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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": "\u003cdiv class=\"post-body\">\u003cp>\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>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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\u003c/div>\u003c/p>",
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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": "\u003cdiv class=\"post-body\">\u003cp>\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\u003c/div>\u003c/p>",
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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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"title": "Stephin Merritt is all around us",
"headTitle": "Stephin Merritt is all around us | KQED",
"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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"content": "\u003cp>It’s hard enough in this day and age to keep a small arts presenter afloat. When that arts presenter has been bringing brand-new chamber music to the public for 25 years, it’s cause for celebration. You’ve got a chance to do just that, and hear some ear-opening music, when \u003ca href=\"http://earplay.org/\">Earplay\u003c/a> opens their 25th season with \u003cb>Ear and There\u003c/b> on Monday February 8 at 7:30pm at the Herbst Theater.\u003c/p>\n\u003cp>A century and a half ago, a performance of Brahms’ new Trio (for example) was an event, treated like the release of a new Springsteen album. People would rush to buy tickets, debate the performance in the press and in the coffee houses, and write column after column in the music press. Even fifty years later, Schoenberg’s latest would provoke a similar feeding frenzy, although the reaction was more likely to be one of controlled outrage rather than anticipation. Today? New music in general has a reputation of being “difficult,” new chamber music in particular, so premieres come and go with nary a ripple. The reasons are legion: composers are marginalized, audiences don’t speak the language, chamber music requires more intense listener participation — all, to a certain degree, true. But 25 years ago, a group of Bay Area composers and performers got together to try and alter those perceptions.\u003c/p>\n\u003cp>The audience for new chamber music is intensely passionate but very small, so in order to survive, as Mazeppa the stripper sang in \u003cb>Gypsy\u003c/b>, “Ya gotta have a gimmick.” And Earplay came up with a good one: commissioning works from composers with ties to the Bay Area, that connect the different cultural threads that make this area what it is. Two and a half decades later, their anniversary season shows how successful they’ve been at capturing that diversity, with four world premieres, six commissioned works and eight composers who have lived or worked in the Bay Area. So, in addition to the excitement of hearing new music before anybody else, you already know it will speak to you directly in some way — it may even reflect your heritage, or your neighborhood.\u003c/p>\n\u003cp>All the music is put in some kind of context, whether contrasted with music that still sounds “new” even though it’s almost a century old (like Schoenberg’s “String Trio” later in the season), or set against other new works from other new worlds (hence \u003cb>Ear and There\u003c/b>). The anniversary season’s first concert includes a present and former faculty at SF State, a graduate and a former professor at Cal, a teacher at UC Davis (all from “‘ere”) and the internationally renowned Kaija Saariaho (from “there”), and ranges from Saariaho’s very sensuous soundscapes to a piece that’s bound to set off some chuckles, starting with the title: “And of Course, Henry the Horse” by Carlos Sanchez-Gutierrez.\u003c/p>\n\u003cp>I’ve often wondered whether the reason why so many recordings of difficult contemporary works get Grammy Awards is that the voters are amazed the players can actually make it through the scores intact. But that’s the beauty of commissioning your own music and playing the premieres: you get to help define what the work sounds like, adding to the allure for both performers and audience. And all the Earplayers are seasoned vets of other Bay Area ensembles (like the Oakland East Bay Symphony, the SF Ballet and Opera Orchestras, and the SF and Berkeley Contemporary Players) as well.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Later on in the season, you can go from the \u003cb>Outside In\u003c/b> on March 22, with two premieres, including Lori Dobbins’ “Through the Golden Gate,” and then \u003cb>Ports and Portals\u003c/b> on May 24 features a commission from Korean composer Hyo-Shin Na, a work that bridges California Native American, East Asian and Western cultures called “Song of One Lost in the Fog.” Sounds like the attitude a lot of people might have about contemporary chamber music; Earplay might just change your mind. They’ve been doing it for 25 years.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Earplay presents \u003cb>Ear and There\u003c/b> at 7:30pm, Monday, February 8, 2010 at the Herbst Theater in San Francisco. For \u003ca href=\"http://earplay.org/this_season/concert1.html\">tickets and information\u003c/a> visit earplay.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s hard enough in this day and age to keep a small arts presenter afloat. When that arts presenter has been bringing brand-new chamber music to the public for 25 years, it’s cause for celebration. You’ve got a chance to do just that, and hear some ear-opening music, when \u003ca href=\"http://earplay.org/\">Earplay\u003c/a> opens their 25th season with \u003cb>Ear and There\u003c/b> on Monday February 8 at 7:30pm at the Herbst Theater.\u003c/p>\n\u003cp>A century and a half ago, a performance of Brahms’ new Trio (for example) was an event, treated like the release of a new Springsteen album. People would rush to buy tickets, debate the performance in the press and in the coffee houses, and write column after column in the music press. Even fifty years later, Schoenberg’s latest would provoke a similar feeding frenzy, although the reaction was more likely to be one of controlled outrage rather than anticipation. Today? New music in general has a reputation of being “difficult,” new chamber music in particular, so premieres come and go with nary a ripple. The reasons are legion: composers are marginalized, audiences don’t speak the language, chamber music requires more intense listener participation — all, to a certain degree, true. But 25 years ago, a group of Bay Area composers and performers got together to try and alter those perceptions.\u003c/p>\n\u003cp>The audience for new chamber music is intensely passionate but very small, so in order to survive, as Mazeppa the stripper sang in \u003cb>Gypsy\u003c/b>, “Ya gotta have a gimmick.” And Earplay came up with a good one: commissioning works from composers with ties to the Bay Area, that connect the different cultural threads that make this area what it is. Two and a half decades later, their anniversary season shows how successful they’ve been at capturing that diversity, with four world premieres, six commissioned works and eight composers who have lived or worked in the Bay Area. So, in addition to the excitement of hearing new music before anybody else, you already know it will speak to you directly in some way — it may even reflect your heritage, or your neighborhood.\u003c/p>\n\u003cp>All the music is put in some kind of context, whether contrasted with music that still sounds “new” even though it’s almost a century old (like Schoenberg’s “String Trio” later in the season), or set against other new works from other new worlds (hence \u003cb>Ear and There\u003c/b>). The anniversary season’s first concert includes a present and former faculty at SF State, a graduate and a former professor at Cal, a teacher at UC Davis (all from “‘ere”) and the internationally renowned Kaija Saariaho (from “there”), and ranges from Saariaho’s very sensuous soundscapes to a piece that’s bound to set off some chuckles, starting with the title: “And of Course, Henry the Horse” by Carlos Sanchez-Gutierrez.\u003c/p>\n\u003cp>I’ve often wondered whether the reason why so many recordings of difficult contemporary works get Grammy Awards is that the voters are amazed the players can actually make it through the scores intact. But that’s the beauty of commissioning your own music and playing the premieres: you get to help define what the work sounds like, adding to the allure for both performers and audience. And all the Earplayers are seasoned vets of other Bay Area ensembles (like the Oakland East Bay Symphony, the SF Ballet and Opera Orchestras, and the SF and Berkeley Contemporary Players) as well.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Later on in the season, you can go from the \u003cb>Outside In\u003c/b> on March 22, with two premieres, including Lori Dobbins’ “Through the Golden Gate,” and then \u003cb>Ports and Portals\u003c/b> on May 24 features a commission from Korean composer Hyo-Shin Na, a work that bridges California Native American, East Asian and Western cultures called “Song of One Lost in the Fog.” Sounds like the attitude a lot of people might have about contemporary chamber music; Earplay might just change your mind. They’ve been doing it for 25 years.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Earplay presents \u003cb>Ear and There\u003c/b> at 7:30pm, Monday, February 8, 2010 at the Herbst Theater in San Francisco. For \u003ca href=\"http://earplay.org/this_season/concert1.html\">tickets and information\u003c/a> visit earplay.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Before the \u003ca href=\"http://www.noisepop.com/2010/\">Noise Pop Music Festival\u003c/a> takes over Bay Area venues at the end of the month, there are plenty of other great shows hitting the Bay Area. Here are a few pre-Noise Pop picks:\u003c/p>\n\u003cp>\u003ca href=\"http://www.myspace.com/stvincent\">St. Vincent\u003c/a>‘s latest cross-country tour lands Annie Clark at the \u003ca href=\"http://www.gamh.com\">Great American Music Hall\u003c/a> on February 8th. Released last year, \u003cb>Actor\u003c/b> is Clark’s second album as St. Vincent, and it frequently channels a bombastic theatricality befitting the album’s title. In its loud and quiet moments, the record showcases Clark bending the traditional rules of pop songwriting while constructing some stunning baroque arrangements. Equally intriguing is opening act \u003ca href=\"http://www.myspace.com/wildbirdsandpeacedrums\">Wildbirds & Peacedrums\u003c/a>, a Swedish duo who construct avant-garde pop principally from just drums and vocals. Not \u003ci>just\u003c/i>, actually, as songs from the band’s 2009 album, \u003cb>The Snake\u003c/b> show that both singer Mariam Wallentin and percussionist Andreas Werliin are capable of appropriately dramatic swells, the kind Annie Clark also does so well.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=-9prpAv6kvo&hl=en_US&fs=1&]\u003c/p>\n\u003cp>Two of the Bay Area’s best rock bands, \u003ca href=\"http://www.myspace.com/tysegall\">Ty Segall\u003c/a> and \u003ca href=\"http://www.myspace.com/mantles\">The Mantles\u003c/a> team up for a \u003ca href=\"http://www.hemlocktavern.com/\">Hemlock Tavern\u003c/a> show on February 13th. Segall has delivered incendiary one-man-band performances and fronted a trio, but his most recent (and well-received) LP, \u003cb>Reverse Shark Attack\u003c/b>, finds him in a psych-garage duo with \u003ca href=\"http://www.myspace.com/mikalcroninmusic\">Mikal Cronin\u003c/a> (Okie Dokie, Charlie and the Moonhearts). The Mantles, meanwhile, released a self-titled LP and pair of singles last year for esteemed labels like Siltbreeze and Slumberland that were full of jangly-catchy rock gems. The band is already heading back into the studio this month to work on more music. Show up early to catch the fuzzed out sounds of Sacramento’s \u003ca href=\"http://www.myspace.com/ggreenz\">Ggreen\u003c/a>, while SF’s \u003ca href=\"http://www.myspace.com/peter-grimm\">Peter Grimm\u003c/a> kicks things off at 9:30pm.\u003c/p>\n\u003cp>Ben Van Houten is the Programming Director of \u003ca href=\"http://www.thebaybridged.com\">The Bay Bridged\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Before the \u003ca href=\"http://www.noisepop.com/2010/\">Noise Pop Music Festival\u003c/a> takes over Bay Area venues at the end of the month, there are plenty of other great shows hitting the Bay Area. Here are a few pre-Noise Pop picks:\u003c/p>\n\u003cp>\u003ca href=\"http://www.myspace.com/stvincent\">St. Vincent\u003c/a>‘s latest cross-country tour lands Annie Clark at the \u003ca href=\"http://www.gamh.com\">Great American Music Hall\u003c/a> on February 8th. Released last year, \u003cb>Actor\u003c/b> is Clark’s second album as St. Vincent, and it frequently channels a bombastic theatricality befitting the album’s title. In its loud and quiet moments, the record showcases Clark bending the traditional rules of pop songwriting while constructing some stunning baroque arrangements. Equally intriguing is opening act \u003ca href=\"http://www.myspace.com/wildbirdsandpeacedrums\">Wildbirds & Peacedrums\u003c/a>, a Swedish duo who construct avant-garde pop principally from just drums and vocals. Not \u003ci>just\u003c/i>, actually, as songs from the band’s 2009 album, \u003cb>The Snake\u003c/b> show that both singer Mariam Wallentin and percussionist Andreas Werliin are capable of appropriately dramatic swells, the kind Annie Clark also does so well.\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/-9prpAv6kvo'\n title='//www.youtube.com/embed/-9prpAv6kvo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Two of the Bay Area’s best rock bands, \u003ca href=\"http://www.myspace.com/tysegall\">Ty Segall\u003c/a> and \u003ca href=\"http://www.myspace.com/mantles\">The Mantles\u003c/a> team up for a \u003ca href=\"http://www.hemlocktavern.com/\">Hemlock Tavern\u003c/a> show on February 13th. Segall has delivered incendiary one-man-band performances and fronted a trio, but his most recent (and well-received) LP, \u003cb>Reverse Shark Attack\u003c/b>, finds him in a psych-garage duo with \u003ca href=\"http://www.myspace.com/mikalcroninmusic\">Mikal Cronin\u003c/a> (Okie Dokie, Charlie and the Moonhearts). The Mantles, meanwhile, released a self-titled LP and pair of singles last year for esteemed labels like Siltbreeze and Slumberland that were full of jangly-catchy rock gems. The band is already heading back into the studio this month to work on more music. Show up early to catch the fuzzed out sounds of Sacramento’s \u003ca href=\"http://www.myspace.com/ggreenz\">Ggreen\u003c/a>, while SF’s \u003ca href=\"http://www.myspace.com/peter-grimm\">Peter Grimm\u003c/a> kicks things off at 9:30pm.\u003c/p>\n\u003cp>Ben Van Houten is the Programming Director of \u003ca href=\"http://www.thebaybridged.com\">The Bay Bridged\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>IndieFest-ivities start a week early this year, with a decidedly musical twist. The 12th Annual San Francisco Independent Film Festival kicks off on February 4, 2010, but film festival organizers and \u003ca href=\"http://www.threcords.com/\">Talking House Records\u003c/a> are taking over a few Bay Area venues beginning January 29th — TONIGHT — for the \u003ca href=\"http://www.sfindie.com/\">Winter Music Fest\u003c/a>. The Fest features forty-three mostly-local bands in eleven shows over seven days, with a number of events well worth checking out.\u003c/p>\n\u003cp>One always expects bands to get poppier as they age, losing the edges that made them initially compelling as they seek wider audiences. SF trio \u003ca href=\"http://www.myspace.com/temponotempo\">Tempo No Tempo\u003c/a> recently did exactly the opposite, eschewing two EPs’ worth of melodic dance rock for a more experimental and dissonant bent on \u003cb>Waking Heat\u003c/b>. Tyler McCauley’s vocals still possess a Dischord-reminiscent mix of earnest and anthemic traits on the full length, anchored in a rhythm-heavy feel that benefits from some left-field noises and dub-inspired effects. The band will be at \u003ca href=\"http://www.bottomofthehill.com/\">Bottom of the Hill\u003c/a> on Wednesday, February 3rd, with \u003ca href=\"http://www.myspace.com/fightingthevillain\">Fighting the Villain\u003c/a>, \u003ca href=\"http://www.myspace.com/thehottoddies\">The Hot Toddies\u003c/a>, and \u003ca href=\"http://www.myspace.com/downerpartytime\">The Downer Party\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://www.myspace.com/thefederalists\">Luke Franks Or The Federalists\u003c/a> is an unwieldy name, but there’s nothing unwieldy about the band’s latest album \u003cb>The Way We Ran\u003c/b>. Franks is something of a prolific songwriter, whose East Bay-based band The Federalists released a few albums in the late ’00s before a personnel overhaul made the new moniker more indicative of his central role in the proceedings. The bandleader is nothing if not versatile, shifting from song to song between touchstones like modern rock, classic R&B and alt-country, but there’s uniformly clean production throughout. Franks and band will be at \u003ca href=\"http://www.bottomofthehill.com/\">Bottom of the Hill\u003c/a> on Monday, February 1st, with \u003ca href=\"http://www.myspace.com/sceneofaction\">Scene of Action\u003c/a>, \u003ca href=\"http://www.myspace.com/thehundreddays\">The Hundred Days\u003c/a> and \u003ca href=\"http://www.myspace.com/pleasedonotfight\">Please Do Not Fight\u003c/a>.\u003c/p>\n\u003cp>There’s also a heck of a show on Tuesday, February 2 at Thee Parkside. Oakland/SF trio \u003ca href=\"http://www.myspace.com/grandlakemusic\">Grand Lake\u003c/a> seem to be perpetually evolving (probably the way it should be, right?), and the band’s recent \u003cb>Louise\u003c/b> EP finds them exploring mathy, feedback-layered indie rock, with a couple of originals seated alongside Silver Jews and Port O’Brien covers. The band is playing alongside Sacramento/SF quartet \u003ca href=\"http://www.myspace.com/twosheds\">Two Sheds\u003c/a>, who mix drowsy, textured folk-rock with the commanding vocals of Caitlin Gutenberger. Also performing are post-punk-inspired \u003ca href=\"http://www.myspace.com/fakeurowndeath\">Fake Your Own Death\u003c/a> and folk-pop duo \u003ca href=\"http://www.myspace.com/kumakoshka\">Kuma/Koshka\u003c/a>, featuring members of local bands \u003ca href=\"http://www.myspace.com/elephone\">Elephone\u003c/a> and \u003ca href=\"http://www.myspace.com/thebotticellis\">The Botticellis\u003c/a>, respectively.\u003c/p>\n\u003cp>The \u003ca href=\"http://www.sfindie.com/\">full lineup for the Winter Music Fest\u003c/a> can be found at SFindie.com, where you can also purchase advanced tickets and festival badges.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Ben Van Houten is the Programming Director for \u003ca hred=\"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>IndieFest-ivities start a week early this year, with a decidedly musical twist. The 12th Annual San Francisco Independent Film Festival kicks off on February 4, 2010, but film festival organizers and \u003ca href=\"http://www.threcords.com/\">Talking House Records\u003c/a> are taking over a few Bay Area venues beginning January 29th — TONIGHT — for the \u003ca href=\"http://www.sfindie.com/\">Winter Music Fest\u003c/a>. The Fest features forty-three mostly-local bands in eleven shows over seven days, with a number of events well worth checking out.\u003c/p>\n\u003cp>One always expects bands to get poppier as they age, losing the edges that made them initially compelling as they seek wider audiences. SF trio \u003ca href=\"http://www.myspace.com/temponotempo\">Tempo No Tempo\u003c/a> recently did exactly the opposite, eschewing two EPs’ worth of melodic dance rock for a more experimental and dissonant bent on \u003cb>Waking Heat\u003c/b>. Tyler McCauley’s vocals still possess a Dischord-reminiscent mix of earnest and anthemic traits on the full length, anchored in a rhythm-heavy feel that benefits from some left-field noises and dub-inspired effects. The band will be at \u003ca href=\"http://www.bottomofthehill.com/\">Bottom of the Hill\u003c/a> on Wednesday, February 3rd, with \u003ca href=\"http://www.myspace.com/fightingthevillain\">Fighting the Villain\u003c/a>, \u003ca href=\"http://www.myspace.com/thehottoddies\">The Hot Toddies\u003c/a>, and \u003ca href=\"http://www.myspace.com/downerpartytime\">The Downer Party\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://www.myspace.com/thefederalists\">Luke Franks Or The Federalists\u003c/a> is an unwieldy name, but there’s nothing unwieldy about the band’s latest album \u003cb>The Way We Ran\u003c/b>. Franks is something of a prolific songwriter, whose East Bay-based band The Federalists released a few albums in the late ’00s before a personnel overhaul made the new moniker more indicative of his central role in the proceedings. The bandleader is nothing if not versatile, shifting from song to song between touchstones like modern rock, classic R&B and alt-country, but there’s uniformly clean production throughout. Franks and band will be at \u003ca href=\"http://www.bottomofthehill.com/\">Bottom of the Hill\u003c/a> on Monday, February 1st, with \u003ca href=\"http://www.myspace.com/sceneofaction\">Scene of Action\u003c/a>, \u003ca href=\"http://www.myspace.com/thehundreddays\">The Hundred Days\u003c/a> and \u003ca href=\"http://www.myspace.com/pleasedonotfight\">Please Do Not Fight\u003c/a>.\u003c/p>\n\u003cp>There’s also a heck of a show on Tuesday, February 2 at Thee Parkside. Oakland/SF trio \u003ca href=\"http://www.myspace.com/grandlakemusic\">Grand Lake\u003c/a> seem to be perpetually evolving (probably the way it should be, right?), and the band’s recent \u003cb>Louise\u003c/b> EP finds them exploring mathy, feedback-layered indie rock, with a couple of originals seated alongside Silver Jews and Port O’Brien covers. The band is playing alongside Sacramento/SF quartet \u003ca href=\"http://www.myspace.com/twosheds\">Two Sheds\u003c/a>, who mix drowsy, textured folk-rock with the commanding vocals of Caitlin Gutenberger. Also performing are post-punk-inspired \u003ca href=\"http://www.myspace.com/fakeurowndeath\">Fake Your Own Death\u003c/a> and folk-pop duo \u003ca href=\"http://www.myspace.com/kumakoshka\">Kuma/Koshka\u003c/a>, featuring members of local bands \u003ca href=\"http://www.myspace.com/elephone\">Elephone\u003c/a> and \u003ca href=\"http://www.myspace.com/thebotticellis\">The Botticellis\u003c/a>, respectively.\u003c/p>\n\u003cp>The \u003ca href=\"http://www.sfindie.com/\">full lineup for the Winter Music Fest\u003c/a> can be found at SFindie.com, where you can also purchase advanced tickets and festival badges.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Being a teenager feels like a perpetual earthquake. Everything is shifting and senses are heightened. Emotions are on fire and passion runs high. Baltimore-based dream-pop duo Beach House, with the help of producer/engineer Chris Coady (Yeah Yeah Yeahs, TV on the Radio, and Blonde Redhead), have captured that adolescent disorder on their third full-length release.\u003c/p>\n\u003cp>Recorded in a converted church appropriately called Dreamland in upstate New York, \u003cb>Teen Dream\u003c/b> is a departure from the band’s previous work. On first listen, the album’s ten tracks might sound familiar. The blood that pumps through them is the same blood that gave life to Beach House’s previous two albums (2006’s self-titled debut and 2008’s \u003cb>Devotion\u003c/b>). But don’t be fooled: \u003cb>Teen Dream\u003c/b> is no carbon copy. It’s much more than that.\u003c/p>\n\u003cp>The band uses the same tools they always have, a combination of mournful organ tones, reverb-heavy slide guitar, and Victoria Legrand’s haunting vocals, but this time around, they’ve shuffled these base elements to expand and deepen their sound. If their first two albums are lovely dreams you don’t wish to wake from, \u003cb>Teen Dream\u003c/b> is more like the space between sleep and waking, the brief moments that shield the lush paradise of dreams from the routine of forgetting them.\u003c/p>\n\u003cp>“Zebra” starts things off on the right foot with a simple guitar riff and soothing harmonies reminiscent of Grizzly Bear. Halfway through the song, things really take off with an escalation of layered vocals, crashing cymbals, and full-bodied guitar.\u003c/p>\n\u003cp>The temperature continues to rise with the sultry “Silver Soul,” in which Victoria Legrand breathily sings “The bodies lying in the sand, they’re moving in the dark” before repeating “It is happening again” to climax. \u003cb>Teen Dream\u003c/b>‘s nostalgic lead single “Norway” maintains the theatrics with an upbeat girl-group vibe and songs like “Better Times” and “10 Mile Stereo” keep things interesting with constantly changing tempos and non-stop escalation. Even the songs that aren’t brimming with vim manage to wow. “Real Love,” easily the most intimate track on the album, is a stripped-down ballad with Legrand and her piano front and center. Her ghostlike voice echoes darkly, yet playfully: “There’s someone in that room that frightens you when they go: Boo! Boo! Boo!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Walk in the Park,” one of the most memorable songs from the album, peaks with Legrand declaring: “More, you want more!” And she’s right, of course. This album leaves its listeners breathless, wanting, needing, and aching for something just out of reach. Just like when we were teenagers listening to music in our bedrooms.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Teen Dream\u003c/b> is out now and comes with a DVD of music videos for every song. \u003ca href=\"http://www.beachhousebaltimore.com\">Beach House\u003c/a> plays Bimbo’s on April 14, 2010. For \u003ca href=\"http://www.bimbos365club.com/\">tickets and information\u003c/a>, visit bimbos365club.com\u003c/p>\n\n\u003c/div>\u003c/p>",
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},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
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"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"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",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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},
"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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"meta": {
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"source": "WaitWhat"
},
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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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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
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