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"content": "\u003cp>This month, Beach House are sure to entrance at Bimbo’s with selections from their superb new album, \u003cstrong>Teen Dream\u003c/strong>. Sugar & Gold celebrate the release of \u003cstrong>Get Wet!\u003c/strong>, which moves the band out of the disco and into the ’80s. Finally, The Ruby Suns continue to defy expectations, venturing into experimental synth-pop territory as they \u003cstrong>Fight Softly\u003c/strong>.\u003c/p>\n\u003cp>After owning it for over a month, I recently made it to the third side of \u003ca href=\"http://www.myspace.com/beachhousemusic\">Beach House\u003c/a>‘s new double LP, \u003cstrong>Teen Dream\u003c/strong>. Such is the impact of the first five songs on the Baltimore band’s third record, a masterful collection of emotive Gothic pop that should emerge as one of 2010’s great albums. Victoria Legrand and Alex Scally certainly captured some great haunting melodies on 2008’s \u003cstrong>Devotion\u003c/strong> — “Gila” and “Astronaut” could especially hold their own amongst their newer offerings — but the new album is considerably deeper and richer. Avoiding the sameness that often plagues melodramatic music, each mini-epic on \u003cstrong>Teen Dream\u003c/strong> surveys a broad expanse of mood and tone, led by Legrand’s commanding vocals. It will undoubtedly be difficult to not get caught up in the band’s melancholy at \u003ca href=\"http://bimbos365club.com/\">Bimbo’s\u003c/a> on Wednesday, April 14. \u003ca href=\"http://www.myspace.com/bachelorettepop\">Bachelorette\u003c/a> opens.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cobject width=\"400\" height=\"225\">\u003cparam name=\"allowfullscreen\" value=\"true\">\u003cparam name=\"allowscriptaccess\" value=\"always\">\u003cparam name=\"movie\" value=\"http://vimeo.com/moogaloop.swf?clip_id=8749893&server=vimeo.com&show_title=1&show_byline=1&show_portrait=0&color=&fullscreen=1\">\u003cembed src=\"http://vimeo.com/moogaloop.swf?clip_id=8749893&server=vimeo.com&show_title=1&show_byline=1&show_portrait=0&color=&fullscreen=1\" type=\"application/x-shockwave-flash\" allowfullscreen=\"true\" allowscriptaccess=\"always\" width=\"400\" height=\"225\">\u003c/embed>\u003c/object>\u003c/center>\n\u003cp>Over the past several years, \u003ca href=\"http://www.myspace.com/sugarandgold\">Sugar & Gold\u003c/a> have earned a reputation as one of the most fun live bands in the Bay Area, shaking up indie rock shows with their funky, disco-inspired pop. With their sophomore album \u003cstrong>Get Wet!\u003c/strong>, the SF quintet should move from being the “fun band” to join the likes of Of Montreal, !!! and Pyramiddd as one of the “smart fun bands.” The new album only occasionally hints at the disco feel of \u003cstrong>Creme\u003c/strong>, from 2007, in some buoyant guitar lines; far more often, oscillating synths and old drum machines drive the new tunes. Despite the umbrella 1980s feel throughout, the band’s got a number of sides to showcase. Whether it’s yearning pop (“Bodyaches”), R&B-funk (“Sneek Freq”), or Italo house (“Salty Seraphim”), Sugar & Gold can infuse it into one of their well-crafted confections. For all the consideration of \u003cstrong>Get Wet!\u003c/strong>‘s many merits, though, this is dance music that should be heard live, like at the band’s CD release party at Bottom of the Hill on April 29. \u003ca href=\"http://www.myspace.com/nitejewel\">Nite Jewel\u003c/a> & \u003ca href=\"http://www.myspace.com/baronvonluxxury\">Baron Von Luxxury\u003c/a> also perform.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cobject width=\"400\" height=\"242\">\u003cparam name=\"movie\" value=\"http://www.youtube.com/v/Pf6E6AYqBzM&hl=en_US&fs=1&\">\u003cparam name=\"allowFullScreen\" value=\"true\">\u003cparam name=\"allowscriptaccess\" value=\"always\">\u003cembed src=\"http://www.youtube.com/v/Pf6E6AYqBzM&hl=en_US&fs=1&\" type=\"application/x-shockwave-flash\" allowscriptaccess=\"always\" allowfullscreen=\"true\" width=\"400\" height=\"242\">\u003c/embed>\u003c/object>\u003c/center>\n\u003cp>Auckland, New Zealand’s \u003ca href=\"http://www.myspace.com/therubysuns\">The Ruby Suns\u003c/a> won’t be accused of sticking to a formula any time soon. 2008’s \u003cstrong>Sea Lion\u003c/strong> was a psych-pop affair incorporating a global range of sounds, from Maori chanting to traditional Kenyan music. The band has undergone something of a futuristic overhaul on the brand new \u003cstrong>Fight Softly\u003c/strong>, which replaces their previous light touch with a bevy of electronics, effects and heavy drum machine beats. The pop is now synth-pop, reminiscent of the grossly-underrated Russian Futurists, only with an inclination toward intricate experimental songwriting. Seen live, group drumming, live-triggered samples and collective vocals create a psychedelic feel, which turns into a sort of euphoria when the trio launches into a sublimely catchy melody. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This month, Beach House are sure to entrance at Bimbo’s with selections from their superb new album, \u003cstrong>Teen Dream\u003c/strong>. Sugar & Gold celebrate the release of \u003cstrong>Get Wet!\u003c/strong>, which moves the band out of the disco and into the ’80s. Finally, The Ruby Suns continue to defy expectations, venturing into experimental synth-pop territory as they \u003cstrong>Fight Softly\u003c/strong>.\u003c/p>\n\u003cp>After owning it for over a month, I recently made it to the third side of \u003ca href=\"http://www.myspace.com/beachhousemusic\">Beach House\u003c/a>‘s new double LP, \u003cstrong>Teen Dream\u003c/strong>. Such is the impact of the first five songs on the Baltimore band’s third record, a masterful collection of emotive Gothic pop that should emerge as one of 2010’s great albums. Victoria Legrand and Alex Scally certainly captured some great haunting melodies on 2008’s \u003cstrong>Devotion\u003c/strong> — “Gila” and “Astronaut” could especially hold their own amongst their newer offerings — but the new album is considerably deeper and richer. Avoiding the sameness that often plagues melodramatic music, each mini-epic on \u003cstrong>Teen Dream\u003c/strong> surveys a broad expanse of mood and tone, led by Legrand’s commanding vocals. It will undoubtedly be difficult to not get caught up in the band’s melancholy at \u003ca href=\"http://bimbos365club.com/\">Bimbo’s\u003c/a> on Wednesday, April 14. \u003ca href=\"http://www.myspace.com/bachelorettepop\">Bachelorette\u003c/a> opens.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cobject width=\"400\" height=\"225\">\u003cparam name=\"allowfullscreen\" value=\"true\">\u003cparam name=\"allowscriptaccess\" value=\"always\">\u003cparam name=\"movie\" value=\"http://vimeo.com/moogaloop.swf?clip_id=8749893&server=vimeo.com&show_title=1&show_byline=1&show_portrait=0&color=&fullscreen=1\">\u003cembed src=\"http://vimeo.com/moogaloop.swf?clip_id=8749893&server=vimeo.com&show_title=1&show_byline=1&show_portrait=0&color=&fullscreen=1\" type=\"application/x-shockwave-flash\" allowfullscreen=\"true\" allowscriptaccess=\"always\" width=\"400\" height=\"225\">\u003c/embed>\u003c/object>\u003c/center>\n\u003cp>Over the past several years, \u003ca href=\"http://www.myspace.com/sugarandgold\">Sugar & Gold\u003c/a> have earned a reputation as one of the most fun live bands in the Bay Area, shaking up indie rock shows with their funky, disco-inspired pop. With their sophomore album \u003cstrong>Get Wet!\u003c/strong>, the SF quintet should move from being the “fun band” to join the likes of Of Montreal, !!! and Pyramiddd as one of the “smart fun bands.” The new album only occasionally hints at the disco feel of \u003cstrong>Creme\u003c/strong>, from 2007, in some buoyant guitar lines; far more often, oscillating synths and old drum machines drive the new tunes. Despite the umbrella 1980s feel throughout, the band’s got a number of sides to showcase. Whether it’s yearning pop (“Bodyaches”), R&B-funk (“Sneek Freq”), or Italo house (“Salty Seraphim”), Sugar & Gold can infuse it into one of their well-crafted confections. For all the consideration of \u003cstrong>Get Wet!\u003c/strong>‘s many merits, though, this is dance music that should be heard live, like at the band’s CD release party at Bottom of the Hill on April 29. \u003ca href=\"http://www.myspace.com/nitejewel\">Nite Jewel\u003c/a> & \u003ca href=\"http://www.myspace.com/baronvonluxxury\">Baron Von Luxxury\u003c/a> also perform.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cobject width=\"400\" height=\"242\">\u003cparam name=\"movie\" value=\"http://www.youtube.com/v/Pf6E6AYqBzM&hl=en_US&fs=1&\">\u003cparam name=\"allowFullScreen\" value=\"true\">\u003cparam name=\"allowscriptaccess\" value=\"always\">\u003cembed src=\"http://www.youtube.com/v/Pf6E6AYqBzM&hl=en_US&fs=1&\" type=\"application/x-shockwave-flash\" allowscriptaccess=\"always\" allowfullscreen=\"true\" width=\"400\" height=\"242\">\u003c/embed>\u003c/object>\u003c/center>\n\u003cp>Auckland, New Zealand’s \u003ca href=\"http://www.myspace.com/therubysuns\">The Ruby Suns\u003c/a> won’t be accused of sticking to a formula any time soon. 2008’s \u003cstrong>Sea Lion\u003c/strong> was a psych-pop affair incorporating a global range of sounds, from Maori chanting to traditional Kenyan music. The band has undergone something of a futuristic overhaul on the brand new \u003cstrong>Fight Softly\u003c/strong>, which replaces their previous light touch with a bevy of electronics, effects and heavy drum machine beats. The pop is now synth-pop, reminiscent of the grossly-underrated Russian Futurists, only with an inclination toward intricate experimental songwriting. Seen live, group drumming, live-triggered samples and collective vocals create a psychedelic feel, which turns into a sort of euphoria when the trio launches into a sublimely catchy melody. The band will be at Bottom of the Hill on April 12, with \u003ca href=\"http://www.myspace.com/toroymoi\">Toro Y Moi\u003c/a> and \u003ca href=\"http://www.myspace.com/dreamdater\">dreamdate\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cobject width=\"401\" height=\"226\">\u003cparam name=\"allowfullscreen\" value=\"true\">\u003cparam name=\"allowscriptaccess\" value=\"always\">\u003cparam name=\"movie\" value=\"http://vimeo.com/moogaloop.swf?clip_id=10322342&server=vimeo.com&show_title=1&show_byline=0&show_portrait=0&color=00ADEF&fullscreen=1&group_id=\">\u003cembed src=\"http://vimeo.com/moogaloop.swf?clip_id=10322342&server=vimeo.com&show_title=1&show_byline=0&show_portrait=0&color=00ADEF&fullscreen=1&group_id=\" type=\"application/x-shockwave-flash\" allowfullscreen=\"true\" allowscriptaccess=\"always\" width=\"401\" height=\"226\">\u003c/embed>\u003c/object>\u003c/center>\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>Spring is upon us at last and downtown L.A. girl gang the Dum Dum Girls have crafted the perfect debut album for the occasion. Described by the band as sounding like a “blissed out buzz saw,” \u003cb>I Will Be\u003c/b>‘s 11 sunburnt songs accomplish quite a lot in just under 30 minutes, mainly proving that garage music can be married to a bubblegum pop sensibility without losing its razor sharp edge.\u003c/p>\n\u003cp>Leader of the pack, Dee Dee (not her real name), started making music on her own in 2008, but eventually enlisted the help of a few friends to give her rough and fuzzy sound a sonic boost. Drummer Frankie Rose, who had previously worked with Vivian Girls and Crystal Stilts, offered her services, as did Nick Zinner of the Yeah Yeah Yeahs, who lends his guitar skills on “Yours Alone,” and most notably, veteran music producer Richard Gottehrer whose credits include “I Want Candy,” “My Boyfriend’s Back,” and various Go-Gos and Blondie records. While the Dum Dum Girls share some similarities with these last two female-fronted bands, they owe much more to ’60s girl groups like the Shangri-Las and the Ronettes and ’80s punk rockers the Vaselines and Jesus and Mary Chain. All hard acts to follow, to say the least, but the Dum Dum Girls hold their own.\u003c/p>\n\u003cp>They don’t waste any time getting things started with the immediate mad energy of album opener “It Only Takes One Night.” The beginning of the album feels like opening the door to a rock show that’s already begun and smacking right into that buzzing wall of sound. That rabid intensity carries over to songs like “Yours Alone” (sample lyric: “Told him I would love him ’til I’m cold”), “Lines Her Eyes” — which chronicles a rivalry between Dee Dee and a clone who “lines her eyes and does her hair just like me” — “Oh Mein Me,” a song sung entirely in German, and, last but definitely not least, the ridiculously infectious first single “\u003ca href=\"http://go2.wordpress.com/?id=725X1342&site=wearedumdumgirls.wordpress.com&url=http%3A%2F%2Fsubpop-public.s3.amazonaws.com%2Fassets%2Faudio%2F6255.mp3\">Jail La La\u003c/a>.” Just try to resist singing along to the last one; I dare you.\u003c/p>\n\u003cp>But don’t think that the Dum Dum Girls are a one-trick pony; they can also scale it back and hit your sweet tooth with equal force. The tempo slows and Dee Dee gets sugary on the uber cute duet “Blank Girl” (Brandon Welch of the Crocodiles plays the male yin to Dee Dee’s yang) as well as on the intimate love song “Rest of Our Lives.” And the girls get downright choral on the album’s dulcet closing number “Baby Don’t Go,” their seamless harmonies pleading with a departing lover to stay.\u003c/p>\n\u003cp>Judging by this neat debut package, the Dum Dum Girls shouldn’t have a problem keeping listeners around. These girl-power warriors might not be breaking any new ground with their spiked pop songs, but anything this fun doesn’t have to.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>I Will Be\u003c/b> is out now, just in time for all your springtime shenanigans!\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Spring is upon us at last and downtown L.A. girl gang the Dum Dum Girls have crafted the perfect debut album for the occasion. Described by the band as sounding like a “blissed out buzz saw,” \u003cb>I Will Be\u003c/b>‘s 11 sunburnt songs accomplish quite a lot in just under 30 minutes, mainly proving that garage music can be married to a bubblegum pop sensibility without losing its razor sharp edge.\u003c/p>\n\u003cp>Leader of the pack, Dee Dee (not her real name), started making music on her own in 2008, but eventually enlisted the help of a few friends to give her rough and fuzzy sound a sonic boost. Drummer Frankie Rose, who had previously worked with Vivian Girls and Crystal Stilts, offered her services, as did Nick Zinner of the Yeah Yeah Yeahs, who lends his guitar skills on “Yours Alone,” and most notably, veteran music producer Richard Gottehrer whose credits include “I Want Candy,” “My Boyfriend’s Back,” and various Go-Gos and Blondie records. While the Dum Dum Girls share some similarities with these last two female-fronted bands, they owe much more to ’60s girl groups like the Shangri-Las and the Ronettes and ’80s punk rockers the Vaselines and Jesus and Mary Chain. All hard acts to follow, to say the least, but the Dum Dum Girls hold their own.\u003c/p>\n\u003cp>They don’t waste any time getting things started with the immediate mad energy of album opener “It Only Takes One Night.” The beginning of the album feels like opening the door to a rock show that’s already begun and smacking right into that buzzing wall of sound. That rabid intensity carries over to songs like “Yours Alone” (sample lyric: “Told him I would love him ’til I’m cold”), “Lines Her Eyes” — which chronicles a rivalry between Dee Dee and a clone who “lines her eyes and does her hair just like me” — “Oh Mein Me,” a song sung entirely in German, and, last but definitely not least, the ridiculously infectious first single “\u003ca href=\"http://go2.wordpress.com/?id=725X1342&site=wearedumdumgirls.wordpress.com&url=http%3A%2F%2Fsubpop-public.s3.amazonaws.com%2Fassets%2Faudio%2F6255.mp3\">Jail La La\u003c/a>.” Just try to resist singing along to the last one; I dare you.\u003c/p>\n\u003cp>But don’t think that the Dum Dum Girls are a one-trick pony; they can also scale it back and hit your sweet tooth with equal force. The tempo slows and Dee Dee gets sugary on the uber cute duet “Blank Girl” (Brandon Welch of the Crocodiles plays the male yin to Dee Dee’s yang) as well as on the intimate love song “Rest of Our Lives.” And the girls get downright choral on the album’s dulcet closing number “Baby Don’t Go,” their seamless harmonies pleading with a departing lover to stay.\u003c/p>\n\u003cp>Judging by this neat debut package, the Dum Dum Girls shouldn’t have a problem keeping listeners around. These girl-power warriors might not be breaking any new ground with their spiked pop songs, but anything this fun doesn’t have to.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ca href=\"http://www.myspace.com/sonyacotton\">Sonya Cotton\u003c/a> is part of a local indie folk-rock scene brimming with talent, and her sophomore album \u003cb>Red River\u003c/b>, released last year, is a haunting and moving work. Recorded with Scott McDowell, and featuring the contributions of over a dozen guest musicians, Red River’s diverse instrumentation adds to its detail-rich character. Cotton’s songs musically and lyrically unfold over multiple listens; there’s a thoughtfulness at work here that she also demonstrated in our very enjoyable interview.\u003c/p>\n\u003cp>We sat down with Sonya earlier this year to discuss her origins and the process of writing and recording \u003cb>Red River\u003c/b>. We’ve also included four songs from the album in the show (“Red River,” “Knowing Mother,” “Canal” and “Hilltop Hymn”).\u003c/p>\n\u003cp>\u003cb>Upcoming Shows:\u003c/b>\u003c/p>\n\u003cp>Wednesday, April 28, 2010\u003cbr>Rickshaw Stop\u003cbr>with \u003ca href=\"http://www.jaschavsjascha.com/\">Jascha Vs. Jascha\u003c/a> and \u003ca href=\"http://krisgruen.com/\">Kris Gruen\u003c/a> (Presented by \u003ca href=\"http://chasingthemoon.pdcst.com/\">Chasing the Moon\u003c/a> & \u003ca href=\"http://seaweedsway.blogspot.com/\">Seaweed Sway\u003c/a>)\u003cbr>8pm, $10\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.myspace.com/sonyacotton\">Sonya Cotton\u003c/a> is part of a local indie folk-rock scene brimming with talent, and her sophomore album \u003cb>Red River\u003c/b>, released last year, is a haunting and moving work. Recorded with Scott McDowell, and featuring the contributions of over a dozen guest musicians, Red River’s diverse instrumentation adds to its detail-rich character. Cotton’s songs musically and lyrically unfold over multiple listens; there’s a thoughtfulness at work here that she also demonstrated in our very enjoyable interview.\u003c/p>\n\u003cp>We sat down with Sonya earlier this year to discuss her origins and the process of writing and recording \u003cb>Red River\u003c/b>. We’ve also included four songs from the album in the show (“Red River,” “Knowing Mother,” “Canal” and “Hilltop Hymn”).\u003c/p>\n\u003cp>\u003cb>Upcoming Shows:\u003c/b>\u003c/p>\n\u003cp>Wednesday, April 28, 2010\u003cbr>Rickshaw Stop\u003cbr>with \u003ca href=\"http://www.jaschavsjascha.com/\">Jascha Vs. Jascha\u003c/a> and \u003ca href=\"http://krisgruen.com/\">Kris Gruen\u003c/a> (Presented by \u003ca href=\"http://chasingthemoon.pdcst.com/\">Chasing the Moon\u003c/a> & \u003ca href=\"http://seaweedsway.blogspot.com/\">Seaweed Sway\u003c/a>)\u003cbr>8pm, $10\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>South by Southwest 2010 just wrapped up in Austin, Texas, leaving a tidal wave of ringing ears, exhausted bands, and permanently hungover attendees in its wake. I enjoy being a skeptic (and, perhaps, a cynic) about the value that SXSW can provide to any band hoping to set itself apart from the 1000+ other groups playing shows during the week, but the fact remains that I saw a ton of exciting new music over the past week.\u003c/p>\n\u003cp>Lo-fi sounds continue to dominate blog buzz, which meant that everyone-and-their-mothers’ garage-inspired groups were performing in Austin this year. Despite the overwhelming amount of bands crafting reverby pop, a few definitely managed to stand out. I’d seen New Jersey’s \u003ca href=\"http://www.myspace.com/realestate\">Real Estate\u003c/a> in SF earlier, but also caught one of the band’s ten shows at SXSW. The quartet’s self-titled record is excellent and their live performances vibrantly capture its beach pop jangle.\u003c/p>\n\u003cp>The real discovery for me on the lo-fi front has to be Los Angeles’ \u003ca href=\"http://www.myspace.com/dumdumgirls\">Dum Dum Girls\u003c/a>, whose debut full length comes out on Sub Pop at the end of the month. Of the many ’60s-referencing bands around today, the Girls may be the most truly Spectorian, a group of impeccably dressed attractive women who play crazy-catchy backbeat-driven songs with strong three part harmonies. While the band members’ outfits were more goth than girl group, their lyrics seize on the melodrama intrinsic to both genres. Despite the girl group feel, there’s no Svengali at work behind the scenes — the band emerged from the solo writing and recording of leader Dee Dee, who appropriately deems the band’s sound “blissed-out buzz saw.”\u003c/p>\n\u003cp>On the Bay Area front, SXSW couldn’t have been better positioned for the Berkeley-born \u003ca href=\"http://www.myspace.com/themorningbenders\">The Morning Benders\u003c/a>, whose new album \u003cstrong>Big Echo\u003c/strong> was deemed “Best New Music” by Pitchfork just as the festival began. The overwhelmingly positive press for \u003cstrong>Big Echo\u003c/strong> is well-earned. It’s a terrifically lush and ambitious album that reinvents a band known for Beatles-esque linear pop-rock as one more interested in ambitious atmospheric indie rock. I caught the band’s first SXSW show on Wednesday, which, although hampered by some sound issues and cut too short, still managed to offer pieces of the new record’s grand, haunting swells. Better to check them out, I think, on the band’s headlining national tour, which comes to San Francisco on March 31st.\u003c/p>\n\u003cp>SXSW also offers me an opportunity to offer a mea culpa to \u003ca href=\"http://www.myspace.com/thexx\">The xx\u003c/a>, the British band who has soared to prominence on their 2009 debut, \u003cstrong>xx\u003c/strong>. I’ll confess to being a little underwhelmed by the record, given all of the hype, but I found myself quite impressed by a live set I caught last week. The record’s got plenty of perfectly catchy songs, but it’s also incredibly understated for my liking. Live, however, the bass and live-triggered drums are louder, more throbbing and insistent, making for a highly enjoyable set that felt human and vulnerable. When I listen to the album next, I’m planning on messing with my stereo to try and duplicate the same results.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Not every set, though, was similarly revelatory. One of the most buzzed-about acts \u003ca href=\"http://www.myspace.com/brokenbells\">Broken Bells\u003c/a>, the new collaborative effort between producer Danger Mouse and The Shins’ James Mercer, left me surprisingly indifferent. Beyond the pedigree, I’m truly confused about the hype here, as the project seems to have neither Danger Mouse’s skill for creative sounds (demonstrated best in his work with Gnarls Barkley and Gorillaz) nor The Shins’ sublimely upbeat hooks. Instead, the group seems mired in a mid-tempo drudge that’s not bad so much as it is unmemorable.\u003c/p>\n\u003cp>A better new band to check out would be \u003ca href=\"http://www.myspace.com/freelancewhales\">Freelance Whales\u003c/a>, whose debut album \u003cstrong>Weathervanes\u003c/strong> gets reissued on Frenchkiss/Mom and Pop on April 13th. Splitting the difference between big-sounding chamber rock bands like The Arcade Fire and more intimate ones like The Hidden Cameras, Freelance Whales layer keyboards, guitars, a banjo and a harmonium under some great group vocals. It’s all very, very catchy, even, perhaps, a little twee, but I think everyone needs a little sugar in their diets.\u003c/p>\n\u003cp>But a diet doesn’t need too much Tex-Mex or barbecue, two delicious tastes I’ll be happy to avoid for another year until the allure of seeing another 70+ bands in 4 days becomes too much to resist and I’m once again back in Texas. You win again, South by Southwest.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Ben Van Houten is the Programming Director for \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>South by Southwest 2010 just wrapped up in Austin, Texas, leaving a tidal wave of ringing ears, exhausted bands, and permanently hungover attendees in its wake. I enjoy being a skeptic (and, perhaps, a cynic) about the value that SXSW can provide to any band hoping to set itself apart from the 1000+ other groups playing shows during the week, but the fact remains that I saw a ton of exciting new music over the past week.\u003c/p>\n\u003cp>Lo-fi sounds continue to dominate blog buzz, which meant that everyone-and-their-mothers’ garage-inspired groups were performing in Austin this year. Despite the overwhelming amount of bands crafting reverby pop, a few definitely managed to stand out. I’d seen New Jersey’s \u003ca href=\"http://www.myspace.com/realestate\">Real Estate\u003c/a> in SF earlier, but also caught one of the band’s ten shows at SXSW. The quartet’s self-titled record is excellent and their live performances vibrantly capture its beach pop jangle.\u003c/p>\n\u003cp>The real discovery for me on the lo-fi front has to be Los Angeles’ \u003ca href=\"http://www.myspace.com/dumdumgirls\">Dum Dum Girls\u003c/a>, whose debut full length comes out on Sub Pop at the end of the month. Of the many ’60s-referencing bands around today, the Girls may be the most truly Spectorian, a group of impeccably dressed attractive women who play crazy-catchy backbeat-driven songs with strong three part harmonies. While the band members’ outfits were more goth than girl group, their lyrics seize on the melodrama intrinsic to both genres. Despite the girl group feel, there’s no Svengali at work behind the scenes — the band emerged from the solo writing and recording of leader Dee Dee, who appropriately deems the band’s sound “blissed-out buzz saw.”\u003c/p>\n\u003cp>On the Bay Area front, SXSW couldn’t have been better positioned for the Berkeley-born \u003ca href=\"http://www.myspace.com/themorningbenders\">The Morning Benders\u003c/a>, whose new album \u003cstrong>Big Echo\u003c/strong> was deemed “Best New Music” by Pitchfork just as the festival began. The overwhelmingly positive press for \u003cstrong>Big Echo\u003c/strong> is well-earned. It’s a terrifically lush and ambitious album that reinvents a band known for Beatles-esque linear pop-rock as one more interested in ambitious atmospheric indie rock. I caught the band’s first SXSW show on Wednesday, which, although hampered by some sound issues and cut too short, still managed to offer pieces of the new record’s grand, haunting swells. Better to check them out, I think, on the band’s headlining national tour, which comes to San Francisco on March 31st.\u003c/p>\n\u003cp>SXSW also offers me an opportunity to offer a mea culpa to \u003ca href=\"http://www.myspace.com/thexx\">The xx\u003c/a>, the British band who has soared to prominence on their 2009 debut, \u003cstrong>xx\u003c/strong>. I’ll confess to being a little underwhelmed by the record, given all of the hype, but I found myself quite impressed by a live set I caught last week. The record’s got plenty of perfectly catchy songs, but it’s also incredibly understated for my liking. Live, however, the bass and live-triggered drums are louder, more throbbing and insistent, making for a highly enjoyable set that felt human and vulnerable. When I listen to the album next, I’m planning on messing with my stereo to try and duplicate the same results.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Not every set, though, was similarly revelatory. One of the most buzzed-about acts \u003ca href=\"http://www.myspace.com/brokenbells\">Broken Bells\u003c/a>, the new collaborative effort between producer Danger Mouse and The Shins’ James Mercer, left me surprisingly indifferent. Beyond the pedigree, I’m truly confused about the hype here, as the project seems to have neither Danger Mouse’s skill for creative sounds (demonstrated best in his work with Gnarls Barkley and Gorillaz) nor The Shins’ sublimely upbeat hooks. Instead, the group seems mired in a mid-tempo drudge that’s not bad so much as it is unmemorable.\u003c/p>\n\u003cp>A better new band to check out would be \u003ca href=\"http://www.myspace.com/freelancewhales\">Freelance Whales\u003c/a>, whose debut album \u003cstrong>Weathervanes\u003c/strong> gets reissued on Frenchkiss/Mom and Pop on April 13th. Splitting the difference between big-sounding chamber rock bands like The Arcade Fire and more intimate ones like The Hidden Cameras, Freelance Whales layer keyboards, guitars, a banjo and a harmonium under some great group vocals. It’s all very, very catchy, even, perhaps, a little twee, but I think everyone needs a little sugar in their diets.\u003c/p>\n\u003cp>But a diet doesn’t need too much Tex-Mex or barbecue, two delicious tastes I’ll be happy to avoid for another year until the allure of seeing another 70+ bands in 4 days becomes too much to resist and I’m once again back in Texas. You win again, South by Southwest.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Ben Van Houten is the Programming Director for \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>San Francisco’s The Mantles’ acclaimed first full-length album came out last year on Siltbreeze. \u003cb>The Mantles\u003c/b> is a wonderfully indefinable record. The album draws from strains of classic psych, pop and proto-punk, blending them into a hazy batch of great songs, including some perfect pop nuggets like “Don’t Lie.” The group has also released some singles, all long since sold out, and they recently entered the studio to work on a new EP. Beyond the music, The Mantles are a goofy, extremely funny group of longtime friends, making for a really enjoyable interview and a great episode.\u003c/p>\n\u003cp>We sat down with the band earlier this year, chatting about their origins and their plans for new recordings. In addition to the conversation, we’ve also got four great songs from the band’s catalog in the episode (“Don’t Lie”, “Burden”, “Look Away” and “Bad Design”).\u003c/p>\n\u003cp>\u003cb>Upcoming Shows:\u003c/b>\u003cbr>The Mantles will be playing a bunch of shows during South by Southwest. You can see all of those dates at \u003ca href=\"http://www.myspace.com/mantles\">their MySpace page\u003c/a>.\u003c/p>\n\u003cp>Friday, April 16, 2010\u003cbr>Pissed Off Pete’s\u003cbr>with Spencey Dude & the Doodles and Sleepy Beach\u003cbr>8pm\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>If you’re a musician in the Bay Area (and you’re not a member of the San Francisco Symphony), the secret to success is to diversify. Whether it’s new music, jazz, ethnic styles from around the world or around the block, if you can do it well, and authentically, you can not only have a career, you just might blaze a trail. Kronos, the Turtle Island String Quartet, and the Quartet San Francisco have all found ways to stretch the boundaries of what it means to be a classical string quartet; with \u003cb>The Real Vocal String Quartet\u003c/b>, we may have finally burst those boundaries. San Francisco Performances is giving the \u003ca href=\"http://www.rvsq.com/\">Real Vocal String Quartet\u003c/a> a chance to expand your idea of what a quartet can do on Wednesday, March 17 at 6:30pm at San Francisco’s Hotel Rex.\u003c/p>\n\u003cp>The Real Vocal String Quartet was formed in 2003 by Irene Sazer, who had already diversified her career by playing with the likes of Ray Charles, Ella Fitzgerald, Frank Sinatra, and Linda Ronstadt, as well as with the San Francisco Symphony, the Oakland Symphony, the Baltimore Chamber Orchestra and the Women’s Philharmonic. She was also a founding member of the Turtle Island String Quartet, which gave her a head start on building musical bridges. The other members of the Quartet, Alisa Rose, Dina Maccabee and Jessica Ivry are versatile veteran players with their own impressive and \u003ca>wide-ranging resumes\u003c/a>. They’ve all got the classical bona fides, but they’re also astoundingly fluent in jazz, klezmer, bluegrass, hip-hop, Brazilian, Balkan, Cajun, Middle Eastern, West African, and probably a dozen more musical languages.\u003c/p>\n\u003cp>Two things really set this quartet apart. First is their ability to improvise in any of those languages. Most classically-trained musicians are not taught to improvise — they’re taught to play what’s written on the page as musically as possible. Improvisation is at the heart of almost every other musical tradition, though, and it takes a rare classical player to be able to break down those years of being true to the notes to let your fingers fly on their own.\u003c/p>\n\u003cp>The second difference is right there in the name. They sing — while they’re playing. As someone who has tried to sing with a viola stuck under my chin, I can tell you that it is not easy. Their voices fit together as well as their instruments do. Listen to \u003ca href=\"http://www.rvsq.com/debut-album/\">their new CD\u003c/a> and be very impressed. I certainly was.\u003c/p>\n\u003cp>RVSQ’s music is by turns beautiful, haunting, mesmerizing and foot-stomping fun. There’s a lot here that sounds vaguely familiar — though I couldn’t quite put my finger on the direct influences — but for me the familiarity merely heightens the enjoyment of these mostly original tunes. There’s even a cover of Paul Simon’s “Night Game” (speaking of building musical bridges).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s a show that will upend your notions of what a string quartet should sound like, in a setting that does the same for the notion of “classical concert.” And it’s St. Patrick’s Day so you can count on a reel or two with some fancy fiddling.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Real Vocal String Quartet plays the Hotel Rex on Wednesday, March 17, 2010 at 6:30pm. For \u003ca href=\"http://performances.org/performances/0910/RVSQ.html\">tickets and information\u003c/a> visit performances.org.\u003c/p>\n\n",
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"content": "\u003cp>With Noise Pop just concluded, March has totally blindsided me with a number of can’t-miss concert opportunities around the Bay Area. Catch buzzed-about local trio Grass Widow at The Knockout before their upcoming album causes them to blow up later this year. Laura Gibson returns to SF after a solo Noise Pop show, bringing collaborator Ethan Rose along to perform songs from their spectacular new album \u003cb>Bridge Carols\u003c/b>. The Hemlock’s back room hosts the addictive fuzz-pop of So Cow, whose music calls to mind weirdo pop titans Television Personalities.\u003c/p>\n\u003cp>It took less than a song to fall in love with SF trio \u003ca href=\"http://www.myspace.com/grasswidowmusic\">Grass Widow\u003c/a> at the band’s recent Great American Music Hall show, opening for Thao Nguyen and The Thermals. Like those two bands, GW inked a deal with Kill Rock Stars — a fitting home for their fuzzy mix of dark post-punk and good-time garage pop — and they spent the Great American show bouncing from one brain-infecting nugget to the next, pausing only briefly to acknowledge one member’s grandmother in the audience. By the time the night was over, I’d grabbed the band’s recent 12″ EP, later to add a copy of their first full length, now in its third pressing on \u003ca href=\"http://makeamessrecords.com/\">Make A Mess Records\u003c/a>. Grass Widow plays with punk enthusiasm, but it’s the overlapping vocals (tons of harmonies and call and response) that seal the deal. Grass Widow will be at The Knockout on March 11 with \u003ca href=\"http://www.myspace.com/brokenagua\">Broken Water\u003c/a> and \u003ca href=\"http://www.myspace.com/makeingtents\">Makeing Tents\u003c/a>.\u003c/p>\n\n\u003cp>Portland singer-songwriter \u003ca href=\"http://www.myspace.com/lauragibson\">Laura Gibson\u003c/a> has made a name for herself as a folk minimalist, so I wasn’t exactly sure what to expect from her new collaborative album with avant-garde composer \u003ca href=\"http://www.myspace.com/ethanrose\">Ethan Rose\u003c/a>. The duo approached \u003cb>\u003ca href=\"http://bridgecarols.com\">\u003cb>Bridge Carols\u003c/b>\u003c/a>\u003c/b> (out now on \u003ca href=\"http://www.holocenemusic.com\">Holocene Music\u003c/a>) in a surely-doomed-for-failure way, with Gibson improvising lyrics and sounds which Rose then de- and, subsequently, re-constructed. The dangers are likely apparent — that the work wouldn’t sound organic or that it might drift untethered into the atmosphere or that Gibson would be abandoning a perfectly good sense of melody for something \u003ci>different\u003c/i>. Thankfully, none of these concerns bear fruit. There’s enough structure here to allow us pop-inclined folks access, and the rewards are lush, rich textures that blend well with Gibson’s languid and ethereal tones. This may well be the first great headphone record of 2010, so I’m curious to see how it plays out live at the Rickshaw Stop on March 31. Gibson and Rose will be supported by \u003ca href=\"http://www.myspace.com/emilyjanewhite\">Emily Jane White\u003c/a> and \u003ca href=\"http://www.myspace.com/garrettpiercemusic\">Garrett Pierce\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003cdiv class=\"topspin-widget topspin-widget-bundle-widget\"> \u003c/div>\n\n\u003cp>Any press kit that references the criminally underrated Television Personalities immediately gets my attention. Were there any justice in the world, the TVPs would be considered the “Weird Beatles.” I recognize that doesn’t have much of a ring to it, but suffice to say that few groups have managed to translate offbeat psych, bedroom pop and punk influences with anything resembling Dan Treacy’s creative spark. Irish musician Brian Kelly, who records as \u003ca href=\"http://www.myspace.com/socow\">So Cow\u003c/a>, shares Treacy’s love of chasing fractured pop gems, and he hits plenty of highs on \u003cb>Meaningless Friendly\u003c/b>, his second proper album out now on \u003ca href=\"http://tictactotally.com/\">Tic Tac Totally!\u003c/a>. It’s not all gooey ear candy, mind you, as Kelly’s hyperactive songs buzz through brief passages of noisy dissonance as well. So Cow plays at the \u003ca href=\"http://www.hemlocktavern.com\">Hemlock Tavern\u003c/a> on March 10 with \u003ca href=\"http://www.myspace.com/thebarewires\">Bare Wires\u003c/a> and \u003ca href=\"http://www.myspace.com/dreamdater\">Dreamdate\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=XbC04so_9a4&hl=en_US&fs=1&]\u003ca href=\"http://www.youtube.com/watch?v=XbC04so_9a4&feature=related\">So Cow – Live in Seoul\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Ben Van Houten is the Programming Director for \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>With Noise Pop just concluded, March has totally blindsided me with a number of can’t-miss concert opportunities around the Bay Area. Catch buzzed-about local trio Grass Widow at The Knockout before their upcoming album causes them to blow up later this year. Laura Gibson returns to SF after a solo Noise Pop show, bringing collaborator Ethan Rose along to perform songs from their spectacular new album \u003cb>Bridge Carols\u003c/b>. The Hemlock’s back room hosts the addictive fuzz-pop of So Cow, whose music calls to mind weirdo pop titans Television Personalities.\u003c/p>\n\u003cp>It took less than a song to fall in love with SF trio \u003ca href=\"http://www.myspace.com/grasswidowmusic\">Grass Widow\u003c/a> at the band’s recent Great American Music Hall show, opening for Thao Nguyen and The Thermals. Like those two bands, GW inked a deal with Kill Rock Stars — a fitting home for their fuzzy mix of dark post-punk and good-time garage pop — and they spent the Great American show bouncing from one brain-infecting nugget to the next, pausing only briefly to acknowledge one member’s grandmother in the audience. By the time the night was over, I’d grabbed the band’s recent 12″ EP, later to add a copy of their first full length, now in its third pressing on \u003ca href=\"http://makeamessrecords.com/\">Make A Mess Records\u003c/a>. Grass Widow plays with punk enthusiasm, but it’s the overlapping vocals (tons of harmonies and call and response) that seal the deal. Grass Widow will be at The Knockout on March 11 with \u003ca href=\"http://www.myspace.com/brokenagua\">Broken Water\u003c/a> and \u003ca href=\"http://www.myspace.com/makeingtents\">Makeing Tents\u003c/a>.\u003c/p>\n\n\u003cp>Portland singer-songwriter \u003ca href=\"http://www.myspace.com/lauragibson\">Laura Gibson\u003c/a> has made a name for herself as a folk minimalist, so I wasn’t exactly sure what to expect from her new collaborative album with avant-garde composer \u003ca href=\"http://www.myspace.com/ethanrose\">Ethan Rose\u003c/a>. The duo approached \u003cb>\u003ca href=\"http://bridgecarols.com\">\u003cb>Bridge Carols\u003c/b>\u003c/a>\u003c/b> (out now on \u003ca href=\"http://www.holocenemusic.com\">Holocene Music\u003c/a>) in a surely-doomed-for-failure way, with Gibson improvising lyrics and sounds which Rose then de- and, subsequently, re-constructed. The dangers are likely apparent — that the work wouldn’t sound organic or that it might drift untethered into the atmosphere or that Gibson would be abandoning a perfectly good sense of melody for something \u003ci>different\u003c/i>. Thankfully, none of these concerns bear fruit. There’s enough structure here to allow us pop-inclined folks access, and the rewards are lush, rich textures that blend well with Gibson’s languid and ethereal tones. This may well be the first great headphone record of 2010, so I’m curious to see how it plays out live at the Rickshaw Stop on March 31. Gibson and Rose will be supported by \u003ca href=\"http://www.myspace.com/emilyjanewhite\">Emily Jane White\u003c/a> and \u003ca href=\"http://www.myspace.com/garrettpiercemusic\">Garrett Pierce\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003cdiv class=\"topspin-widget topspin-widget-bundle-widget\"> \u003c/div>\n\n\u003cp>Any press kit that references the criminally underrated Television Personalities immediately gets my attention. Were there any justice in the world, the TVPs would be considered the “Weird Beatles.” I recognize that doesn’t have much of a ring to it, but suffice to say that few groups have managed to translate offbeat psych, bedroom pop and punk influences with anything resembling Dan Treacy’s creative spark. Irish musician Brian Kelly, who records as \u003ca href=\"http://www.myspace.com/socow\">So Cow\u003c/a>, shares Treacy’s love of chasing fractured pop gems, and he hits plenty of highs on \u003cb>Meaningless Friendly\u003c/b>, his second proper album out now on \u003ca href=\"http://tictactotally.com/\">Tic Tac Totally!\u003c/a>. It’s not all gooey ear candy, mind you, as Kelly’s hyperactive songs buzz through brief passages of noisy dissonance as well. So Cow plays at the \u003ca href=\"http://www.hemlocktavern.com\">Hemlock Tavern\u003c/a> on March 10 with \u003ca href=\"http://www.myspace.com/thebarewires\">Bare Wires\u003c/a> and \u003ca href=\"http://www.myspace.com/dreamdater\">Dreamdate\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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/XbC04so_9a4'\n title='//www.youtube.com/embed/XbC04so_9a4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ca href=\"http://www.youtube.com/watch?v=XbC04so_9a4&feature=related\">So Cow – Live in Seoul\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Ben Van Houten is the Programming Director for \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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"title": "Joanna Newsom: Have One on Me",
"headTitle": "Joanna Newsom: Have One on Me | KQED",
"content": "\u003cp>Joanna Newsom kept quite a low profile after her enchanting masterpiece \u003cb>Ys\u003c/b> was released in 2006. Fans of the Bay Area native and harp virtuoso began to see her popping up in fashion spreads (\u003ca href=\"http://stereogum.com/img/joanna_newsom-paper_fashion.jpg\">looking\u003c/a> \u003ca href=\"http://stereogum.com/img/joannanewsom-armani.jpg\">divine\u003c/a>, I might add) and on the arm of SNL comedian Andy Samberg, but saw no movement on the home front: her anachronistic brand of quirky, literary, and lush music. Had she forsaken her musical ingenuity for a life of couture and comedy?\u003c/p>\n\u003cp>Drag City, her record label, answered this question with a resounding no in January 2010 with the release of a new single (“’81”) and the news of a triple album (!!!) to be released the following month. True to her unconventional nature, Newsom allowed the masses to think she had forsaken her craft while busy tinkering away at eighteen brand new songs that pack a punch mighty enough to knock even a jaded listener unconscious. Well worth the agonizing wait, \u003cb>Have One On Me\u003c/b> will make you see stars.\u003c/p>\n\u003cp>Joanna Newsom’s music isn’t exactly accessible. Her unusual vocal gymnastics and dense, winding narratives on previous albums often split listeners into two camps: the perplexed and the bewitched. There are a few reasons why some people fall into the first set, whether it is a short-attention span, a resistance to aural adventure, or just bad taste. But, with this new album, there is hope for them yet!\u003c/p>\n\u003cp>Although \u003cb>Have One on Me\u003c/b> sticks to the lengthy format with a running time of just over two hours, Joanna Newsom plays around with simpler song formulas and has moved away from rapid-fire syllabic assaults for a more stripped and soulful sound. She has also scaled back some of her vocal eccentricities. The evolution of her chirpy voice into a deepened, more controlled instrument is partly due to a better understanding of how to best utilize her talent, but also as a direct result of a bout with nodes on her vocal chords that left her unable to speak and even cry for months. Amazingly, Joanna’s one-of-a-kind voice has returned to its former glory and then some (thank the Muses!).\u003c/p>\n\u003cp>Not only are Newsom’s vocals more assured and clearer than ever before, her lyrics and storytelling abilities are also reaching new heights. On the opener, “Easy,” Joanna romanticizes a menacing historical figure: “Like a Bloody Mary seen in the mirror, speak my name and I appear.” The title track shares some of this narrative color: headless guards, whispering Jesuits, and the spider dance of 19th century dancer/courtesan Lola Montez (the woman who allegedly inspired the phrase “Whatever Lola wants, Lola gets”). On other songs, a battle between St. George and the dragon breaks out, a goose cusses over her eggs, Mother Nature “doles out hurt like a puking bird,” a face cracks like a joke, and “a terrible room [is] gilded with the gold teeth of the women who loved you.” Joanna has the uncanny ability of twisting words into new positions and conjuring forgotten legends, not to mention constructing a bad ass simile.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While the subject matter of \u003cb>Ys\u003c/b> was fantastically varied, from a song that remarks on the differences between meteors, meteorites, and meteoroids to another about a despot monkey who abuses a bear called Ursula, \u003cb>Have One on Me\u003c/b> sticks to a more common thread. Each of the eighteen songs deals with the many faces of love, warts and all.\u003c/p>\n\u003cp>\u003c/p>\u003cp>Love with a sense of humor: \u003cbr>“And I regret how I said to you \u003cbr>‘Honey, just open your heart’ \u003cbr>when I’ve got trouble \u003cbr>even opening a honey jar.”\u003c/p>\n\u003cp>Stupefying love: \u003cbr>“I only want you to pull over and hold me\u003cbr> ’til I can’t remember my own name.”\u003c/p>\n\u003cp>Red hot love: \u003cbr>“You burned me like a barn.\u003cbr> I burned safe and warm in your arms.”\u003c/p>\n\u003cp>Love of California: \u003cbr>“When you come and see me \u003cbr>in California, \u003cbr>you cross the border of my heart.”\u003c/p>\n\u003cp>And love gone extinct: \u003cbr>“It does not suffice \u003cbr>to merely lie beside each other, \u003cbr>as those who love each other do.”\u003c/p>\n\u003cp>Joanna has created a soundtrack for every phase of a relationship: the desire, the chase, the catch, and the release. And somehow, she accomplishes this without repeating a single note from the boundless history of love songs past. Love has been written to death for centuries and she’s managed to drag it from its deep grave.\u003c/p>\n\u003cp>Despite being preoccupied with affairs of the heart, Newsom is unafraid to confront darker terrain. On “Baby Birch,” she sings: “I will never know you…I hated to close the door on you…Be at peace, Baby Birch. Be gone.” The lament over a lost child continues on “On A Good Day:” “I saw a life and I called it mine. I saw it, drawn so sweet and fine and I had begun to fill in all the lines, right down to what we’d name her.” Equally gut-wrenching is the album’s final number “Does Not Suffice,” which chronicles packing away feminine regalia (sparkling rings, gilded buttons, coats of boucle, jacquard and cashmere) and moving out of an ex-lover’s space. “The tap of hangers, swaying in the closet, unburdened hooks and empty drawers, and everywhere I tried to love you is yours again, and only yours.” Seeing those stars yet?\u003c/p>\n\u003cp>A simple review such as this can’t come close to capturing the sound and sway of \u003cb>Have One on Me\u003c/b>. You must find out what’s buried there for yourself. My advice for your journey through these two hours of challenging music is:\u003c/p>\n\u003cp>\na.) headphones are a must. \u003cbr>\nb.) digest in increments, one six-song LP at a time.\u003cbr>\nc.) don’t expect to instantly love every number. \u003c/p>\n\u003cp>\nJoanna Newsom’s songs are organisms unto themselves, breathing worlds with their own rules, little dramas, and amatory struggles. They deserve adequate time and patience to reveal themselves; their mysteries unveiling only when you’re ready for them.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cb>Have One on Me\u003c/b> is out now. You’ll buy it, if you know what’s good for you.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Joanna Newsom kept quite a low profile after her enchanting masterpiece \u003cb>Ys\u003c/b> was released in 2006. Fans of the Bay Area native and harp virtuoso began to see her popping up in fashion spreads (\u003ca href=\"http://stereogum.com/img/joanna_newsom-paper_fashion.jpg\">looking\u003c/a> \u003ca href=\"http://stereogum.com/img/joannanewsom-armani.jpg\">divine\u003c/a>, I might add) and on the arm of SNL comedian Andy Samberg, but saw no movement on the home front: her anachronistic brand of quirky, literary, and lush music. Had she forsaken her musical ingenuity for a life of couture and comedy?\u003c/p>\n\u003cp>Drag City, her record label, answered this question with a resounding no in January 2010 with the release of a new single (“’81”) and the news of a triple album (!!!) to be released the following month. True to her unconventional nature, Newsom allowed the masses to think she had forsaken her craft while busy tinkering away at eighteen brand new songs that pack a punch mighty enough to knock even a jaded listener unconscious. Well worth the agonizing wait, \u003cb>Have One On Me\u003c/b> will make you see stars.\u003c/p>\n\u003cp>Joanna Newsom’s music isn’t exactly accessible. Her unusual vocal gymnastics and dense, winding narratives on previous albums often split listeners into two camps: the perplexed and the bewitched. There are a few reasons why some people fall into the first set, whether it is a short-attention span, a resistance to aural adventure, or just bad taste. But, with this new album, there is hope for them yet!\u003c/p>\n\u003cp>Although \u003cb>Have One on Me\u003c/b> sticks to the lengthy format with a running time of just over two hours, Joanna Newsom plays around with simpler song formulas and has moved away from rapid-fire syllabic assaults for a more stripped and soulful sound. She has also scaled back some of her vocal eccentricities. The evolution of her chirpy voice into a deepened, more controlled instrument is partly due to a better understanding of how to best utilize her talent, but also as a direct result of a bout with nodes on her vocal chords that left her unable to speak and even cry for months. Amazingly, Joanna’s one-of-a-kind voice has returned to its former glory and then some (thank the Muses!).\u003c/p>\n\u003cp>Not only are Newsom’s vocals more assured and clearer than ever before, her lyrics and storytelling abilities are also reaching new heights. On the opener, “Easy,” Joanna romanticizes a menacing historical figure: “Like a Bloody Mary seen in the mirror, speak my name and I appear.” The title track shares some of this narrative color: headless guards, whispering Jesuits, and the spider dance of 19th century dancer/courtesan Lola Montez (the woman who allegedly inspired the phrase “Whatever Lola wants, Lola gets”). On other songs, a battle between St. George and the dragon breaks out, a goose cusses over her eggs, Mother Nature “doles out hurt like a puking bird,” a face cracks like a joke, and “a terrible room [is] gilded with the gold teeth of the women who loved you.” Joanna has the uncanny ability of twisting words into new positions and conjuring forgotten legends, not to mention constructing a bad ass simile.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While the subject matter of \u003cb>Ys\u003c/b> was fantastically varied, from a song that remarks on the differences between meteors, meteorites, and meteoroids to another about a despot monkey who abuses a bear called Ursula, \u003cb>Have One on Me\u003c/b> sticks to a more common thread. Each of the eighteen songs deals with the many faces of love, warts and all.\u003c/p>\n\u003cp>\u003c/p>\u003cp>Love with a sense of humor: \u003cbr>“And I regret how I said to you \u003cbr>‘Honey, just open your heart’ \u003cbr>when I’ve got trouble \u003cbr>even opening a honey jar.”\u003c/p>\n\u003cp>Stupefying love: \u003cbr>“I only want you to pull over and hold me\u003cbr> ’til I can’t remember my own name.”\u003c/p>\n\u003cp>Red hot love: \u003cbr>“You burned me like a barn.\u003cbr> I burned safe and warm in your arms.”\u003c/p>\n\u003cp>Love of California: \u003cbr>“When you come and see me \u003cbr>in California, \u003cbr>you cross the border of my heart.”\u003c/p>\n\u003cp>And love gone extinct: \u003cbr>“It does not suffice \u003cbr>to merely lie beside each other, \u003cbr>as those who love each other do.”\u003c/p>\n\u003cp>Joanna has created a soundtrack for every phase of a relationship: the desire, the chase, the catch, and the release. And somehow, she accomplishes this without repeating a single note from the boundless history of love songs past. Love has been written to death for centuries and she’s managed to drag it from its deep grave.\u003c/p>\n\u003cp>Despite being preoccupied with affairs of the heart, Newsom is unafraid to confront darker terrain. On “Baby Birch,” she sings: “I will never know you…I hated to close the door on you…Be at peace, Baby Birch. Be gone.” The lament over a lost child continues on “On A Good Day:” “I saw a life and I called it mine. I saw it, drawn so sweet and fine and I had begun to fill in all the lines, right down to what we’d name her.” Equally gut-wrenching is the album’s final number “Does Not Suffice,” which chronicles packing away feminine regalia (sparkling rings, gilded buttons, coats of boucle, jacquard and cashmere) and moving out of an ex-lover’s space. “The tap of hangers, swaying in the closet, unburdened hooks and empty drawers, and everywhere I tried to love you is yours again, and only yours.” Seeing those stars yet?\u003c/p>\n\u003cp>A simple review such as this can’t come close to capturing the sound and sway of \u003cb>Have One on Me\u003c/b>. You must find out what’s buried there for yourself. My advice for your journey through these two hours of challenging music is:\u003c/p>\n\u003cp>\na.) headphones are a must. \u003cbr>\nb.) digest in increments, one six-song LP at a time.\u003cbr>\nc.) don’t expect to instantly love every number. \u003c/p>\n\u003cp>\nJoanna Newsom’s songs are organisms unto themselves, breathing worlds with their own rules, little dramas, and amatory struggles. They deserve adequate time and patience to reveal themselves; their mysteries unveiling only when you’re ready for them.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>For two weeks every fall, San Francisco hosts a world-class jazz festival. It’s been called “one of America’s premier cultural events” by the \u003ci>Los Angeles Times\u003c/i>, “The crown jewel among American jazz festivals” by the \u003ci>Chicago Tribune\u003c/i> and “The #1 jazz festival in the world” by London’s \u003ci>Observer\u003c/i>. But you don’t have to wait until next fall to get a good jazz fix. Luckily SFJAZZ, the organization that presents the fall festival, hosts a series of concerts throughout the spring for aficionados and amateurs alike — and I have to admit that I am one of the latter. There are a number of true jazz legends in the line-up, but also world music and bluegrass performers who highlight facets of the complex genre. In this way, SFJAZZ is equal parts nostalgic grandfather-type who tells you about the hep-cats who used to play with Coltrane and Miles Davis, and hipster college-station DJ who introduces you to amazing, obscure bands years before anyone else knows about them.\u003c/p>\n\u003cp>Here’s what I mean: SFJAZZ opened their Spring Season this past weekend with two performances, Max Raabe and Palast Orchester at the Paramount in Oakland on Friday, and on Sunday, Tinariwen at the Palace of Fine Arts. Raabe is a Berliner who performs classics; his interpretation of that word stretches to include Tom Jones’ \u003ca href=\"http://www.youtube.com/watch?v=WAAFMKWHfAY\">“Sex Bomb”\u003c/a> alongside songs from Weimar Republic films of the ’20s and ’30s. It’s difficult to explain Tinariwen if you’re not familiar: their sound alternately invites unlikely hybrid descriptions like bluesy-Berber-psych-rock — or defies description altogether. The band mixes influences from the traditional music of the Taureg people, a North African nomadic tribe, with Led Zeppelin and Jimi Hendrix. They formed in a rebel camp in Mali in the late ’70s, producing music they now describe as “propaganda” for the insurgent movement. Tinariwen’s songs were recorded with rudimentary equipment and put on cassettes, which were passed around Africa for decades before the band burst on the world music scene with a performance at Mali’s \u003cb>Festival in the Desert\u003c/b> in 2001.\u003c/p>\n\u003cp>The Spring season’s opening performances are just a couple helpful examples of SFJAZZ’s eclectic but exquisitely curated offerings. Here are other picks for the upcoming season:\u003c/p>\n\u003cp>\u003cb>March 11:\u003c/b> Ladysmith Black Mambazo at Congregation Sherith Israel\u003cbr>Ladysmith Black Mambazo is an all-male a capella group from South Africa, whose voices you might recognize if you’re a fan of Paul Simon’s \u003cb>Graceland\u003c/b> (they can be heard on “Diamonds on the Soles of Her Shoes” and “Homeless”). The band sings Isicathamiya, a cross between traditional Zulu music and traditional European a capella. The result is a relative of the African-American slave spiritual inspired by the melodies black workers sing while forced to work South African diamond mines. The band is considered so emblematic of South Africa that they were invited by Nelson Mandela to sing at both his inauguration and Nobel Peace Prize ceremony.\u003c/p>\n\u003cp>\u003cb>March 19:\u003c/b> Keith Jarrett Solo at the Davies Symphony Hall\u003cbr>Wynton Marsalis said, “In Jazz, improvisation isn’t a matter of just making any ol’ thing up. Jazz, like any language, has its own grammar and vocabulary.” If jazz is a language, Keith Jarrett could be its poet laureate. His solo shows are completely improvised, and even though he has played with legends like Miles Davis and Chick Corea, when jazz enthusiasts talk about Jarrett, they emphasize the singularity of his ability, maintaining he is one of the best, in terms of artistry and musicianship, living today.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In April, both Punch Brothers with Chris Thile (4/18) and Booker T. (4/23) play San Francisco’s Herbst Theater. Punch Brothers is a progressive bluegrass band with heavy classical influences — in 2007, they performed a 40-minute, 4-movement suite composed by mandolin prodigy Chris Thile at Carnegie Hall. Booker T. is probably best known for recording the iconic soul instrumental “Green Onions” with the M.G.’s — a tune that seems to pop up everywhere from movies to video games, and on all time best songs lists. (\u003ca href=\"http://www.youtube.com/watch?v=ar-Z_l907DY\">Recognize it\u003c/a>?). Last year, Booker T. put out \u003cb>Potato Hole\u003c/b>, a collaboration with Neil Young and alt-country rockers The Drive-By Truckers; the record won Best Pop Instrumental Album at the 2010 Grammys.\u003c/p>\n\u003cp>Also not to be missed: Legendary saxophonist \u003cb>Pharoah Saunders\u003c/b> at Grace Cathedral, April 16; “Brazil’s Bob Dylan,” \u003cb>Caetano Veloso\u003c/b>, at the Nob Hill Masonic Center, April 17; \u003cb>Sexmob\u003c/b>‘s pop covers, with DJ Olive at the YBCA, May 25.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>SFJAZZ’s \u003cb>Spring Season 2010\u003c/b> runs through June 12, 2010 at various Bay Area locations. For \u003ca href=\"http://www.sfjazz.org/concerts/2010/spring/index.php\">tickets and information\u003c/a> visit sfjazz.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For two weeks every fall, San Francisco hosts a world-class jazz festival. It’s been called “one of America’s premier cultural events” by the \u003ci>Los Angeles Times\u003c/i>, “The crown jewel among American jazz festivals” by the \u003ci>Chicago Tribune\u003c/i> and “The #1 jazz festival in the world” by London’s \u003ci>Observer\u003c/i>. But you don’t have to wait until next fall to get a good jazz fix. Luckily SFJAZZ, the organization that presents the fall festival, hosts a series of concerts throughout the spring for aficionados and amateurs alike — and I have to admit that I am one of the latter. There are a number of true jazz legends in the line-up, but also world music and bluegrass performers who highlight facets of the complex genre. In this way, SFJAZZ is equal parts nostalgic grandfather-type who tells you about the hep-cats who used to play with Coltrane and Miles Davis, and hipster college-station DJ who introduces you to amazing, obscure bands years before anyone else knows about them.\u003c/p>\n\u003cp>Here’s what I mean: SFJAZZ opened their Spring Season this past weekend with two performances, Max Raabe and Palast Orchester at the Paramount in Oakland on Friday, and on Sunday, Tinariwen at the Palace of Fine Arts. Raabe is a Berliner who performs classics; his interpretation of that word stretches to include Tom Jones’ \u003ca href=\"http://www.youtube.com/watch?v=WAAFMKWHfAY\">“Sex Bomb”\u003c/a> alongside songs from Weimar Republic films of the ’20s and ’30s. It’s difficult to explain Tinariwen if you’re not familiar: their sound alternately invites unlikely hybrid descriptions like bluesy-Berber-psych-rock — or defies description altogether. The band mixes influences from the traditional music of the Taureg people, a North African nomadic tribe, with Led Zeppelin and Jimi Hendrix. They formed in a rebel camp in Mali in the late ’70s, producing music they now describe as “propaganda” for the insurgent movement. Tinariwen’s songs were recorded with rudimentary equipment and put on cassettes, which were passed around Africa for decades before the band burst on the world music scene with a performance at Mali’s \u003cb>Festival in the Desert\u003c/b> in 2001.\u003c/p>\n\u003cp>The Spring season’s opening performances are just a couple helpful examples of SFJAZZ’s eclectic but exquisitely curated offerings. Here are other picks for the upcoming season:\u003c/p>\n\u003cp>\u003cb>March 11:\u003c/b> Ladysmith Black Mambazo at Congregation Sherith Israel\u003cbr>Ladysmith Black Mambazo is an all-male a capella group from South Africa, whose voices you might recognize if you’re a fan of Paul Simon’s \u003cb>Graceland\u003c/b> (they can be heard on “Diamonds on the Soles of Her Shoes” and “Homeless”). The band sings Isicathamiya, a cross between traditional Zulu music and traditional European a capella. The result is a relative of the African-American slave spiritual inspired by the melodies black workers sing while forced to work South African diamond mines. The band is considered so emblematic of South Africa that they were invited by Nelson Mandela to sing at both his inauguration and Nobel Peace Prize ceremony.\u003c/p>\n\u003cp>\u003cb>March 19:\u003c/b> Keith Jarrett Solo at the Davies Symphony Hall\u003cbr>Wynton Marsalis said, “In Jazz, improvisation isn’t a matter of just making any ol’ thing up. Jazz, like any language, has its own grammar and vocabulary.” If jazz is a language, Keith Jarrett could be its poet laureate. His solo shows are completely improvised, and even though he has played with legends like Miles Davis and Chick Corea, when jazz enthusiasts talk about Jarrett, they emphasize the singularity of his ability, maintaining he is one of the best, in terms of artistry and musicianship, living today.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In April, both Punch Brothers with Chris Thile (4/18) and Booker T. (4/23) play San Francisco’s Herbst Theater. Punch Brothers is a progressive bluegrass band with heavy classical influences — in 2007, they performed a 40-minute, 4-movement suite composed by mandolin prodigy Chris Thile at Carnegie Hall. Booker T. is probably best known for recording the iconic soul instrumental “Green Onions” with the M.G.’s — a tune that seems to pop up everywhere from movies to video games, and on all time best songs lists. (\u003ca href=\"http://www.youtube.com/watch?v=ar-Z_l907DY\">Recognize it\u003c/a>?). Last year, Booker T. put out \u003cb>Potato Hole\u003c/b>, a collaboration with Neil Young and alt-country rockers The Drive-By Truckers; the record won Best Pop Instrumental Album at the 2010 Grammys.\u003c/p>\n\u003cp>Also not to be missed: Legendary saxophonist \u003cb>Pharoah Saunders\u003c/b> at Grace Cathedral, April 16; “Brazil’s Bob Dylan,” \u003cb>Caetano Veloso\u003c/b>, at the Nob Hill Masonic Center, April 17; \u003cb>Sexmob\u003c/b>‘s pop covers, with DJ Olive at the YBCA, May 25.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>SFJAZZ’s \u003cb>Spring Season 2010\u003c/b> runs through June 12, 2010 at various Bay Area locations. For \u003ca href=\"http://www.sfjazz.org/concerts/2010/spring/index.php\">tickets and information\u003c/a> visit sfjazz.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>You have to admit it’s a little funny, the sudden abundance of Stephin Merritt during Black History Month. It seems like just yesterday Merritt was being called the \u003ci>New York Times’\u003c/i> nearest available “rockist cracker” by \u003ci>New Yorker\u003c/i> music critic Sasha Frere-Jones, more or less on account of liking Morrissey and not OutKast. In fairness, it was longer ago than just yesterday, and a time when OutKast had started seeming tedious. In reverse fairness, hadn’t Morrissey started seeming tedious even longer ago?\u003c/p>\n\u003cp>But look. Merritt, the tart-witted phrase turner, musical magpie, Magnetic Fields frontman and author of such songs as “The Cactus Where Your Heart Should Be,” “Please Stop Dancing” and “I Wish I Had an Evil Twin,” among many others, likes what he likes. And enough other people like what he likes, and what he does, which usually consists of crooning in a deep-voiced warble over clever indie-rock concept albums of his own devising, that his occasional omnipresence is to be expected.\u003c/p>\n\u003cp>And so you’ll be running across him: on the Fields’ new album \u003cb>Realism\u003c/b>; or the remastered vinyl box set of their widely adored \u003cb>69 Love Songs\u003c/b>, due in April; or the two \u003ca href=\"http://www.noisepop.com/2010/\">Noise Pop\u003c/a> shows this week; or at Mezzanine this Sunday courtesy of \u003ca href=\"http://www.sf360.org/\">SF360\u003c/a>‘s Film+Club, in a documentary, reportedly ten years in the making, called \u003cb>Strange Powers: Stephen Merritt and the Magnetic Fields\u003c/b>. And then on May 4, as part of the 53rd San Francisco International Film Festival, Merritt will perform his new score to the 1916 film of \u003cb>20,000 Leagues Under the Sea\u003c/b> live at the Castro Theatre, with accompaniment from Castro organist David Hegarty and local author Daniel Handler on the accordion.\u003c/p>\n\u003cp>Ubiquity is not the same thing as knowability, of course, and Merritt remains a mysterious figure. It is fair to say he’s pretty much exactly the person you think of when trying to picture a bandleader who’d have Daniel Handler as his accordionist. Imagine an odd, slightly doughy, sad-eyed little man, alone and hunched over his songwriting notebook in an East Village gay bar, with one hand covering his one bum ear and the other crossing out not-literate-enough lyrics, sighing heavily from residual irritation about the stupid questions some unprepared interviewer had asked him earlier in the day. Or, better, imagine this same person standing fully and brownly dressed in a bathtub with a microphone in front of him, a harp at his side, and Irving, the pet Chihuahua he named after Irving Berlin, enfolded in his arms. Of this image, in fact, there is photographic evidence.\u003c/p>\n\u003cp>\u003cb>Strange Powers\u003c/b> should provide an even fuller portrait, or at least an even more complicated one. Consider this promotional zinger from San Francisco Film Society programmer Sean Uyehara: “Having been a fan of Stephin Merritt’s music for a long time now, I’ve always wondered whether he means it or not. This documentary seals it — I’m definitely not sure.” It is somehow perfectly logical that in the film’s trailer, the first two attesters to Merritt’s greatness are Peter Gabriel and Sarah Silverman — just as it is logical that they appear only after a New York cab driver wonders why a documentary would be made about Merritt and claims quite believably never to have heard of him.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In sum, Merritt is among us and yet he eludes us. Maybe Black History Month can be his moment after all.\u003c/p>\n\u003cp>\u003cb>A Sneak Preview of a Film About Stephin Merritt and the Magnetic Fields\u003c/b>,Sunday, February 28, 8pm at Mezzanine in San Francisco. For \u003ca href=\"http://www.sffs.org/content.aspx?catid=8,68&pageid=1515\">tickets and information\u003c/a> visit sffs.org.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Magnetic Fields play at the Fox Theater in Oakland Saturday, February 27, 8pm and at the Herbst Theater in San Francisco Monday, March 1, 8pm. For \u003ca href=\"http://www.noisepop.com/2010/artist_detail.php?artist_id=46\">more information\u003c/a> visit noisepop.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You have to admit it’s a little funny, the sudden abundance of Stephin Merritt during Black History Month. It seems like just yesterday Merritt was being called the \u003ci>New York Times’\u003c/i> nearest available “rockist cracker” by \u003ci>New Yorker\u003c/i> music critic Sasha Frere-Jones, more or less on account of liking Morrissey and not OutKast. In fairness, it was longer ago than just yesterday, and a time when OutKast had started seeming tedious. In reverse fairness, hadn’t Morrissey started seeming tedious even longer ago?\u003c/p>\n\u003cp>But look. Merritt, the tart-witted phrase turner, musical magpie, Magnetic Fields frontman and author of such songs as “The Cactus Where Your Heart Should Be,” “Please Stop Dancing” and “I Wish I Had an Evil Twin,” among many others, likes what he likes. And enough other people like what he likes, and what he does, which usually consists of crooning in a deep-voiced warble over clever indie-rock concept albums of his own devising, that his occasional omnipresence is to be expected.\u003c/p>\n\u003cp>And so you’ll be running across him: on the Fields’ new album \u003cb>Realism\u003c/b>; or the remastered vinyl box set of their widely adored \u003cb>69 Love Songs\u003c/b>, due in April; or the two \u003ca href=\"http://www.noisepop.com/2010/\">Noise Pop\u003c/a> shows this week; or at Mezzanine this Sunday courtesy of \u003ca href=\"http://www.sf360.org/\">SF360\u003c/a>‘s Film+Club, in a documentary, reportedly ten years in the making, called \u003cb>Strange Powers: Stephen Merritt and the Magnetic Fields\u003c/b>. And then on May 4, as part of the 53rd San Francisco International Film Festival, Merritt will perform his new score to the 1916 film of \u003cb>20,000 Leagues Under the Sea\u003c/b> live at the Castro Theatre, with accompaniment from Castro organist David Hegarty and local author Daniel Handler on the accordion.\u003c/p>\n\u003cp>Ubiquity is not the same thing as knowability, of course, and Merritt remains a mysterious figure. It is fair to say he’s pretty much exactly the person you think of when trying to picture a bandleader who’d have Daniel Handler as his accordionist. Imagine an odd, slightly doughy, sad-eyed little man, alone and hunched over his songwriting notebook in an East Village gay bar, with one hand covering his one bum ear and the other crossing out not-literate-enough lyrics, sighing heavily from residual irritation about the stupid questions some unprepared interviewer had asked him earlier in the day. Or, better, imagine this same person standing fully and brownly dressed in a bathtub with a microphone in front of him, a harp at his side, and Irving, the pet Chihuahua he named after Irving Berlin, enfolded in his arms. Of this image, in fact, there is photographic evidence.\u003c/p>\n\u003cp>\u003cb>Strange Powers\u003c/b> should provide an even fuller portrait, or at least an even more complicated one. Consider this promotional zinger from San Francisco Film Society programmer Sean Uyehara: “Having been a fan of Stephin Merritt’s music for a long time now, I’ve always wondered whether he means it or not. This documentary seals it — I’m definitely not sure.” It is somehow perfectly logical that in the film’s trailer, the first two attesters to Merritt’s greatness are Peter Gabriel and Sarah Silverman — just as it is logical that they appear only after a New York cab driver wonders why a documentary would be made about Merritt and claims quite believably never to have heard of him.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In sum, Merritt is among us and yet he eludes us. Maybe Black History Month can be his moment after all.\u003c/p>\n\u003cp>\u003cb>A Sneak Preview of a Film About Stephin Merritt and the Magnetic Fields\u003c/b>,Sunday, February 28, 8pm at Mezzanine in San Francisco. For \u003ca href=\"http://www.sffs.org/content.aspx?catid=8,68&pageid=1515\">tickets and information\u003c/a> visit sffs.org.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Magnetic Fields play at the Fox Theater in Oakland Saturday, February 27, 8pm and at the Herbst Theater in San Francisco Monday, March 1, 8pm. For \u003ca href=\"http://www.noisepop.com/2010/artist_detail.php?artist_id=46\">more information\u003c/a> visit noisepop.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The \u003ca href=\"http://www.noisepop.com/2010/\">2010 Noise Pop Music Fesitval\u003c/a> is just around the corner, and in its eighteenth year the festival continues to offer a compelling slate of events celebrating the world of independent music. With over 100 bands and artists involved in events between February 23rd and March 1st, there are, to put it mildly, a lot of attractive options. Here are some picks for potential highlights during the Noise Pop week.\u003c/p>\n\u003cp>It wouldn’t be Noise Pop without shows featuring some buzzed-about new indie bands, and bands don’t get much newer than \u003ca href=\"http://www.myspace.com/blackprairie\">Black Prairie\u003c/a>, whose show at the Rickshaw Stop on February 27th is actually their first ever live performance. The group features three-fifths of chamber-prog giants The Decemberists, but don’t expect epic narrative-driven sea shanties from this primarily instrumental acoustic quintet. Instead the group pulls from bluegrass and old-timey sounds on their first album, \u003cb>Feast of the Hunters’ Moon\u003c/b>, which comes out in April.\u003c/p>\n\u003cp>Judging from Philadelphia band \u003ca href=\"http://www.myspace.com/freeenergymusic\">Free Energy\u003c/a>‘s early promo tracks, \u003cb>Stuck on Nothing\u003c/b> may be the most conventionally rock-and-roll album DFA Records has ever released, but is that a bad thing? It’s certainly something of a curveball to see critics reference Thin Lizzy and T-Rex given the label’s disco and electronica leanings, but I’m inclined to trust producer James Murphy (LCD Soundsystem) and the rolling groove of “Something in Common” and the urgent stomp of “Dream City.” The band is at the Rickshaw Stop on February 24th.\u003c/p>\n\u003cp>A couple more potential highlights on the “young band” front: New Jersey’s \u003ca href=\"http://www.myspace.com/memorytapes\">Memory Tapes\u003c/a> (Bottom of the Hill, 2/27), whose \u003cb>Seek Magic\u003c/b> was deemed “Best New Music” by Pitchfork last year, and Austin’s \u003ca href=\"http://www.myspace.com/harlemduh\">Harlem\u003c/a> (Cafe Du Nord, 2/24), a band whose second album \u003cb>Hippies\u003c/b> is forthcoming on Matador Records.\u003c/p>\n\u003cp>The Noise Pop bills are stacked with excellent local bands, but several locals-turned-headliners bear special note. \u003ca href=\"http://www.myspace.com/thedodos\">The Dodos\u003c/a> recently previewed their collaboration with the Magik*Magik Orchestra at the SF MoMA’s 75th Anniversary opening, but they’ll be giving their first public performance at the Palace of Fine Arts on Thursday, February 25th. For a band that can create propulsive, booming songs from just a guitar, drums, and a vibraphone, the orchestral arrangements at the MOMA show didn’t feel superfluous, adding ambitious layers to the trio’s endearing tunes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>If you don’t already have a ticket to see \u003ca href=\"http://www.myspace.com/roguewave\">Rogue Wave\u003c/a> at Bottom of the Hill on February 24th, you’ll need to buy a Noise Pop badge (and even then, I’d show up early). The show kicks off the band’s US tour in support of their new album \u003cb>Permalight\u003c/b>, which Zach Rogue has described as a “total dance album.” That’s something of a shift for a band known for its melodic indie pop. Also of note: SF’s \u003ca href=\"http://www.myspace.com/thaomusic\">Thao Nguyen\u003c/a> brought \u003ca href=\"http://www.myspace.com/cmonmirah\">Mirah\u003c/a> onstage for a few songs at her recent sold-out Great American show, but the two are doing a full collaborative performance at the Swedish American Hall on February 27th.\u003c/p>\n\u003cp>Outside of the stacked slate of concerts every night, there are a number of other music-related events during the festival, including an \u003ca href=\"http://www.noisepop.com/2010/art.php\">ongoing photo exhibit\u003c/a> at Hotel Biron showcasing some of the Bay Area’s talented concert photographers and a film schedule stacked with interesting offerings (including a sneak preview of a new \u003ca href=\"http://www.noisepop.com/2010/film.php#90\">Magnetic Fields documentary\u003c/a> and a doc about \u003ca href=\"http://www.noisepop.com/2010/film.php#77\">Tool frontman Maynard James Keenan’s winery\u003c/a>). Finally, if you’re put off by the idea of paying to see live music, there are free happy hour shows at \u003ca href=\"http://www.bendersbar.com/\">Bender’s\u003c/a> from the 24th through the 27th, including, I should note, a \u003ca href=\"http://www.thebaybridged.com/2010/02/09/the-bay-bridged-presents-noise-pop-happy-hour-with-hunx-and-his-punx-spencey-dude-and-the-doodles-weekend/\">Bay Bridged presented show\u003c/a> on Friday afternoon featuring three great local bands.\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>The \u003ca href=\"http://www.noisepop.com/2010/\">2010 Noise Pop Music Fesitval\u003c/a> is just around the corner, and in its eighteenth year the festival continues to offer a compelling slate of events celebrating the world of independent music. With over 100 bands and artists involved in events between February 23rd and March 1st, there are, to put it mildly, a lot of attractive options. Here are some picks for potential highlights during the Noise Pop week.\u003c/p>\n\u003cp>It wouldn’t be Noise Pop without shows featuring some buzzed-about new indie bands, and bands don’t get much newer than \u003ca href=\"http://www.myspace.com/blackprairie\">Black Prairie\u003c/a>, whose show at the Rickshaw Stop on February 27th is actually their first ever live performance. The group features three-fifths of chamber-prog giants The Decemberists, but don’t expect epic narrative-driven sea shanties from this primarily instrumental acoustic quintet. Instead the group pulls from bluegrass and old-timey sounds on their first album, \u003cb>Feast of the Hunters’ Moon\u003c/b>, which comes out in April.\u003c/p>\n\u003cp>Judging from Philadelphia band \u003ca href=\"http://www.myspace.com/freeenergymusic\">Free Energy\u003c/a>‘s early promo tracks, \u003cb>Stuck on Nothing\u003c/b> may be the most conventionally rock-and-roll album DFA Records has ever released, but is that a bad thing? It’s certainly something of a curveball to see critics reference Thin Lizzy and T-Rex given the label’s disco and electronica leanings, but I’m inclined to trust producer James Murphy (LCD Soundsystem) and the rolling groove of “Something in Common” and the urgent stomp of “Dream City.” The band is at the Rickshaw Stop on February 24th.\u003c/p>\n\u003cp>A couple more potential highlights on the “young band” front: New Jersey’s \u003ca href=\"http://www.myspace.com/memorytapes\">Memory Tapes\u003c/a> (Bottom of the Hill, 2/27), whose \u003cb>Seek Magic\u003c/b> was deemed “Best New Music” by Pitchfork last year, and Austin’s \u003ca href=\"http://www.myspace.com/harlemduh\">Harlem\u003c/a> (Cafe Du Nord, 2/24), a band whose second album \u003cb>Hippies\u003c/b> is forthcoming on Matador Records.\u003c/p>\n\u003cp>The Noise Pop bills are stacked with excellent local bands, but several locals-turned-headliners bear special note. \u003ca href=\"http://www.myspace.com/thedodos\">The Dodos\u003c/a> recently previewed their collaboration with the Magik*Magik Orchestra at the SF MoMA’s 75th Anniversary opening, but they’ll be giving their first public performance at the Palace of Fine Arts on Thursday, February 25th. For a band that can create propulsive, booming songs from just a guitar, drums, and a vibraphone, the orchestral arrangements at the MOMA show didn’t feel superfluous, adding ambitious layers to the trio’s endearing tunes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If you don’t already have a ticket to see \u003ca href=\"http://www.myspace.com/roguewave\">Rogue Wave\u003c/a> at Bottom of the Hill on February 24th, you’ll need to buy a Noise Pop badge (and even then, I’d show up early). The show kicks off the band’s US tour in support of their new album \u003cb>Permalight\u003c/b>, which Zach Rogue has described as a “total dance album.” That’s something of a shift for a band known for its melodic indie pop. Also of note: SF’s \u003ca href=\"http://www.myspace.com/thaomusic\">Thao Nguyen\u003c/a> brought \u003ca href=\"http://www.myspace.com/cmonmirah\">Mirah\u003c/a> onstage for a few songs at her recent sold-out Great American show, but the two are doing a full collaborative performance at the Swedish American Hall on February 27th.\u003c/p>\n\u003cp>Outside of the stacked slate of concerts every night, there are a number of other music-related events during the festival, including an \u003ca href=\"http://www.noisepop.com/2010/art.php\">ongoing photo exhibit\u003c/a> at Hotel Biron showcasing some of the Bay Area’s talented concert photographers and a film schedule stacked with interesting offerings (including a sneak preview of a new \u003ca href=\"http://www.noisepop.com/2010/film.php#90\">Magnetic Fields documentary\u003c/a> and a doc about \u003ca href=\"http://www.noisepop.com/2010/film.php#77\">Tool frontman Maynard James Keenan’s winery\u003c/a>). Finally, if you’re put off by the idea of paying to see live music, there are free happy hour shows at \u003ca href=\"http://www.bendersbar.com/\">Bender’s\u003c/a> from the 24th through the 27th, including, I should note, a \u003ca href=\"http://www.thebaybridged.com/2010/02/09/the-bay-bridged-presents-noise-pop-happy-hour-with-hunx-and-his-punx-spencey-dude-and-the-doodles-weekend/\">Bay Bridged presented show\u003c/a> on Friday afternoon featuring three great local bands.\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>The latest \u003cb>Bay Bridged\u003c/b> podcast highlights ten of the great bands performing during the \u003ca href=\"http://www.noisepop.com/2010/\">\u003cb>2010 Noise Pop Music Festival\u003c/b>\u003c/a>, which kicks off on Tuesday, February 23.\u003c/p>\n\u003cp>\u003cb>About the bands:\u003c/b>\u003cbr>Philadelphia band Free Energy’s (“Hope Child”) full length debut \u003cb>Stuck On Nothing\u003c/b> comes out on March 9th. They’ll be at the Rickshaw Stop with Foreign Born, The Fresh & Onlys and The Splinters on Wednesday, February 24th.\u003c/p>\n\u003cp>After the first pressing sold out, True Panther Sounds is reissuing Hunx and His Punx’s (“Teardrops On My Telephone”) \u003cb>Gay Singles\u003c/b> collection of garage pop hits on February 22nd. Hunx will be at the Noise Pop Happy Hour (presented by The Bay Bridged) at Bender’s on Friday, February 26th, with Spencey Dude & The Doodles and Weekend.\u003c/p>\n\u003cp>Matador Records will release Hippies from Austin’s \u003cb>Harlem\u003c/b> (“Friendly Ghost”) on April 6th. Rounding out the excellent bill at Cafe Du Nord on Wednesday, February 24th: Best Coast, The Sandwitches and Young Prisms.\u003c/p>\n\u003cp>New Jersey’s Memory Tapes (“Bicycle”) is the project of Dayve Hawk, whose 2009 debut \u003cb>Seek Magic\u003c/b> garnered strong reviews. Hawk is headlining at Bottom of the Hill on Saturday, February 27th, with Loquat, Birds & Batteries, and Letting Up Despite Great Faults.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Maus Haus (“Winter”) will be releasing their new “Winter”/”Zig Zag” 7-inch at their Noise Pop show at the Mezzanine on Saturday, February 27th. !!! (chk chk chk) headlines the night, with Sugar & Gold and My First Earthquake supporting.\u003c/p>\n\u003cp>Butterfly Bones (“Xoxo”) are part of an all-local bill at Slim’s on Friday, February 26th. Wallpaper. and The Limousines co-headline the show, with Battlehooch opening.\u003c/p>\n\u003cp>Nurses (“Caterpillar Playground”) join Dead Oceans labelmate John Vanderslice at the Swedish American Hall on Friday, February 26th. Locals Honeycomb and Conspiracy of Venus complete the bill.\u003c/p>\n\u003cp>After making a cameo at Thao Nguyen’s recent SF show, Mirah (“Gone are the Days”) and Thao team up for a Swedish American Hall performance on Saturday, February 27th. Horse Feathers, Dave Smallen and Carletta Sue Kay also perform.\u003c/p>\n\u003cp>\u003cb>Beasts of Seasons\u003c/b> placed Laura Gibson (“Younger” with Ethan Rose) on a number of “Best of ’09″ lists. On Saturday, February 27th, she’ll be playing solo at the Great American Music Hall with Mark Kozelek, Paula Frazer and Fences.\u003c/p>\n\u003cp>Brookhaven (“In June”) recently released their latest album, \u003cb>When The Chorus Walks\u003c/b>. They are performing at a Noise Pop Pre-Party at the California Academy of Sciences with The Frail, DJ Sleazemore and Disco Shawn on Thursday, February 18th.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Noise Pop New Music Festival\u003c/b> runs February 23 through March 1, 2010 at various San Francisco locations. For \u003ca href=\"http://www.noisepop.com/2010/\">tickets and information\u003c/a> visit noisepop.com.\u003c/p>\n\n",
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"id": "baycurious",
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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},
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
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"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
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"source": "Commonwealth Club of California"
},
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"title": "Forum",
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"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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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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"source": "WNYC"
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"id": "fresh-air",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
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"how-i-built-this": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "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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"jerrybrown": {
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"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. ",
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"order": 18
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},
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"id": "latino-usa",
"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.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"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",
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