelia, half-teasing, half-earnest, and utterly trippy. It begins with “It’s Working,” a piece of up-tempo surf-rock, with the chanting refrain, “It’s working in your blood.” The song is hyperactive — it bounces along, building to a crescendo, stops dead and crashes down, before picking up again at an even more frenzied pace. “It’s Working” sets a tone for the rest of the album, a schizophrenic nine-song joy-ride, among which listeners will find the raucous Bowie-Beatles blend “Flash Delirium,” twelve space-and-time-sprawling minutes called “Siberian Breaks,” an instrumental (“Lady Dada’s Nightmare”) and the gorgeous title track.\u003c/p>\n\u003cp>Since it leaked a few weeks ago, the majority of what has been said about the album is about what it is not — quite simply, another \u003cb>Oracular Spectacular\u003c/b>, the 2007 album that made the band famous with catchy hits like “Kids” and “Time to Pretend.”\u003c/p>\n\u003cp>Critics, egged on in part by comments made by the Brooklyn-based duo (Ben Goldwasser and Andrew VanWyngarden), have fretted over the commercial viability of the album. Peter Kember, who helped produced it, has said, “Nobody really knows how the album is going to be received.” The band’s co-manager Mark Kates has voiced a similar sentiment, “Every indication we’re getting is that people really want it… that doesn’t mean they’re going to like it, or that they’re going to buy it, or that it will sell more or less than the last record.”\u003c/p>\n\u003cp>VanWyngarden has said of \u003cb>Congratulations\u003c/b>, “The people responsible for making money hoped that we’d record another ‘Time to Pretend’…but everyone close to us knew we weren’t going to do that.” The video for “Flash Delirium” eludes to a struggle over creative control: half-way through, Ben rips a bandage from his throat, revealing a gaping hole that appears to sing for a moment, before two suits rush forward to wrestle a wriggling eel from the wound. The eel is taken and forcibly deposited in a giant contraption that appears to have some transformative capacity… I’m not making this up! \u003ca href=\"http://www.youtube.com/watch?v=QvSMp7T2Kes\">See for yourself\u003c/a>…\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s true, \u003cb>Congratulations\u003c/b> is different than \u003cb>Oracular\u003c/b>. But that is what is good about it. At this point, most of us have heard “Kids” so many times — in heavy radio-rotation, on \u003cb>Gossip Girl\u003c/b>, in ads for French President Nicolas Sarkozy’s UMP party — that the high-pitched opening bars, and overlaid children’s squeals, have become grating. That includes MGMT themselves, “If we tried to re-create our last album and someone didn’t like it, I think it would have been really difficult to look them in the eye and tell them we really believed in the album… But now, if someone tells us that it sucks, we don’t give a shit.” Goldwasser said in an \u003ca href=\"http://www.blackbookmag.com/article/mgmt/17441\">interview\u003c/a>\u003c/p>\n\u003cp>\u003cb>Congratulations\u003c/b> doesn’t suck — it is affecting and intricate, and sometimes subtle, and sometimes dense, almost inscrutable, and a pleasure all the way through, over and over again. Whether the album proves to be a commercial success has yet to be seen, but it doesn’t seem as though that is even the goal this time around.\u003c/p>\n\u003cp>The success that MGMT mocked in “Time to Pretend” (singing, “Lets make some music, make some money, find some models for wives.”) is treated as a double-edged sword on \u003cb>Congratulations\u003c/b> — it is both the wave they are riding, and the one that threatens to consume them. Nowhere is this ambivalence more apparent than on the final and title track of the album, on which VanWyngarden sings, “I’ve got someone to make reports/ That tell me how my money’s spent/ To book my stays and draw my blinds/ So I can’t see what’s really there/ And all I need’s a great big congratulations.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Congratulations\u003c/b> drops April 13, 2010 until then you can \u003ca href=\"http://whoismgmt.com\">hear it\u003c/a>\u003ca>\u003c/a> streaming on their website, WHOISMGMT.com. MGMT play the Fillmore in San Francisco April 12 and 13. For \u003ca href=\"http://LiveNation.com/\">tickets and information\u003c/a> visit LiveNation.com or call (415) 346-6000.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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},
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
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"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"source": "Commonwealth Club of California"
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
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"meta": {
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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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"source": "NPR"
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
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"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. ",
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"order": 15
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"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. ",
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"order": 18
},
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},
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"title": "Latino USA",
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
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"link": "/radio/program/latino-usa",
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
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"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"rss": "https://rss.art19.com/masters-of-scale"
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},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
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"meta": {
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"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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},
"morning-edition": {
"id": "morning-edition",
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
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"order": 11
},
"link": "/podcasts/onourwatch",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
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},
"link": "/radio/program/on-the-media",
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"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
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},
"pbs-newshour": {
"id": "pbs-newshour",
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"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
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},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
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},
"perspectives": {
"id": "perspectives",
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"tagline": "KQED's series of daily listener commentaries since 1991",
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"order": 14
},
"link": "/perspectives",
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"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",
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"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
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