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"content": "\u003cp>Plays, movies, concerts, art galleries: yeah, been there, seen that. The opera: nope. Stories of sweeping emotions and decadent affairs had aroused my imagination. As a thirty-something San Franciscan it was high time I high-tailed it down to the War Memorial Opera House to attend the S.F. Opera’s current production of Mozart’s comic masterpiece \u003cb>The Abduction from the Seraglio\u003c/b> (seraglio = harem).\u003c/p>\n\u003cp>I hopped in a cab, and, anxious and excited, prematurely told the driver “thanks, this is good” two blocks too far away mistaking some other Civic Center structure as my destination. Briskly, I headed in the right direction alongside an obvious stream of opera goers (read: diamond-studded older white people) and even some from the hipster crowd (read: people who look like me). A fair amount of rubbernecking was in order upon entering the castle-like lobby of marble walls and ornate ceilings. I definitely wasn’t in Kansas anymore, Toto, or, at least, not in my familiar Nob Loin neighborhood. I picked up my ticket, grabbed a cookie, found the restroom down some stairs and through a labyrinth, and got back to my plush seat in time for the show to begin.\u003c/p>\n\u003cp>Lights down and curtain up. Meet Belmonte, one of the two dashing lovers, looking for his love, Constanze, who had been sold as a slave to the Pasha Selim (fancy name for “owner of the palace” played by Bay Area actor Charles Shaw Robinson). The gatekeeper, Osmin (Peter Rose), prevented Belmonte from entering. Belmonte soon encountered his manservant Pedrillo (Andrew Bidlack) who, along with his love, Blonde, are also the property of the Pasha. Tenor Matthew Polenzani as Belmonte was captivating. He thrilled and gave goosebumps with his Act I aria: “Here shall I see you, Constanze, you my hope.” His voice effortlessly filled the 3,000-plus-seat house with forte and even finer still in I-could-hear-a-pin-drop pianissimo.\u003c/p>\n\u003cp>Act II began with the feisty Blonde, played and sung with flirtatious and comic verve by Anna Christy, refusing the advances of Osmin. A parallel story played out later when Constanze appeared to sing “Tortures of all kinds” in defiance of the Pasha’s threat of torture if she were to reject him. Returning to the SF Opera stage, soprano Mary Dunleavy grabbed on to this most challenging aria of vocal acrobatics and devoured every note (and there are many — “too many notes” so said the Emperor who commissioned the opera 200 years ago — or so the infamous tale goes). It was a highlight of the evening and elicited well-deserved “brava’s” from the audience.\u003c/p>\n\u003cp>Act III provoked laughter when Pedrillo, before embarking upon the high stakes plan to rescue the women from the palace, paused to announce the need for a serenade. “Just don’t drag it out,” replied Belmonte. All arias drag it out — a good thing when Mozart does it. During Pedrillo’s interlude, the four lovers were captured. The Pasha arrived and, upon learning that Belmonte is the son of his greatest enemy, sentenced them to death. Constanze and Belmonte shared a heart wrenching duet: “Oh what a fate, oh soul’s misery.” The Pasha returned and, touched by their sorrow, granted liberty to all.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/seraglio.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\n\u003cp>Designer David Zinn created a sumptuous feast for the eyes. The set was a stage onstage complete with its own balcony boxes, proscenium, and footlights(!) It took a while for my brain to wrap around this aesthetic choice. I slowly embraced it as a way to allow for other theatrical devices: a two-dimensional boat sailing by, a door appearing from the floorboards, and a lute being handed from the prompter’s box. More eye candy followed with the 18th century period-perfect costumes. Each actor was dressed in garb that not only looked specific to the period and specific for each lover’s pairing, but was also tricked out with extra flair, ruffle, and sparkle.\u003c/p>\n\u003cp>Chas Rader-Shieber, making his SF Opera debut, succeeded in directing with the kind of simple storytelling this “Singspiel” opera asks for. He rightly allowed for the comic moments to be comic (the top of Act II duet between Osmin and Blonde) and the heartfelt moments to be dramatic (Constanze and Belmonte’s duet in Act III). (“Singspiel”: a term referring to an opera where much of the action moves forward through spoken dialogue and the arias have time for fuller expression of a thought or feeling.) The last moment of the opera left me scratching my head, though. What I heard was a bright, happily-ever-after, and redemptive finale: “Never will I thy kindness forget”, but what I saw was a somber group of soldiers, a dark night sky, and the Pasha holding his head in his hands as if grief stricken. Shouldn’t there have been a celebration?\u003c/p>\n\u003cp>The evening, clocking in at an engaging 2 hours and 40 minutes, ended with shouts of bravo and a well-earned standing ovation. I’ve read the opera that was quite a financial and critical success when it first appeared over two hundred years ago. I wouldn’t be surprised if the same reaction takes place for the SF Opera’s production today. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Plays, movies, concerts, art galleries: yeah, been there, seen that. The opera: nope. Stories of sweeping emotions and decadent affairs had aroused my imagination. As a thirty-something San Franciscan it was high time I high-tailed it down to the War Memorial Opera House to attend the S.F. Opera’s current production of Mozart’s comic masterpiece \u003cb>The Abduction from the Seraglio\u003c/b> (seraglio = harem).\u003c/p>\n\u003cp>I hopped in a cab, and, anxious and excited, prematurely told the driver “thanks, this is good” two blocks too far away mistaking some other Civic Center structure as my destination. Briskly, I headed in the right direction alongside an obvious stream of opera goers (read: diamond-studded older white people) and even some from the hipster crowd (read: people who look like me). A fair amount of rubbernecking was in order upon entering the castle-like lobby of marble walls and ornate ceilings. I definitely wasn’t in Kansas anymore, Toto, or, at least, not in my familiar Nob Loin neighborhood. I picked up my ticket, grabbed a cookie, found the restroom down some stairs and through a labyrinth, and got back to my plush seat in time for the show to begin.\u003c/p>\n\u003cp>Lights down and curtain up. Meet Belmonte, one of the two dashing lovers, looking for his love, Constanze, who had been sold as a slave to the Pasha Selim (fancy name for “owner of the palace” played by Bay Area actor Charles Shaw Robinson). The gatekeeper, Osmin (Peter Rose), prevented Belmonte from entering. Belmonte soon encountered his manservant Pedrillo (Andrew Bidlack) who, along with his love, Blonde, are also the property of the Pasha. Tenor Matthew Polenzani as Belmonte was captivating. He thrilled and gave goosebumps with his Act I aria: “Here shall I see you, Constanze, you my hope.” His voice effortlessly filled the 3,000-plus-seat house with forte and even finer still in I-could-hear-a-pin-drop pianissimo.\u003c/p>\n\u003cp>Act II began with the feisty Blonde, played and sung with flirtatious and comic verve by Anna Christy, refusing the advances of Osmin. A parallel story played out later when Constanze appeared to sing “Tortures of all kinds” in defiance of the Pasha’s threat of torture if she were to reject him. Returning to the SF Opera stage, soprano Mary Dunleavy grabbed on to this most challenging aria of vocal acrobatics and devoured every note (and there are many — “too many notes” so said the Emperor who commissioned the opera 200 years ago — or so the infamous tale goes). It was a highlight of the evening and elicited well-deserved “brava’s” from the audience.\u003c/p>\n\u003cp>Act III provoked laughter when Pedrillo, before embarking upon the high stakes plan to rescue the women from the palace, paused to announce the need for a serenade. “Just don’t drag it out,” replied Belmonte. All arias drag it out — a good thing when Mozart does it. During Pedrillo’s interlude, the four lovers were captured. The Pasha arrived and, upon learning that Belmonte is the son of his greatest enemy, sentenced them to death. Constanze and Belmonte shared a heart wrenching duet: “Oh what a fate, oh soul’s misery.” The Pasha returned and, touched by their sorrow, granted liberty to all.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/seraglio.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\n\u003cp>Designer David Zinn created a sumptuous feast for the eyes. The set was a stage onstage complete with its own balcony boxes, proscenium, and footlights(!) It took a while for my brain to wrap around this aesthetic choice. I slowly embraced it as a way to allow for other theatrical devices: a two-dimensional boat sailing by, a door appearing from the floorboards, and a lute being handed from the prompter’s box. More eye candy followed with the 18th century period-perfect costumes. Each actor was dressed in garb that not only looked specific to the period and specific for each lover’s pairing, but was also tricked out with extra flair, ruffle, and sparkle.\u003c/p>\n\u003cp>Chas Rader-Shieber, making his SF Opera debut, succeeded in directing with the kind of simple storytelling this “Singspiel” opera asks for. He rightly allowed for the comic moments to be comic (the top of Act II duet between Osmin and Blonde) and the heartfelt moments to be dramatic (Constanze and Belmonte’s duet in Act III). (“Singspiel”: a term referring to an opera where much of the action moves forward through spoken dialogue and the arias have time for fuller expression of a thought or feeling.) The last moment of the opera left me scratching my head, though. What I heard was a bright, happily-ever-after, and redemptive finale: “Never will I thy kindness forget”, but what I saw was a somber group of soldiers, a dark night sky, and the Pasha holding his head in his hands as if grief stricken. Shouldn’t there have been a celebration?\u003c/p>\n\u003cp>The evening, clocking in at an engaging 2 hours and 40 minutes, ended with shouts of bravo and a well-earned standing ovation. I’ve read the opera that was quite a financial and critical success when it first appeared over two hundred years ago. I wouldn’t be surprised if the same reaction takes place for the SF Opera’s production today. As for me, an opera virgin no more, it all felt so good that I’m planning my next tryst with \u003cb>Salome\u003c/b> in October.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Abduction from the Seraglio\u003c/b>, a co-production with Lyric Opera of Chicago, runs through October 23, 2009 at the SF Opera located at 301 Van Ness Ave, San Francisco. Sung in German with English dialogue and English supertitles. For tickets and information visit sfopera.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Summer is over for most of America, but not for San Francisco (yay for Indian summers!). And who better to understand this than SF natives Girls? With their first full-length release, recorded in bedrooms and rehearsal studios throughout San Francisco and ironically titled \u003cb>Album\u003c/b>, the band pays homage to the hedonistic spirit of warm summer days and the California girls who bathe in them (but not without a tinge of nostalgia for days and girls past). It’s as if they scraped all the hipsters and vagabonds out of Dolores Park and created an audio piece from their collective tales of drinking, smoking, sleeping late, good times in parks, and bad times in heartbreak.\u003c/p>\n\u003cp>Singer-songwriter Christopher Owens spent his formative years shielded from the outside world as a member of the Children of God cult before escaping at age 16 to live on the streets. Much of his early childhood experience sounds like a nightmare, but the original music composed by the community, along with a few “sanctioned” songs, sparked a love of music and performance within him. This limited access to mainstream music could explain Owens’s affinity for borrowing styles and tempos from the past. It’s as if he is moving backwards through a huge stack of vinyl to recapture what the cult denied him: a musical history.\u003c/p>\n\u003cp>Such a background story could easily crush a person or at least inspire a depressing set of songs, but this is far from true of Girls’ \u003cb>Album\u003c/b>. The majority of \u003cb>Album\u003c/b>‘s 12 songs are fun, infectious, pop gems with equal emphasis on start-of-summer optimism and end-of-summer melancholy. The disc is very much about knowing the enemy of hardship and sadness in order to overcome it. On “Lauren Marie,” Owens encourages the listener, “It isn’t right to sit around and think about the awful things that get you down. You got to try to wear a smile no matter how hard it is to do.”\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=SuoTjYYqe4c&hl=en&fs=1&rel=0&color1=0xcc2550&color2=0xe87a9f&hd=1]\u003c/p>\n\u003cp>Girls could have easily made carbon copies of “Lust for Life” and “Hellhole Ratrace” and put out a rollicking record, but instead they’ve made an album that continually surprises the listener with stylistic twists and experimentation. The band shifts gears so quickly between songs that the listener never knows what’s coming next. Will it be a lo-fi Beach Boys-inspired ditty (“Big Bad Mean Motherf***er”)? A dreamy love song (“Headache”)? Or a garagey rock ‘n’ roll track (“Morning Light”)? The only consistency you can count on is that each song will be damn good. San Francisco has rarely sounded better.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Album\u003c/b> drops on September 22, 2009. Support our local heroes and \u003ca href=\"http://www.matadorrecords.com/store/index.php?catalog_id=398\">buy it\u003c/a>! Or see them live when they return home at the \u003ca href=\"http://www.cafedunord.com/\">Swedish American Music Hall\u003c/a> on November 20, 2009 or at \u003ca href=\"http://www.bottomofthehill.com/\">Bottom of the Hill\u003c/a> on November 21, 2009.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Summer is over for most of America, but not for San Francisco (yay for Indian summers!). And who better to understand this than SF natives Girls? With their first full-length release, recorded in bedrooms and rehearsal studios throughout San Francisco and ironically titled \u003cb>Album\u003c/b>, the band pays homage to the hedonistic spirit of warm summer days and the California girls who bathe in them (but not without a tinge of nostalgia for days and girls past). It’s as if they scraped all the hipsters and vagabonds out of Dolores Park and created an audio piece from their collective tales of drinking, smoking, sleeping late, good times in parks, and bad times in heartbreak.\u003c/p>\n\u003cp>Singer-songwriter Christopher Owens spent his formative years shielded from the outside world as a member of the Children of God cult before escaping at age 16 to live on the streets. Much of his early childhood experience sounds like a nightmare, but the original music composed by the community, along with a few “sanctioned” songs, sparked a love of music and performance within him. This limited access to mainstream music could explain Owens’s affinity for borrowing styles and tempos from the past. It’s as if he is moving backwards through a huge stack of vinyl to recapture what the cult denied him: a musical history.\u003c/p>\n\u003cp>Such a background story could easily crush a person or at least inspire a depressing set of songs, but this is far from true of Girls’ \u003cb>Album\u003c/b>. The majority of \u003cb>Album\u003c/b>‘s 12 songs are fun, infectious, pop gems with equal emphasis on start-of-summer optimism and end-of-summer melancholy. The disc is very much about knowing the enemy of hardship and sadness in order to overcome it. On “Lauren Marie,” Owens encourages the listener, “It isn’t right to sit around and think about the awful things that get you down. You got to try to wear a smile no matter how hard it is to do.”\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/SuoTjYYqe4c'\n title='//www.youtube.com/embed/SuoTjYYqe4c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Girls could have easily made carbon copies of “Lust for Life” and “Hellhole Ratrace” and put out a rollicking record, but instead they’ve made an album that continually surprises the listener with stylistic twists and experimentation. The band shifts gears so quickly between songs that the listener never knows what’s coming next. Will it be a lo-fi Beach Boys-inspired ditty (“Big Bad Mean Motherf***er”)? A dreamy love song (“Headache”)? Or a garagey rock ‘n’ roll track (“Morning Light”)? The only consistency you can count on is that each song will be damn good. San Francisco has rarely sounded better.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The \u003cb>Diagnostic and Statistical Manual of Mental Disorders\u003c/b> defines attention deficit/hyperactivity disorder as “a persistent pattern of inattention or hyperactivity/impulsivity that is more frequently displayed and more severe than is typically observed in individuals at a comparable level of development.” I only mention this as an illustration of the lengths I went to in trying to find some sort of useful description for the manic, breathless, ever-changing, and generally unclassifiable confusion that is \u003ca href=\"http://themostserenerepublic.com/index2.php\">The Most Serene Republic\u003c/a>‘s third album \u003cb>…And the Ever Expanding Universe\u003c/b>.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/serene.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\n\u003cp>The fault is partly mine. Somewhere between first hearing a few of the new tracks online and finally getting round to listening to the whole album, I had kind of forgotten what it was that had inspired me to want to hear more. Is ADD contagious? Regardless, it’s hard to find any kind of common thread running through the album’s 11 songs. In the time it takes to think “I like this part,” whatever you heard has already disappeared, forgotten in the rush to try some newer, cleverer trick. Taken in isolation, each moment might be reason enough to recommend an album. Taken together, they quickly become annoying.\u003c/p>\n\u003cp>Take the album opener, “Bubble Reputation.” It starts off like George Gershwin … being played by Queen. Then it turns all kooky indie in the style of the Flaming Lips. Or is it more anthemic like Arcade Fire now? Perhaps it’s all of them, locked in a room together, having sex. Or fighting. The switchbacks are coming so thick and fast, it’s kind of hard to tell, and we’re barely one minute in by now. The instrumental “Patternicity” similarly sounds like it’s fast forwarding through snatches of a Michael Nyman soundtrack. “All of One is the Other” steers a quiet, constant, beguiling course for two whole minutes before a random attack of histrionics ruins everything.\u003c/p>\n\u003cp>Which, frankly, is a bit of a shame. Despite the shifts and unevenness, there is also evidence of a prodigious pop talent at work here: the playful girl-boy harmonies on “Heavens to Purgatory”; the inspired mix of chopped-up hip-hop beats and cascading vocal harmonies on “Catharsis Boo”; the loud-quiet dynamic of delicate piano and distorted drums on “No One Likes a Nihilist.” But even these successes are ultimately overshadowed by missteps like “Don’t Hold Back, Feel a Little Longer.” This ill-advised attempt to cross-breed offbeat indie and trashy Euro-house is an ugly reminder of past experiments conducted in the name of “prog.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The album’s “ever expanding” title alludes to the Big Bang theory of cosmology, where all matter began in a dense, hot jumble before exploding outward to form stars, planets, and galaxies. Perhaps with the benefit of a little added space and time, The Most Serene Republic can also find some order in the chaos.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Most Serene Republic play San Francisco’s Bottom of the Hill on September 22, 2009. For tickets and information, visit \u003ca href=\"http://www.bottomofthehill.com/calendar.html\">bottomofthehill.com\u003c/a>. \u003cb>…And the Ever Expanding Universe\u003c/b> is out now on \u003ca href=\"http://www.galleryac.com/product_info.php?products_id=61526&cPath=\">Arts & Crafts\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003cb>Diagnostic and Statistical Manual of Mental Disorders\u003c/b> defines attention deficit/hyperactivity disorder as “a persistent pattern of inattention or hyperactivity/impulsivity that is more frequently displayed and more severe than is typically observed in individuals at a comparable level of development.” I only mention this as an illustration of the lengths I went to in trying to find some sort of useful description for the manic, breathless, ever-changing, and generally unclassifiable confusion that is \u003ca href=\"http://themostserenerepublic.com/index2.php\">The Most Serene Republic\u003c/a>‘s third album \u003cb>…And the Ever Expanding Universe\u003c/b>.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/serene.jpg\" style=\"margin-bottom: 10px;\">\u003c/center>\n\u003cp>The fault is partly mine. Somewhere between first hearing a few of the new tracks online and finally getting round to listening to the whole album, I had kind of forgotten what it was that had inspired me to want to hear more. Is ADD contagious? Regardless, it’s hard to find any kind of common thread running through the album’s 11 songs. In the time it takes to think “I like this part,” whatever you heard has already disappeared, forgotten in the rush to try some newer, cleverer trick. Taken in isolation, each moment might be reason enough to recommend an album. Taken together, they quickly become annoying.\u003c/p>\n\u003cp>Take the album opener, “Bubble Reputation.” It starts off like George Gershwin … being played by Queen. Then it turns all kooky indie in the style of the Flaming Lips. Or is it more anthemic like Arcade Fire now? Perhaps it’s all of them, locked in a room together, having sex. Or fighting. The switchbacks are coming so thick and fast, it’s kind of hard to tell, and we’re barely one minute in by now. The instrumental “Patternicity” similarly sounds like it’s fast forwarding through snatches of a Michael Nyman soundtrack. “All of One is the Other” steers a quiet, constant, beguiling course for two whole minutes before a random attack of histrionics ruins everything.\u003c/p>\n\u003cp>Which, frankly, is a bit of a shame. Despite the shifts and unevenness, there is also evidence of a prodigious pop talent at work here: the playful girl-boy harmonies on “Heavens to Purgatory”; the inspired mix of chopped-up hip-hop beats and cascading vocal harmonies on “Catharsis Boo”; the loud-quiet dynamic of delicate piano and distorted drums on “No One Likes a Nihilist.” But even these successes are ultimately overshadowed by missteps like “Don’t Hold Back, Feel a Little Longer.” This ill-advised attempt to cross-breed offbeat indie and trashy Euro-house is an ugly reminder of past experiments conducted in the name of “prog.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>This week, our podcast features The Dodos, a San Francisco band who need little introduction if you’ve been following indie rock over the past few years. The group’s third album, \u003cb>Time to Die\u003c/b>, came out this month, after an advance digital release spurred by an early album leak. 2008’s \u003cb>Visiter\u003c/b> fulfilled the anticipation built by years of relentless touring, receiving universally strong reviews that catapulted the band into the international spotlight. This being The Dodos, the release was followed by another year of relentless touring, and then, a break. For a band so used to a frenzy, the time off must have been a little startling, begging the question: what comes next?\u003c/p>\n\u003cp>The answer is another great record, one that finds Meric Long and Logan Kroeber growing considerably as a band while continuing to craft great songs. With the addition of vibraphone player Keaton Snyder, they’ve added another hyper-talented musician whose playing is simultaneously melodic and rhythmic. Perhaps attributable to recording the album with Phil Ek (Built to Spill, Fleet Foxes), the new album reigns in some of \u003cb>Visiter\u003c/b>‘s bombast; whether you think that’s a good thing or not, it means that small flourishes and big melodies get to shine equally as bright. Recent shows confirm that they’re still one of the best live bands around, and we expect (and hope for) continued success for the group in the future.\u003c/p>\n\u003cp>We sat down with Meric and Logan to discuss the new album, working with Phil Ek and more. We’ve also included four songs from \u003cb>Time to Die\u003c/b> and \u003cb>Visiter\u003c/b> in the episode.\u003c/p>\n\u003cp>\u003cb>Upcoming Shows:\u003c/b>\u003cbr>The Dodos kick off a national tour this month. After that tour, they’ll be heading back to Europe. Check their \u003ca href=\"http://www.myspace.com/thedodos\" target=\"offsite\" rel=\"noopener\">MySpace page\u003c/a> for more details.\u003c/p>\n\u003cp>\u003cb>Saturday, September 26th\u003c/b>\u003cbr>\u003ca href=\"http://www.henrymiller.org/\">Henry Miller Library (Big Sur)\u003c/a>\u003cbr>with \u003ca href=\"http://www.myspace.com/thepapercuts\">Papercuts\u003c/a>, \u003ca href=\"http://www.myspace.com/therubysuns\">The Ruby Suns\u003c/a> and \u003ca href=\"http://www.myspace.com/themumlers\">The Mumlers\u003c/a>\u003cbr>5pm, $28.50\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Thursday, October 29th\u003c/b>\u003cbr>\u003ca href=\"http://www.bimbos365club.com/\">Bimbo’s\u003c/a>\u003cbr>with \u003ca href=\"http://www.myspace.com/therubysuns\">The Ruby Suns\u003c/a>\u003cbr>8pm, $18\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This week, our podcast features The Dodos, a San Francisco band who need little introduction if you’ve been following indie rock over the past few years. The group’s third album, \u003cb>Time to Die\u003c/b>, came out this month, after an advance digital release spurred by an early album leak. 2008’s \u003cb>Visiter\u003c/b> fulfilled the anticipation built by years of relentless touring, receiving universally strong reviews that catapulted the band into the international spotlight. This being The Dodos, the release was followed by another year of relentless touring, and then, a break. For a band so used to a frenzy, the time off must have been a little startling, begging the question: what comes next?\u003c/p>\n\u003cp>The answer is another great record, one that finds Meric Long and Logan Kroeber growing considerably as a band while continuing to craft great songs. With the addition of vibraphone player Keaton Snyder, they’ve added another hyper-talented musician whose playing is simultaneously melodic and rhythmic. Perhaps attributable to recording the album with Phil Ek (Built to Spill, Fleet Foxes), the new album reigns in some of \u003cb>Visiter\u003c/b>‘s bombast; whether you think that’s a good thing or not, it means that small flourishes and big melodies get to shine equally as bright. Recent shows confirm that they’re still one of the best live bands around, and we expect (and hope for) continued success for the group in the future.\u003c/p>\n\u003cp>We sat down with Meric and Logan to discuss the new album, working with Phil Ek and more. We’ve also included four songs from \u003cb>Time to Die\u003c/b> and \u003cb>Visiter\u003c/b> in the episode.\u003c/p>\n\u003cp>\u003cb>Upcoming Shows:\u003c/b>\u003cbr>The Dodos kick off a national tour this month. After that tour, they’ll be heading back to Europe. Check their \u003ca href=\"http://www.myspace.com/thedodos\" target=\"offsite\" rel=\"noopener\">MySpace page\u003c/a> for more details.\u003c/p>\n\u003cp>\u003cb>Saturday, September 26th\u003c/b>\u003cbr>\u003ca href=\"http://www.henrymiller.org/\">Henry Miller Library (Big Sur)\u003c/a>\u003cbr>with \u003ca href=\"http://www.myspace.com/thepapercuts\">Papercuts\u003c/a>, \u003ca href=\"http://www.myspace.com/therubysuns\">The Ruby Suns\u003c/a> and \u003ca href=\"http://www.myspace.com/themumlers\">The Mumlers\u003c/a>\u003cbr>5pm, $28.50\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The Outside Lands Festival went big and broad, seeking large crowds with disparate bookings across genres and audiences. While its name might be similar, the \u003ca href=\"http://www.onlandfestival.com/\">On Land Festival\u003c/a> is in many ways the exact opposite, offering a weekend sampling of psych, drone and experimental acts in the more intimate venues of Cafe Du Nord and the Swedish American Hall. Curated by the local \u003ca href=\"http://www.rootstrata.com/\">Root Strata\u003c/a> label, who have released albums by many of the featured artists, there’s a rich collection of experimental artists to see, led by some compelling headliners.\u003c/p>\n\u003cp>Portland, Oregon’s Liz Harris is \u003ca href=\"http://www.myspace.com/grouperrepuorg\">Grouper\u003c/a>, headlining the fest’s Sunday night show at the Swedish American Hall. Harris’s third full length, \u003cb>Dragging a Dead Deer Up a Hill\u003c/b>, reached many critics’ Best of 2008 lists. It’s a remarkable mix of sparse guitar and beautiful vocals partially obscured by layers of reverb and fuzz. Things drift in and out of focus throughout, which leads to some wonderfully meditative moments of clarity. Grouper will be joined by \u003ca href=\"http://www.manybreaths.com/\">Christina Carter\u003c/a>, co-founder of the Texas psych-experimental group \u003ca href=\"http://www.kranky.net/artists/charalambides.html\">Charalambides\u003c/a>. Carter’s solo vocals/guitar/effects dynamic may sound familiar, but there’s less pop in Carter’s improvisational approach.\u003c/p>\n\u003cp>San Francisco’s \u003ca href=\"http://www.tarentel.com/\">Tarentel\u003c/a> have performed everything from spacious post-rock compositions to dissonant free-form rock-outs. Reviewers seem to frequently describe the band’s latest double CD on Temporary Residence, \u003cb>Ghetto Beats On The Surface Of The Sun\u003c/b>, as “sprawling;” the two disc set features noise rock explorations and beautiful moments alike. The band headlines Saturday night’s show. Tarentel’s \u003ca href=\"http://www.myspace.com/dannypaulgrody\">Danny Paul Grody\u003c/a> is also pulling double duty at On Land, with a solo performance on Saturday afternoon. Grody’s debut album comes out later this year, and the acoustic instrumental songs he has posted online show how rich a single guitar and atmospheric sounds can feel.\u003c/p>\n\u003cp>The members of SF’s \u003ca href=\"http://www.myspace.com/barnowlband\">Barn Owl\u003c/a> (Sunday night) used to play in metal bands, so it may be a little surprising to hear them join forces to explore droney psychedelia. The duo write compelling guitar melodies interwoven with minimal layers of otherworldly sounds. The results can be surprisingly loud, harnessing the intensity of heavy music while remaining far afield of metal’s brutality. Both Barn Owl and \u003ca href=\"http://www.myspace.com/ducktailss\">Ducktails\u003c/a> (Saturday night) have released LPs on the \u003ca href=\"http://www.notnotfun.com\">Not Not Fun\u003c/a> label. While there’s a cinematic feel to both bands, the latter’s work aims for an entirely different aesthetic. Employing electric guitar, synths and drums, Ducktails’ songs percolate with wandering melodies and analog warmth. Even though Ducktails’ Matthew Mondanile is from New Jersey, the music has a strong classically West Coast pop feel.\u003c/p>\n\u003cp>With over twenty diverse acts performing over the weekend, the first On Land Festival has a lot to offer. If you’re experimentally-inclined, it’d be difficult to find a stronger collection of musicians doing creative things with sound and space.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>The On Land Festival\u003c/b> runs September 18 – 20, 2009 at the Cafe du Nord and Swedish American Hall in San Francisco. For \u003ca href=\"http://www.onlandfestival.com/\">tickets and information\u003c/a>, visit onlandfestival.com.\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 Outside Lands Festival went big and broad, seeking large crowds with disparate bookings across genres and audiences. While its name might be similar, the \u003ca href=\"http://www.onlandfestival.com/\">On Land Festival\u003c/a> is in many ways the exact opposite, offering a weekend sampling of psych, drone and experimental acts in the more intimate venues of Cafe Du Nord and the Swedish American Hall. Curated by the local \u003ca href=\"http://www.rootstrata.com/\">Root Strata\u003c/a> label, who have released albums by many of the featured artists, there’s a rich collection of experimental artists to see, led by some compelling headliners.\u003c/p>\n\u003cp>Portland, Oregon’s Liz Harris is \u003ca href=\"http://www.myspace.com/grouperrepuorg\">Grouper\u003c/a>, headlining the fest’s Sunday night show at the Swedish American Hall. Harris’s third full length, \u003cb>Dragging a Dead Deer Up a Hill\u003c/b>, reached many critics’ Best of 2008 lists. It’s a remarkable mix of sparse guitar and beautiful vocals partially obscured by layers of reverb and fuzz. Things drift in and out of focus throughout, which leads to some wonderfully meditative moments of clarity. Grouper will be joined by \u003ca href=\"http://www.manybreaths.com/\">Christina Carter\u003c/a>, co-founder of the Texas psych-experimental group \u003ca href=\"http://www.kranky.net/artists/charalambides.html\">Charalambides\u003c/a>. Carter’s solo vocals/guitar/effects dynamic may sound familiar, but there’s less pop in Carter’s improvisational approach.\u003c/p>\n\u003cp>San Francisco’s \u003ca href=\"http://www.tarentel.com/\">Tarentel\u003c/a> have performed everything from spacious post-rock compositions to dissonant free-form rock-outs. Reviewers seem to frequently describe the band’s latest double CD on Temporary Residence, \u003cb>Ghetto Beats On The Surface Of The Sun\u003c/b>, as “sprawling;” the two disc set features noise rock explorations and beautiful moments alike. The band headlines Saturday night’s show. Tarentel’s \u003ca href=\"http://www.myspace.com/dannypaulgrody\">Danny Paul Grody\u003c/a> is also pulling double duty at On Land, with a solo performance on Saturday afternoon. Grody’s debut album comes out later this year, and the acoustic instrumental songs he has posted online show how rich a single guitar and atmospheric sounds can feel.\u003c/p>\n\u003cp>The members of SF’s \u003ca href=\"http://www.myspace.com/barnowlband\">Barn Owl\u003c/a> (Sunday night) used to play in metal bands, so it may be a little surprising to hear them join forces to explore droney psychedelia. The duo write compelling guitar melodies interwoven with minimal layers of otherworldly sounds. The results can be surprisingly loud, harnessing the intensity of heavy music while remaining far afield of metal’s brutality. Both Barn Owl and \u003ca href=\"http://www.myspace.com/ducktailss\">Ducktails\u003c/a> (Saturday night) have released LPs on the \u003ca href=\"http://www.notnotfun.com\">Not Not Fun\u003c/a> label. While there’s a cinematic feel to both bands, the latter’s work aims for an entirely different aesthetic. Employing electric guitar, synths and drums, Ducktails’ songs percolate with wandering melodies and analog warmth. Even though Ducktails’ Matthew Mondanile is from New Jersey, the music has a strong classically West Coast pop feel.\u003c/p>\n\u003cp>With over twenty diverse acts performing over the weekend, the first On Land Festival has a lot to offer. If you’re experimentally-inclined, it’d be difficult to find a stronger collection of musicians doing creative things with sound and space.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>The On Land Festival\u003c/b> runs September 18 – 20, 2009 at the Cafe du Nord and Swedish American Hall in San Francisco. For \u003ca href=\"http://www.onlandfestival.com/\">tickets and information\u003c/a>, visit onlandfestival.com.\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>Even though the summer festival/touring season has quieted down, September offers a bunch of amazing concerts in the Bay Area. Here are sneak peeks at some of the most enticing.\u003c/p>\n\u003cp>\u003ca href=\"http://www.myspace.com/cassmccombs\">Cass McCombs\u003c/a> and \u003ca href=\"http://www.myspace.com/thepapercuts\">Papercuts\u003c/a> co-headline a night of great songwriters at the \u003ca href=\"http://www.gamh.com/\">Great American Music Hall\u003c/a> on September 9th. McCombs’ latest, \u003cb>Catacombs\u003c/b>, offers both lyrical folk rock and more uptempo songs like “Dreams Come True Girl,” a work closer to the warm ’60s-oriented analog of Jason Quever’s Papercuts.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=-5l8lqNakPI&hl=en&fs=1&]\u003c/p>\n\u003cp>Other shows worth checking out:\u003c/p>\n\u003cp>– With a new EP out this month, one might expect \u003ca href=\"http://www.myspace.com/birdmonster\">Birdmonster\u003c/a> to be throwing all of their weight behind a big release-focused show. Instead, they’re giving back with a benefit performance for the Potrero Hill Public Library. The show’s on Saturday, September 26th at \u003ca href=\"http://www.bottomofthehill.com\">Bottom of the Hill\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Local hero \u003ca href=\"http://en.wikipedia.org/wiki/Jonathan_Richman\">Jonathan Richman\u003c/a> holds a four-night residency at the \u003ca href=\"http://www.makeoutroom.com\">Make-Out Room\u003c/a> from Sunday, September 20th through Wednesday the 23rd. His last album \u003cb>Because Her Beauty Is Raw and Wild\u003c/b> indicated that his songwriting remains fun and quirky, and he’s got a deep catalog of great songs from which to draw.\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": "\u003cp>We all know about the well-worn link between smell and memory. One sniff is apparently all it takes to whisk your mind to some moment from the past. Music can spark a similar experience and, because tunes can be recorded, you get to examine the strange tricks your brain plays on you in ways you can’t with a fleeting whiff. Did that cheese \u003ci>really\u003c/i> smell like your best friend’s sweater from elementary school? Who knows (or cares). But do fresh-faced Brooklyn-based lo-fi power pop trio \u003ca href=\"http://www.freewebs.com/viviangirls/\">Vivian Girls\u003c/a> \u003ci>really\u003c/i> sound like my life circa 1991? Well that’s a different matter entirely.\u003c/p>\n\u003cp>Each time I hear the Vivian Girls I’m hurled back to a very specific time and place: I’m in my tiny dorm room during my first year at university, listening to a scratchy copy of \u003ca href=\"http://lightfromadeadstar.org/index.htm\">Lush\u003c/a>‘s debut EP \u003cb>Scar\u003c/b> on 12-inch vinyl. It’s not just that they remind me of that particular record or period of my life; it’s more than that. They \u003ci>transport\u003c/i> me. When I hear them, I’m there in a flash.\u003c/p>\n\u003cp>But here’s the weird part: the Vivian Girls don’t even sound all that much like the Lush record I just mentioned. I know this because I checked. The first thing I did after hearing their self-titled debut last year was go and dig out that same scratchy copy of \u003cb>Scar\u003c/b>. It sounded totally different from how I had remembered it. Sure, there were plenty similarities between the two bands: the slightly atonal shouted vocals buried low in the mix, the distorted guitars, the rumbling, melodic bass. But the Lush record was by turns much harsher and more wispy than I had expected, and certainly nowhere near as close as I had thought to the Vivian Girls’ sound. And then it got even stranger: discovering this made no difference. Even now, hearing the Vivian Girls takes me on the same journey to that record, place, and time. Their new album \u003cb>Everything Goes Wrong\u003c/b> does it too. Why?\u003c/p>\n\u003cp>Well, because memories become distorted over time. Somewhere in my head I’ve confused and combined a bunch of songs, emotions, and ideas into a hybrid memory for that part of my life. And it’s this sound that the Vivian Girls are tapping into. Listening to their latest release, I started hearing loads of other bands and sounds I associate with that time too. “Double Vision” nails \u003ca href=\"http://www.hereisnirvana.com/index2.html\">Nirvana\u003c/a>‘s slacker angst-rock. “Tension” has the shoegazing vocals of early \u003ca href=\"http://www.rideox4.net/\">Ride\u003c/a>. And the off-kilter girl-on-girl harmonies that feature throughout could easily have been lifted from any number of \u003ca href=\"http://en.wikipedia.org/wiki/C86_%28music%29\">C86\u003c/a>-style bands, like \u003ca href=\"http://www.myspace.com/okwhateverfaggots\">Talulah Gosh\u003c/a>, the \u003ca href=\"http://www.myspace.com/shopassistants001\">Shop Assistants\u003c/a>, or even the\u003ca href=\"http://www.myspace.com/thepastelsuk\">Pastels\u003c/a>. It’s as if the Vivian Girls have found my cache of old compilation cassettes and turned them into pure punk-pop gold.\u003c/p>\n\u003cp>Which isn’t to say that they sound like dated throwbacks, because they don’t at all. If they weren’t so young and full of spunky attitude and originality then the whole thing probably wouldn’t work like it does; it would seem too dated and stale. It’s just that somehow they’ve chanced upon a formula that (to my ears) sounds like pure, distilled, wonderful 1991.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Everything Goes Wrong\u003c/b> by Vivian Girls is released September 8, 2009 on \u003ca href=\"http://www.intheredrecords.com\">In the Red\u003c/a> records. The album release party is at the Rickshaw Stop on September 9 and the band will play an acoustic set at Amoeba on September 10. For \u003ca href=\"http://rickshawstop.com/phpEventCalendar/index.php\">more information and tickets\u003c/a>, go to rickshawstop.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We all know about the well-worn link between smell and memory. One sniff is apparently all it takes to whisk your mind to some moment from the past. Music can spark a similar experience and, because tunes can be recorded, you get to examine the strange tricks your brain plays on you in ways you can’t with a fleeting whiff. Did that cheese \u003ci>really\u003c/i> smell like your best friend’s sweater from elementary school? Who knows (or cares). But do fresh-faced Brooklyn-based lo-fi power pop trio \u003ca href=\"http://www.freewebs.com/viviangirls/\">Vivian Girls\u003c/a> \u003ci>really\u003c/i> sound like my life circa 1991? Well that’s a different matter entirely.\u003c/p>\n\u003cp>Each time I hear the Vivian Girls I’m hurled back to a very specific time and place: I’m in my tiny dorm room during my first year at university, listening to a scratchy copy of \u003ca href=\"http://lightfromadeadstar.org/index.htm\">Lush\u003c/a>‘s debut EP \u003cb>Scar\u003c/b> on 12-inch vinyl. It’s not just that they remind me of that particular record or period of my life; it’s more than that. They \u003ci>transport\u003c/i> me. When I hear them, I’m there in a flash.\u003c/p>\n\u003cp>But here’s the weird part: the Vivian Girls don’t even sound all that much like the Lush record I just mentioned. I know this because I checked. The first thing I did after hearing their self-titled debut last year was go and dig out that same scratchy copy of \u003cb>Scar\u003c/b>. It sounded totally different from how I had remembered it. Sure, there were plenty similarities between the two bands: the slightly atonal shouted vocals buried low in the mix, the distorted guitars, the rumbling, melodic bass. But the Lush record was by turns much harsher and more wispy than I had expected, and certainly nowhere near as close as I had thought to the Vivian Girls’ sound. And then it got even stranger: discovering this made no difference. Even now, hearing the Vivian Girls takes me on the same journey to that record, place, and time. Their new album \u003cb>Everything Goes Wrong\u003c/b> does it too. Why?\u003c/p>\n\u003cp>Well, because memories become distorted over time. Somewhere in my head I’ve confused and combined a bunch of songs, emotions, and ideas into a hybrid memory for that part of my life. And it’s this sound that the Vivian Girls are tapping into. Listening to their latest release, I started hearing loads of other bands and sounds I associate with that time too. “Double Vision” nails \u003ca href=\"http://www.hereisnirvana.com/index2.html\">Nirvana\u003c/a>‘s slacker angst-rock. “Tension” has the shoegazing vocals of early \u003ca href=\"http://www.rideox4.net/\">Ride\u003c/a>. And the off-kilter girl-on-girl harmonies that feature throughout could easily have been lifted from any number of \u003ca href=\"http://en.wikipedia.org/wiki/C86_%28music%29\">C86\u003c/a>-style bands, like \u003ca href=\"http://www.myspace.com/okwhateverfaggots\">Talulah Gosh\u003c/a>, the \u003ca href=\"http://www.myspace.com/shopassistants001\">Shop Assistants\u003c/a>, or even the\u003ca href=\"http://www.myspace.com/thepastelsuk\">Pastels\u003c/a>. It’s as if the Vivian Girls have found my cache of old compilation cassettes and turned them into pure punk-pop gold.\u003c/p>\n\u003cp>Which isn’t to say that they sound like dated throwbacks, because they don’t at all. If they weren’t so young and full of spunky attitude and originality then the whole thing probably wouldn’t work like it does; it would seem too dated and stale. It’s just that somehow they’ve chanced upon a formula that (to my ears) sounds like pure, distilled, wonderful 1991.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Here’s an incontrovertible theory for you to agree with: anyone who doesn’t like loud music is OLD and BORING. Of course, I first developed and proposed this subtly nuanced hypothesis when I was a) young and b) incredibly excited by music that involved as much overwrought amplification and obnoxiousness as possible. But even as I’ve grown up (a bit) and matured (a little), I can’t quite bring myself to admit the underlying premise is in any way flawed. Sure, these days I tend to listen to music that’s more muted, understated, and fragile, but I’m also developing an ulcer and a beer gut. Aren’t all these things just so many signs of middle-aged tedium and fast-approaching death?\u003c/p>\n\u003cp>So thank the gods of noise for the arrival of \u003ca href=\"http://www.myspace.com/wavves\" target=\"offsite\" rel=\"noopener\">Wavves\u003c/a> in my life to shake things up a bit. When I first heard their track “So Bored” earlier this year, several questions popped into my blown mind at once: Is it supposed to sound like this? Can I turn it up any louder without my neighbors calling the cops? And what did I do in a previous life to deserve this beautiful experience? Featuring a primitive drumbeat and more crazy feedback and distortion than the comments section of FOXNews.com, it grabbed hold of my inner teenager and refused to let go. “I’m SOOOOOOO bored,” drawls Nathan Williams like a spoiled child, over a tumult that had me reaching for the “screaming wall of noise” section of my well-thumbed rock thesaurus.\u003c/p>\n\u003cp>It’s easily the standout track from their almost-self-titled album \u003cb>Wavvves\u003c/b> (note the third “v”) released back in March. But the rest of the collection doesn’t disappoint either, as long as you feel no fear about tinnitus. “Beach Demon,” with its wonderful, nihilistic chorus of “going nowhere, going nowhere,” sounds like a crappy bootleg of the Ramones being blasted out of a Fisher Price record player way past its recommended volume, but in a good way. The sole ballad (and I’m using the term “ballad” loosely here) “Weed Demon” resurrects the ghosts of Pixies moments past, particularly the creepy bottom-of-the-sea howls that bookend “Where Is My Mind?” And “Gun In The Sun” picks up the fucked-up surf-rock baton from wherever the Jesus and Mary Chain carelessly dropped it sometime in the late eighties.\u003c/p>\n\u003cp>With song titles including enough mentions of “goths” and “demons” to fill a teenage girls’ bookshelf, as well as a couple of “kids” and “punx” thrown in for good measure, it’s easy to see the age demographic Wavves are aiming for. It makes an old fart like me nostalgic for a time when my world was also ruled by antisocial music and parental curfews. Of course, things have changed a bit since then, particularly the invention of MP3s and me feeling less guilty about skipping Wavves’ more “experimental” moments. Then again, the album is only 36 minutes long without cheating, so there really isn’t much time for anyone’s patience to be tested too much. Even if it makes your stereo sound like it’s broken, it isn’t going to actually break your stereo. Not unless you turn it up REALLY LOUD.\u003c/p>\n\u003cp>\u003cb>Wavvves\u003c/b> is out now on \u003ca href=\"http://www.fatpossum.com/index.php\" target=\"offsite\" rel=\"noopener\">Fat Possum Records\u003c/a>. Wavves play the Rickshaw Stop in San Francisco on September 6. For tickets and information, visit \u003ca href=\"http://rickshawstop.com/\" target=\"offsite\" rel=\"noopener\">rickshawstop.com\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>Here’s an incontrovertible theory for you to agree with: anyone who doesn’t like loud music is OLD and BORING. Of course, I first developed and proposed this subtly nuanced hypothesis when I was a) young and b) incredibly excited by music that involved as much overwrought amplification and obnoxiousness as possible. But even as I’ve grown up (a bit) and matured (a little), I can’t quite bring myself to admit the underlying premise is in any way flawed. Sure, these days I tend to listen to music that’s more muted, understated, and fragile, but I’m also developing an ulcer and a beer gut. Aren’t all these things just so many signs of middle-aged tedium and fast-approaching death?\u003c/p>\n\u003cp>So thank the gods of noise for the arrival of \u003ca href=\"http://www.myspace.com/wavves\" target=\"offsite\" rel=\"noopener\">Wavves\u003c/a> in my life to shake things up a bit. When I first heard their track “So Bored” earlier this year, several questions popped into my blown mind at once: Is it supposed to sound like this? Can I turn it up any louder without my neighbors calling the cops? And what did I do in a previous life to deserve this beautiful experience? Featuring a primitive drumbeat and more crazy feedback and distortion than the comments section of FOXNews.com, it grabbed hold of my inner teenager and refused to let go. “I’m SOOOOOOO bored,” drawls Nathan Williams like a spoiled child, over a tumult that had me reaching for the “screaming wall of noise” section of my well-thumbed rock thesaurus.\u003c/p>\n\u003cp>It’s easily the standout track from their almost-self-titled album \u003cb>Wavvves\u003c/b> (note the third “v”) released back in March. But the rest of the collection doesn’t disappoint either, as long as you feel no fear about tinnitus. “Beach Demon,” with its wonderful, nihilistic chorus of “going nowhere, going nowhere,” sounds like a crappy bootleg of the Ramones being blasted out of a Fisher Price record player way past its recommended volume, but in a good way. The sole ballad (and I’m using the term “ballad” loosely here) “Weed Demon” resurrects the ghosts of Pixies moments past, particularly the creepy bottom-of-the-sea howls that bookend “Where Is My Mind?” And “Gun In The Sun” picks up the fucked-up surf-rock baton from wherever the Jesus and Mary Chain carelessly dropped it sometime in the late eighties.\u003c/p>\n\u003cp>With song titles including enough mentions of “goths” and “demons” to fill a teenage girls’ bookshelf, as well as a couple of “kids” and “punx” thrown in for good measure, it’s easy to see the age demographic Wavves are aiming for. It makes an old fart like me nostalgic for a time when my world was also ruled by antisocial music and parental curfews. Of course, things have changed a bit since then, particularly the invention of MP3s and me feeling less guilty about skipping Wavves’ more “experimental” moments. Then again, the album is only 36 minutes long without cheating, so there really isn’t much time for anyone’s patience to be tested too much. Even if it makes your stereo sound like it’s broken, it isn’t going to actually break your stereo. Not unless you turn it up REALLY LOUD.\u003c/p>\n\u003cp>\u003cb>Wavvves\u003c/b> is out now on \u003ca href=\"http://www.fatpossum.com/index.php\" target=\"offsite\" rel=\"noopener\">Fat Possum Records\u003c/a>. Wavves play the Rickshaw Stop in San Francisco on September 6. For tickets and information, visit \u003ca href=\"http://rickshawstop.com/\" target=\"offsite\" rel=\"noopener\">rickshawstop.com\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Deep in the redwoods on a farm near Mendocino isn’t probably the first place you’d expect to find a two day independent music festival, but the environment’s sure to add a staid ambiance to the Invisible Ocean Festival, taking place on September 5th and 6th. According to the organizers, the fest was created to allow a community of West Coast musicians and artists the opportunity to experience some of their friends’ great music in an intimate environment. True to their goal, there are plenty of excellent bands performing over the two days.\u003c/p>\n\u003cp>I started listening to The Blank Tapes again recently, and now I’m not sure when I’m going to stop. 2007’s \u003cb>Daydreams\u003c/b> is the band’s third album and it’s loaded with catchy melodies that range from tight indie rock-pop to more expansive Deadish country-psych. Matt Adams sings, writes the songs and plays almost every instrument on Blank Tapes records, but his musical tastes are broad and the album is better for it; as \u003ca href=\"http://www.kqed.org/arts/music/article.jsp?essid=22606\" target=\"offsite\" rel=\"noopener\">a previous review on KQED noted\u003c/a>, it’s easy to discover new favorite songs on each subsequent spin. My two most recent Blank Tapes discoveries show Adams’ respect and support for his peers: \u003cb>Friends and Favorites\u003c/b>, a compelling covers album, and \u003cb>Universal Western Attractions\u003c/b>, a compilation he curated celebrating local talents. Both can be downloaded for free at \u003ca href=\"http://www.fuzzhouse.com/Recordings/\" target=\"offsite\" rel=\"noopener\">Fuzzhouse.com\u003c/a>.\u003c/p>\n\u003cp>San Jose’s The Mumlers release their new album just a few days after Invisible Ocean. \u003cb>Don’t Throw Me Away\u003c/b>, out September 8th on Galaxia Records, is soaked in incredibly authentic-feeling soul, particularly surprising considering that the group is a sextet of young musicians from San Jose. It’s difficult not to consider the new album a great leap forward for the band, not because their debut \u003cb>Thickets & Stitches\u003c/b> was weak (it wasn’t), but because they’ve managed to channel what were a loose set of blues, folk and rock sounds into a raw set of heartfelt songs. As one might expect, they’re also a killer live band.\u003c/p>\n\u003cp>The Invisible Ocean festival isn’t all local groups, though, as Anacortes, Washington’s Karl Blau is heading down for a performance. Blau is a prolific singer-songwriter whose experimental compositions frequently incorporate indie folk as one of a number of varied touchstones. \u003cb>On Zebra\u003c/b>, which comes out on K Records on October 6th, he finds inspiration in African music and music of African descent. Blau’s genre-mixing sounds work in part because he’s a formidable producer, and he recorded \u003cb>Let’s Build A Roof\u003c/b>, the upcoming album from LAKE. The Olympia band play jangly psych-pop with inviting harmonies, and they will be at Invisible Ocean as well.\u003c/p>\n\u003cp>In addition to all of the music, there are two movies being screened over the weekend. Dear & Yonder is a surf movie following the travels of some female professional surfers, while \u003cb>No Deposit No Return Blues\u003c/b> examines the life of cult American psychedelic folk-rock musician Sandy Bull. Add to that camping and communal vegetarian dinners at the farm every night, and it all sounds like a really magical weekend.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Invisible Oceans Festival runs from September 5 through September 6, 2009 in Mendocino. For \u003ca href=\"http://invisible-ocean.com\" target=\"offsite\" rel=\"noopener\">tickets and information\u003c/a>, visit invisible-ocean.com.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Ben Van Houten is the Programming Director of \u003ca href=\"http://www.thebaybridged.com\" target=\"offsite\" rel=\"noopener\">The Bay Bridged\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Deep in the redwoods on a farm near Mendocino isn’t probably the first place you’d expect to find a two day independent music festival, but the environment’s sure to add a staid ambiance to the Invisible Ocean Festival, taking place on September 5th and 6th. According to the organizers, the fest was created to allow a community of West Coast musicians and artists the opportunity to experience some of their friends’ great music in an intimate environment. True to their goal, there are plenty of excellent bands performing over the two days.\u003c/p>\n\u003cp>I started listening to The Blank Tapes again recently, and now I’m not sure when I’m going to stop. 2007’s \u003cb>Daydreams\u003c/b> is the band’s third album and it’s loaded with catchy melodies that range from tight indie rock-pop to more expansive Deadish country-psych. Matt Adams sings, writes the songs and plays almost every instrument on Blank Tapes records, but his musical tastes are broad and the album is better for it; as \u003ca href=\"http://www.kqed.org/arts/music/article.jsp?essid=22606\" target=\"offsite\" rel=\"noopener\">a previous review on KQED noted\u003c/a>, it’s easy to discover new favorite songs on each subsequent spin. My two most recent Blank Tapes discoveries show Adams’ respect and support for his peers: \u003cb>Friends and Favorites\u003c/b>, a compelling covers album, and \u003cb>Universal Western Attractions\u003c/b>, a compilation he curated celebrating local talents. Both can be downloaded for free at \u003ca href=\"http://www.fuzzhouse.com/Recordings/\" target=\"offsite\" rel=\"noopener\">Fuzzhouse.com\u003c/a>.\u003c/p>\n\u003cp>San Jose’s The Mumlers release their new album just a few days after Invisible Ocean. \u003cb>Don’t Throw Me Away\u003c/b>, out September 8th on Galaxia Records, is soaked in incredibly authentic-feeling soul, particularly surprising considering that the group is a sextet of young musicians from San Jose. It’s difficult not to consider the new album a great leap forward for the band, not because their debut \u003cb>Thickets & Stitches\u003c/b> was weak (it wasn’t), but because they’ve managed to channel what were a loose set of blues, folk and rock sounds into a raw set of heartfelt songs. As one might expect, they’re also a killer live band.\u003c/p>\n\u003cp>The Invisible Ocean festival isn’t all local groups, though, as Anacortes, Washington’s Karl Blau is heading down for a performance. Blau is a prolific singer-songwriter whose experimental compositions frequently incorporate indie folk as one of a number of varied touchstones. \u003cb>On Zebra\u003c/b>, which comes out on K Records on October 6th, he finds inspiration in African music and music of African descent. Blau’s genre-mixing sounds work in part because he’s a formidable producer, and he recorded \u003cb>Let’s Build A Roof\u003c/b>, the upcoming album from LAKE. The Olympia band play jangly psych-pop with inviting harmonies, and they will be at Invisible Ocean as well.\u003c/p>\n\u003cp>In addition to all of the music, there are two movies being screened over the weekend. Dear & Yonder is a surf movie following the travels of some female professional surfers, while \u003cb>No Deposit No Return Blues\u003c/b> examines the life of cult American psychedelic folk-rock musician Sandy Bull. Add to that camping and communal vegetarian dinners at the farm every night, and it all sounds like a really magical weekend.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Invisible Oceans Festival runs from September 5 through September 6, 2009 in Mendocino. For \u003ca href=\"http://invisible-ocean.com\" target=\"offsite\" rel=\"noopener\">tickets and information\u003c/a>, visit invisible-ocean.com.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Ben Van Houten is the Programming Director of \u003ca href=\"http://www.thebaybridged.com\" target=\"offsite\" rel=\"noopener\">The Bay Bridged\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There must be something in Sweden’s water. Despite being a relatively small country with a low international profile (IKEA stores notwithstanding), Sweden has given birth to some of pop music’s greatest acts. ABBA, The Cardigans, Jens Lekman, and The Knife, just to name a few. And now there’s one more name to tag onto the list: Sally Shapiro, a pseudonym for singer Sally Shapiro (not her real name) and songwriter/producer Johan Agebjörn.\u003c/p>\n\u003cp>The duo, who are coworkers at an undisclosed day job, have never played a live show and rarely pose for pictures or grant interviews (Shapiro says she would rather pick blueberries). Yet their debut album \u003cb>Disco Romance\u003c/b>, an updated take on ’80s Italo disco in the vein of Glass Candy and \u003ca href=\"http://www.kqed.org/arts/music/article.jsp?essid=20083\" target=\"offsite\" rel=\"noopener\">the Chromatics\u003c/a>, managed to pique the interest of a bevy of internet audiophiles and even win over the most difficult of critics, \u003ca href=\"http://pitchfork.com/reviews/albums/9751-disco-romance/\" target=\"offsite\" rel=\"noopener\">Pitchfork\u003c/a>. And now, Sally Shapiro is back with a sophomore album titled \u003cb>My Guilty Pleasure\u003c/b>, which Shapiro says “will hopefully make you fall in love with the person sitting next to you on the bus.” Just imagine: your next boyfriend could very well be that combatant crackhead one seat over on the 38 Geary! Lucky you.\u003c/p>\n\u003cp>Speaking of non-traditional love matches, check out the music video for “Love in July” below. An iceburg stands between a goldfish and the whale he loves. You’ll find yourself rooting for global warming.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Now picture this: You’re leaving a night club in the early hours and walking home in the fog. You’re wistful, a bit sedated, and brimming with love. And there’s a buzz in your ear left over from the loud speakers playing pop hits on the dance floor. Sally Shapiro’s music is kind of like that buzz, a mix of echoed synth beats and a candied euphoria.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I’ll be honest though — I didn’t get that impression on my first listen. The set of nine songs initially sounded too similar and a bit hollow. Sally’s weak voice failed to impress and the lyrics often seemed shallow and unintelligible. But something within my bones urged me to give the disc another shot. It was sometime during my second or third listen that the cheesy synthesizers and lo-fi rhythms cracked my pessimistic veneer to reveal my former self, the boy who loved Euro pop with abandon and had to buy another copy of an Ace of Base CD (coincidentally another gang of Swedes) because the original got too scratched. I guess you could say that “I saw the sign and it opened up my mind” (har har).\u003c/p>\n\u003cp>Sally Shapiro’s latest effort has its faults. “Save Your Love” and, oddly enough, the first two singles (“Miracle” and “Love in July”) lack the spark that burns on other tracks (“My Fantasy,” “Let It Show” and “Moonlight Dance”). But, ultimately, \u003cb>My Guilty Pleasure\u003c/b> lives up to its name. It’s the kind of feel-good, bubblegum dance-pop record that you keep for yourself, a pleasure indulged in secret. At least, it starts off that way, but it won’t be long before the guilt dissipates and you share your new love affair with the world. So what if your neighbors question your personal aesthetic or overall taste? You’ll be too busy getting your disco on to care.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>My Guilty Pleasure\u003c/b> drops August 25, 2009.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I’ll be honest though — I didn’t get that impression on my first listen. The set of nine songs initially sounded too similar and a bit hollow. Sally’s weak voice failed to impress and the lyrics often seemed shallow and unintelligible. But something within my bones urged me to give the disc another shot. It was sometime during my second or third listen that the cheesy synthesizers and lo-fi rhythms cracked my pessimistic veneer to reveal my former self, the boy who loved Euro pop with abandon and had to buy another copy of an Ace of Base CD (coincidentally another gang of Swedes) because the original got too scratched. I guess you could say that “I saw the sign and it opened up my mind” (har har).\u003c/p>\n\u003cp>Sally Shapiro’s latest effort has its faults. “Save Your Love” and, oddly enough, the first two singles (“Miracle” and “Love in July”) lack the spark that burns on other tracks (“My Fantasy,” “Let It Show” and “Moonlight Dance”). But, ultimately, \u003cb>My Guilty Pleasure\u003c/b> lives up to its name. It’s the kind of feel-good, bubblegum dance-pop record that you keep for yourself, a pleasure indulged in secret. At least, it starts off that way, but it won’t be long before the guilt dissipates and you share your new love affair with the world. So what if your neighbors question your personal aesthetic or overall taste? You’ll be too busy getting your disco on to care.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>My Guilty Pleasure\u003c/b> drops August 25, 2009.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
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"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
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"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
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}
},
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"id": "californiareportmagazine",
"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",
"title": "City Arts & Lectures",
"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": {
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"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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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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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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},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"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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"order": 15
},
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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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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
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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"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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