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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Even if you aren’t planning on attending, by now you’ve probably at least seen the inescapable bus panels and billboards advertising this year’s \u003ca href=\"http://sfoutsidelands.com\">Outside Lands Festival\u003c/a>, taking place in San Francisco from Friday, August 28th through Sunday, August 30th. The ads usually focus on the headliners and upper-tier acts — Pearl Jam, Dave Matthews Band, the now-canceled Beastie Boys (curiously replaced by Tenacious D), Incubus, Black Eyed Peas, M.I.A. — the ones that event organizers surely hope will draw the crowds needed to make a three-day festival in Golden Gate Park financially viable. Lower down the card, however, there are some real gems among the 70+ acts performing over the weekend. If you’re headed to Outside Lands, be sure to check out some of these great bands.\u003c/p>\n\u003cp>Blind Pilot (performing on Friday at 4:10pm) are a duo from Portland whose acoustic pop-rock draws frequent comparisons to The Shins, if only because both bands excel at writing endearing tunes that feel familiar immediately and sing-along worthy soon after. But while The Shins’ biggest hits bowl the listener over, Blind Pilot’s debut \u003cb>3 Rounds And A Sound\u003c/b> is more easygoing and unassuming, touched with a lingering melancholy. The album is a fairly stripped down affair, so it’s a little surprising that the band is touring as a six-piece, and I’m curious how it the expanded lineup will sound. Another group not averse to inviting more people onstage, Northeastern trio Akron/Family (Friday, 1:45pm) released their latest psychedelic folk-rock collection \u003cb>Set ‘Em Wild, Set ‘Em Free\u003c/b> in May. The album is the band’s first since the departure of original member Ryan Vanderhoof and it’s crammed full of different instruments and unconventional song structures.\u003c/p>\n\u003cp>If you’re looking for some noisy indie rock, Deerhunter (Saturday, 6:40pm) has got it in droves.The Atlanta quartet’s music plays out as a compelling tug-of-war between the heavy swirling ambience of shoegaze and buzzing anthemic post-punk. It’s as fun to watch that struggle live as it to experience it on \u003cb>Cryptograms and Microcastle\u003c/b>. Portugal. the Man (Saturday, 3:10pm) similarly stack layers of sound to create epic rock. The band formed in Wasilla, Alaska (yes, THAT Wasilla) before migrating to Portland, Oregon. Since then, they’ve released four albums in four years, with \u003cb>The Satanic Satanist\u003c/b> emerging in July.\u003c/p>\n\u003cp>Not to be lost in the shuffle are some of the cream of the Bay Area indie community. The Dodos (Friday, 3:20pm) just released their third album \u003cb>Time to Die\u003c/b> early after it leaked online. While the new album reigns in some of its predecessor’s bombast under Phil Ek’s (Built to Spill, Fleet Foxes) production, it also shows the group has gotten even better at crafting winding, complex melodies. The trio’s ever-full performance schedule has made them a must-see live band. Indie pop quartet The Morning Benders (Sunday, 1:30pm) just returned from their first European tour, and recently recorded a new album with Chris Taylor of Grizzly Bear. While there’s no news about when we can expect \u003cb>Big Echo\u003c/b>, it’s always a treat to hear these guys’ upbeat, addictive songs. The same thing goes for their former tourmate and local singer-songwriter John Vanderslice (Sunday, 2:10pm), who delivered one of the year’s highlights with \u003cb>Romanian Names\u003c/b>.\u003c/p>\n\u003cp>With 70+ options on a variety of stages, there are sure to be some tough choices presented during Outside Lands, with plenty of talented performers on the side stages if you’re looking to avoid the mobs at the main ones.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Outside Lands\u003c/b> runs from August 28th – 30th, 2009 in Golden Gate Park. For \u003ca href=\"http://sfoutsidelands.com\">tickets and information\u003c/a>, visit SFOutsideLands.com.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Ben Van Houten is the Programming Director at \u003ca href=\"http://www.thebaybridged.com\">The Bay Bridged\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Proof that Australia is basically a lunatic asylum where the inmates roam free — and get government funding to capture their most outlandish dreams on celluloid — is readily on display in \u003cb>Not Quite Hollywood\u003c/b>. The film is chock full of marauding hordes and crazed bikers — and those are just the folks BEHIND the camera. It’s a raucous clip show of some of the best (and most definitely the worst) genre films of the seventies and eighties. In this context, \u003cb>Mad Max\u003c/b> comes off looking like \u003cb>Citizen Kane\u003c/b>!\u003c/p>\n\u003cp>Genre cinema is based on the guilty pleasures of the flesh, its baring and tearing. The most effective (and beloved) genre films leave us with our mouths agape as we witness scenarios that stretch, snap and then desert all reason, tearing off into the night. We identify with the anti-heroes who commit outrageous acts that wouldn’t pop up in even our wildest dreams — the vigilante whose search for “justice” takes him over the edge or the free spirit who sheds her clothes at the slightest provocation.\u003c/p>\n\u003cp>\u003cb>Not Quite Hollywood\u003c/b> tracks the development of “Ozsploitation,” beginning in the swinging seventies (now I know to what the term “swinging” applies — all form of bulbous appendage) and pretty much explodes into the eighties, when the Australian outback came to symbolize the post-apocalyptic wasteland for most of the world. The ferocious mob tearing off into the night applies equally to the genre’s outlandish characters and the people who risked life and limb to capture the mayhem on film. It’s a wonder that many of the folks interviewed in \u003cb>Not Quite Hollywood\u003c/b> lived to tell the tale.\u003c/p>\n\u003cp>If that doesn’t sound appealing, then think of \u003cb>Not Quite Hollywood\u003c/b> as a bizarre car commercial from another planet, where this year’s model is covered in horns and powered by turbo jets.\u003c/p>\n\u003cp>If you love Ozsploitation, you’ll get the chance to revisit some of the most mind-bending stunts featured in the hundreds of films covered. If you aren’t a fan, the filmmakers have kindly cut the meat from the bones of their favorite films. Not a minute goes by without a bare breast or bottom, a warped bit of gore or a colossal explosion. We can only shake our heads and ponder the twisted minds at work.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>“Kreuzspiel” is one of Karlheinz Stockhausen’s first compositions. He’s probably best known for his tape loops, electronic experimentation, and reduction of the human voice to bleeps, but he wrote “Kreuzspiel” before all that. It’s almost jazzy, with congas and toms establishing a spacey rhythm at the beginning of the piece. A piano bangs out chords, while a clarinet and oboe wander in and out. Stockhausen completed “Kreuzspiel” in 1951. It previews ideas he continued to use as he pushed musical boundaries: close attention to percussive plinks and plunks, and the use of serialism. But it’s not grating or alienating, quite the contrary, it’s an easy way in to Stockhausen’s less accessible compositions.\u003c/p>\n\u003cp>sfSound is performing “Kreuzspiel” on Sunday, along with “Composition No. 75” by Anthony Braxton, whose work veers from his own wandering wind compositions to free jazz takes on ragtime. Braxton has resisted being labeled a jazz composer. Even when his compositions call for jazz-like instrumentation, there’s usually something else going on: a horn section slides into a phrase in unison, and then repeats it over and over again; or a saxophone rises above the rest during an otherwise-straightforward standard, simultaneously deconstructing the tune and pushing the song forward. “Kreuzspiel” is usually translated as “Crossplay,” and I expect the give-and-take and playfulness will be happening not only between instruments in Stockhausen’s piece, but between the compositions, as well.\u003c/p>\n\u003cp>Along with those pieces by composers who have long been in the avant-garde pantheon, sfSound will perform new work by younger composers. Christopher Jones, a member of the ensemble, has contributed a composition. And Christopher Burns and David Bithell — both are also affiliated with sfSound — will have premieres at Sunday’s show. Burns and Bithell both compose electronic music in addition to pieces for more traditional instruments. And Bithell also works on experimental theater projects. I haven’t heard music by any of them beyond snippets online, and am looking forward to hearing more performed live.\u003c/p>\n\u003cp>sfSound’s series of concerts at ODC are a great opportunity to hear new and experimental music. The group is performing again at ODC on September 13 with an entirely new selection of music. Tickets are inexpensive, and sfSound offers a discount for the underemployed. It’s an affordable night out, and a chance to hear music you can’t necessarily hear anywhere else.\u003c/p>\n\u003cp>sfSound is performing at ODC Dance Commons at 351 Shotwell Street in San Francisco on Sunday, August 9, 2009 at 8pm. Tickets are $10, and $5 if you’re underemployed. For \u003ca href=\"https://secure.oreweb.com/hosts/odctheater.org/tickets/buy.phtml\">tickets and information\u003c/a> visit odctheater.org.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Kreuzspiel” is one of Karlheinz Stockhausen’s first compositions. He’s probably best known for his tape loops, electronic experimentation, and reduction of the human voice to bleeps, but he wrote “Kreuzspiel” before all that. It’s almost jazzy, with congas and toms establishing a spacey rhythm at the beginning of the piece. A piano bangs out chords, while a clarinet and oboe wander in and out. Stockhausen completed “Kreuzspiel” in 1951. It previews ideas he continued to use as he pushed musical boundaries: close attention to percussive plinks and plunks, and the use of serialism. But it’s not grating or alienating, quite the contrary, it’s an easy way in to Stockhausen’s less accessible compositions.\u003c/p>\n\u003cp>sfSound is performing “Kreuzspiel” on Sunday, along with “Composition No. 75” by Anthony Braxton, whose work veers from his own wandering wind compositions to free jazz takes on ragtime. Braxton has resisted being labeled a jazz composer. Even when his compositions call for jazz-like instrumentation, there’s usually something else going on: a horn section slides into a phrase in unison, and then repeats it over and over again; or a saxophone rises above the rest during an otherwise-straightforward standard, simultaneously deconstructing the tune and pushing the song forward. “Kreuzspiel” is usually translated as “Crossplay,” and I expect the give-and-take and playfulness will be happening not only between instruments in Stockhausen’s piece, but between the compositions, as well.\u003c/p>\n\u003cp>Along with those pieces by composers who have long been in the avant-garde pantheon, sfSound will perform new work by younger composers. Christopher Jones, a member of the ensemble, has contributed a composition. And Christopher Burns and David Bithell — both are also affiliated with sfSound — will have premieres at Sunday’s show. Burns and Bithell both compose electronic music in addition to pieces for more traditional instruments. And Bithell also works on experimental theater projects. I haven’t heard music by any of them beyond snippets online, and am looking forward to hearing more performed live.\u003c/p>\n\u003cp>sfSound’s series of concerts at ODC are a great opportunity to hear new and experimental music. The group is performing again at ODC on September 13 with an entirely new selection of music. Tickets are inexpensive, and sfSound offers a discount for the underemployed. It’s an affordable night out, and a chance to hear music you can’t necessarily hear anywhere else.\u003c/p>\n\u003cp>sfSound is performing at ODC Dance Commons at 351 Shotwell Street in San Francisco on Sunday, August 9, 2009 at 8pm. Tickets are $10, and $5 if you’re underemployed. For \u003ca href=\"https://secure.oreweb.com/hosts/odctheater.org/tickets/buy.phtml\">tickets and information\u003c/a> visit odctheater.org.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Can anyone explain gig ticket charges to me? What \u003ci>are\u003c/i> those “convenience costs” and “building fees?” Shouldn’t these extras be included in the actual price, or is there some secret place no one has ever told me about where tickets can be bought without them? And why do the supplementary costs get bigger as the tickets themselves go up in price? Are more expensive tickets heavier and therefore harder to handle? Are they made from swan’s tears and gold leaf? Or does all the extra money we’re handing over cause additional wear and tear to a ticket agency’s bulging pockets?\u003c/p>\n\u003cp>Imagine if record stores did the same thing: you would take your $11.99 Kenny Rogers CD to the checkout, and the clerk would start ringing up $7.85 in previously unannounced service charges, a $2.50 handling fee, a mysterious $1.15 add-on for “store expenses,” plus $1.94 tax, before asking for a total of $25.43. Chances are your response would include a suggestion for the disc to explore parts of the store clerk Kenny never thought he’d see.\u003c/p>\n\u003cp>A random survey of upcoming gigs reveals plenty of similarly silly ticket prices. At one end of the scale, \u003ca href=\"http://www.cafedunord.com/brilliant/cal/p.event.php?E_id=1242862271&B_id=1059706565103&P_id=3\" target=\"offsite\" rel=\"noopener\">Kelley Stoltz at Café du Nord\u003c/a> is a bargain: tickets cost $10 each, and you can buy them direct from the venue (by phone or in person) for a reasonable $1 per ticket in fees, or via Ticketweb for $2.25. So that’s a quick 10 to 22.5-percent markup, which may not be welcome but also isn’t outrageous.\u003c/p>\n\u003cp>But if you want to see \u003ca href=\"http://www.livenation.com/edp/eventId/406683\" target=\"offsite\" rel=\"noopener\">Green Day at the HP Pavilion\u003c/a> in San Jose, a full-price $46.50 ticket from Ticketmaster comes with a $3 “building facility charge,” a $9.25 “convenience charge,” and a $4.20 “order processing” fee, to add $16.45 to the original price. This represents a pretty substantial 35 percent increase, and it’s more than seven times the dollar cost of Ticketweb’s fees for a Kelley Stoltz ticket.\u003c/p>\n\u003cp>\u003ca href=\"http://www.thefoxoakland.com/calendar.php\" target=\"offsite\" rel=\"noopener\">Bon Iver at Oakland’s Fox Theater\u003c/a>, also through Ticketmaster, is even more ridiculous: a $22.50 ticket is lumbered with $12.55 in various, apparently unavoidable fees, which is an incredible 56 percent markup. And that’s before you add the $7-per-ticket “event insurance” option, or mailing charges which range from $19.50 for two-day express courier to zero for standard mail — bizarrely, you can even choose to be charged $2.50 for the privilege of printing out your own pass. Huh? Indeed, when you add it all up, the extras can end up costing more than the face value of the ticket itself, which makes no kind of sense at all.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Perhaps major-league gig promoter Live Nation is beginning to realize this. It has been \u003ca href=\"http://www.billboard.com/bbcom/news/live-nation-cuts-service-fees-in-major-summer-1003978124.story\" target=\"offsite\" rel=\"noopener\">offering tickets without service fees\u003c/a> on Wednesdays throughout the summer, presumably to try to offset the effects of the current economic slump. However, this supposedly generous promotion only serves to shine a light on the extortion the company, and others like it, commit the rest of the time. The prices they all advertise for concert tickets are at best optimistic, and at worse downright deceitful. But it’s only going to change when customers, faced with repeated nasty shocks at the checkout, stop clicking “buy now” and start saying “screw you.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Can anyone explain gig ticket charges to me? What \u003ci>are\u003c/i> those “convenience costs” and “building fees?” Shouldn’t these extras be included in the actual price, or is there some secret place no one has ever told me about where tickets can be bought without them? And why do the supplementary costs get bigger as the tickets themselves go up in price? Are more expensive tickets heavier and therefore harder to handle? Are they made from swan’s tears and gold leaf? Or does all the extra money we’re handing over cause additional wear and tear to a ticket agency’s bulging pockets?\u003c/p>\n\u003cp>Imagine if record stores did the same thing: you would take your $11.99 Kenny Rogers CD to the checkout, and the clerk would start ringing up $7.85 in previously unannounced service charges, a $2.50 handling fee, a mysterious $1.15 add-on for “store expenses,” plus $1.94 tax, before asking for a total of $25.43. Chances are your response would include a suggestion for the disc to explore parts of the store clerk Kenny never thought he’d see.\u003c/p>\n\u003cp>A random survey of upcoming gigs reveals plenty of similarly silly ticket prices. At one end of the scale, \u003ca href=\"http://www.cafedunord.com/brilliant/cal/p.event.php?E_id=1242862271&B_id=1059706565103&P_id=3\" target=\"offsite\" rel=\"noopener\">Kelley Stoltz at Café du Nord\u003c/a> is a bargain: tickets cost $10 each, and you can buy them direct from the venue (by phone or in person) for a reasonable $1 per ticket in fees, or via Ticketweb for $2.25. So that’s a quick 10 to 22.5-percent markup, which may not be welcome but also isn’t outrageous.\u003c/p>\n\u003cp>But if you want to see \u003ca href=\"http://www.livenation.com/edp/eventId/406683\" target=\"offsite\" rel=\"noopener\">Green Day at the HP Pavilion\u003c/a> in San Jose, a full-price $46.50 ticket from Ticketmaster comes with a $3 “building facility charge,” a $9.25 “convenience charge,” and a $4.20 “order processing” fee, to add $16.45 to the original price. This represents a pretty substantial 35 percent increase, and it’s more than seven times the dollar cost of Ticketweb’s fees for a Kelley Stoltz ticket.\u003c/p>\n\u003cp>\u003ca href=\"http://www.thefoxoakland.com/calendar.php\" target=\"offsite\" rel=\"noopener\">Bon Iver at Oakland’s Fox Theater\u003c/a>, also through Ticketmaster, is even more ridiculous: a $22.50 ticket is lumbered with $12.55 in various, apparently unavoidable fees, which is an incredible 56 percent markup. And that’s before you add the $7-per-ticket “event insurance” option, or mailing charges which range from $19.50 for two-day express courier to zero for standard mail — bizarrely, you can even choose to be charged $2.50 for the privilege of printing out your own pass. Huh? Indeed, when you add it all up, the extras can end up costing more than the face value of the ticket itself, which makes no kind of sense at all.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>For the opening of its 40th season, TheatreWorks is presenting the world premiere of \u003cb>Tinyard Hill\u003c/b> at the Lucie Stern Theater in Palo Alto. Set in 1964 Georgia, the four-person musical spends a tumultuous summer with a father-and-son blacksmith team and their busybody next-door neighbor, whose niece is in town to be fitted for her wedding dress.\u003c/p>\n\u003cp>The dressmaking auntie, May Bell Whitehead (Allison Briner), knows everybody, everybody’s business, and bakes pie after irresistible pie. Her alcoholic husband, who spent years hounding her for kinky sex, has just walked out on their childless marriage. May Bell’s white-trash neighbor, Russell Kingsley (James Moye), is a gruff, no-nonsense widower of five years. He’s set in his old-school smithy ways, or so he’d have us believe. His handsome 18-year-old son, David (Chris Critelli) is a young man with big plans who’s frustrated working for his visionless dad. He’s ready for a change. And the blushing bride? Aileen Garrett (Melissa WolfKlain) is an attractive 18-year-old city girl from Manhattan. She’s engaged to a 30-year-old psychiatrist, but this summer in the country is causing her to reassess. What on earth has she gotten herself into?\u003c/p>\n\u003cp>Guess what happens when the two kids meet? If you said “they’ll despise each other at first, but only so the play can have an arc for the love story that follows,” you win a pair of tickets to the Dooley County Fair. Guess what happens to their elders and you win one of May Bell’s pies.\u003c/p>\n\u003cp>The writers, Tommy Newman and Mark Allen, balance the Red State cliché characters and sappy lyrics (“a blacksmith’s work is never done,” the actors actually sing) with just enough Blue State twists to keep things palatable for liberal-leaning audiences. The music has that punchy Broadway sound, the performance by the live band is spirited and tight, and the voices, especially the men’s, are rich and strong.\u003c/p>\n\u003cp>But \u003cb>Tinyard Hill\u003c/b> seems a rather un-ambitious choice to kick off a season, especially when the musical is also being billed as the “centerpiece” of the peninsula company’s \u003ca href=\"http://www.theatreworks.org/about/newworks/festivalevents.aspx\">8th Annual New Works Festival\u003c/a>. For the record, I had a great deal of sympathy for David’s situation — he’s like a few other draft-age males I knew during the Vietnam era who questioned the morality of not serving because you didn’t agree with the war or could somehow weasel your way out of it. But the ride to the play’s dénouement is sparing with the surprises, and by the second act, loose threads are tied up way too conveniently and hurriedly.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>TheatreWorks’s production of \u003cb>Tinyard Hill\u003c/b> runs through August 16, 2009 at the Lucie Stern Theater in Palo Alto. For \u003ca href=\"http://www.theatreworks.org/\">tickets and information\u003c/a>, visit theatreworks.org.\u003c/p>\n\n",
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"content": "\u003cp>This week, we’re excited to feature Rubies, a band led by Simone Rubi and Terri Lowenthal, both formerly of Call and Response. If you’re familiar with that Bay Area indie pop band, who released some great California-feeling albums in the early-to-mid 2000s, it won’t surprise you that catchy melodies and warm harmonies are some of the new band’s strengths as well. At the same time, the group’s sonic toolkit is considerably tougher to pin down, with a blend of folk, pop, disco, and electronica that’s catchy and danceable. The melange has a distinctively cosmopolitan, modern feel to it, and it seems quite understandable that Rubies are already an international hit even as they introduce themselves to stateside audiences with their debut full length, \u003cb>Explode from the Center\u003c/b>.\u003c/p>\n\u003cp>The band’s global reach extends to the origins of their debut album, out worldwide last month on Telle Records. \u003cb>Explode\u003c/b> emerged out of Simone’s travels in Scandinavia, where she reconnected with old friends like the Kings of Convenience and met new collaborators like album co-producer Karl-Jonas Winqvist. The variety of contributors is appropriate given the band’s expansive sounds, but, rather than become bogged down by the various hands involved, the songs exhibit a welcome “less is more” leanness befitting their airy grooves. With melodies and voices as compelling as these, it’s no surprise that the band’s been remixed multiple times to great effect and their versatility will come in handy on the Rubies’ upcoming domestic tours.\u003c/p>\n\u003cp>We sat down with Simone and Terri recently to discuss how Rubies emerged from Simone’s solo songwriting, their experiences touring Russia and more. We’ve also included four songs in the episode, including a couple from \u003cb>Explode from the Center\u003c/b>, another new one, and a remix.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>I must confess that I haven’t been a big fan of The Fiery Furnaces in the past. That isn’t to say that I haven’t tried. Several times. The first attempt was back in 2003 when the brother-sister duo first arrived on the indie music scene with their premiere album, \u003cb>Gallowsbird’s Bark\u003c/b>. A friend had told me that Matthew and Eleanor Friedberger happened to be Greek. As a Greek myself who is pretty starved for modern idols from the motherland (Amy Sedaris and Tina Fey, notwithstanding), I had every intention of loving them, but, after a few lackluster listens, things didn’t work out.\u003c/p>\n\u003cp>Fast forward six years to The Fiery Furnaces eighth album, \u003cb>I’m Going Away\u003c/b>. The music critics in the blogosphere were buzzing about the release, so I decided to sit down with the album and give my compatriots another chance.\u003c/p>\n\u003cp>The band’s past efforts have been inaccessible to say the least. Their experimental, avant-garde approach to pop-rock and Eleanor Friedberger’s unconventional, erratic vocals are hard to stomach at first. But much like hard alcohol, if you keep sipping, it tastes better and better. In a nutshell, \u003cb>I’m Going Away\u003c/b> is a grower.\u003c/p>\n\u003cp>The album opens with “I’m Going Away,” a hyperactive, thumping song with back-and-forth distorted guitars and no-nonsense lyrics packed with attitude (“Get away from my window, quit knocking on my door/ I got another man now, can’t use you no more!”). The end of a romance is also the subject of the bluesy “Drive to Dallas,” in which Eleanor abandons her maudlin post-breakup rituals: “I’m not going to cut my hair or run around the block/ I’m not going to drive to Dallas with blurry eyes ever again.” And to prove that the track isn’t about wallowing, the song randomly bursts into two unexpected, thrilling electric guitar breakdowns.\u003c/p>\n\u003cp>“Charmaine Champagne” picks up the pace even further as Eleanor does what she does best: packing a single line with more scats and scatterbrained words than one would think possible. And, just in case a listener might think the band had lost its knack for being weird, “Staring at the Steeple” arrives in the middle of the pack with groovy beats that underline the story of a female preacher packing heat. Not sure what it all means, but who cares? Other notable numbers are the raw, ’70s inspired first single, “The End is Near,” and funky sing-a-long track, “Keep Me in the Dark.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Alas, The Fiery Furnaces shtick starts getting annoying with songs like “Ray Bouvier” and “Cup and Punches.” Matthew’s music steps over the line from quirky to schizophrenic, while Eleanor’s eccentric vocal delivery devolves into rambling. Sometimes, it feels as though the siblings are just being strange for strangeness’ sake.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As if the Friedbergers knew that these grievances would arise, the album’s closing song, “Take Me Round Again,” rights most of the album’s wrongs and captures what the band is truly capable of: a bopping beat that demands a repeat listen and will make you move. \u003cb>I’m Going Away\u003c/b> might not be enough to persuade every new listener, but it was just enough for this Greek.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Alas, The Fiery Furnaces shtick starts getting annoying with songs like “Ray Bouvier” and “Cup and Punches.” Matthew’s music steps over the line from quirky to schizophrenic, while Eleanor’s eccentric vocal delivery devolves into rambling. Sometimes, it feels as though the siblings are just being strange for strangeness’ sake.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As if the Friedbergers knew that these grievances would arise, the album’s closing song, “Take Me Round Again,” rights most of the album’s wrongs and captures what the band is truly capable of: a bopping beat that demands a repeat listen and will make you move. \u003cb>I’m Going Away\u003c/b> might not be enough to persuade every new listener, but it was just enough for this Greek.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>New York indie sophisticates \u003ca href=\"http://www.4ad.com/blonderedhead/\">Blonde Redhead\u003c/a> are hitting San Francisco for two nights this week on a strange and unique musical mission. They aren’t in the middle of a tour. They have no promotional schedule to speak of. Their most recent album of idiosyncratic mood music, \u003cb>23\u003c/b>, was released more than two years ago. Sure, they’re in the early stages of writing a follow-up, but no one knows when that might be released, not even their PR rep. Indeed, if it wasn’t for the dubious claim that their gig is being held as part of the \u003ca href=\"http://bicyclefilmfestival.com/\">Bicycle Film Festival\u003c/a> (yeah, that’s right, a \u003ci>film\u003c/i> festival) then they would be crossing the country for \u003ci>absolutely no reason at all\u003c/i>.\u003c/p>\n\u003cp>Just think: a rare chance to see a bunch of musicians from out of town play music for the sake of playing music. What is the world coming to? Someday you’ll want to tell your kids about this extraordinary event.\u003c/p>\n\u003cp>But isn’t this exactly how things are supposed to be happening in our brave new online world? Last we heard, the internet was on the verge of creating an artist-controlled nirvana where albums are irrelevant and it’s all about live shows and ringtone downloads. Bands are meant to be popping into town at all sorts of odd times, Twittering word of their arrival in between posting new tracks on Myspace. Or something. Except back here in Reality Land not very much has changed, and most artists are stuck in the same old alternating trudge of creating product and peddling merchandise.\u003c/p>\n\u003cp>Thankfully, a few artists are beginning to break the mold, and it’s fitting that — this week at least — Blonde Redhead are among them. They are, after all, an unusual band, and not just because of their off-kilter saturnine sound. Having eased the harsh discordance and buzzing distortion of their earlier albums, they now come across like the soundtrack to some imagined noirish art-house movie. But the most unusual thing about them is less where their music has ended up, and more the fact it has changed at all. In an age when so many acts seem to fast-forward through early hype to premature burnout, Blonde Redhead started out the old-fashioned way, taking time to mature and develop before appearing on the main stage as if by stealth (which is pretty much how they’re going to show up again this week).\u003c/p>\n\u003cp>So, are these gigs a sign of things to come or a throwback to the past? It doesn’t matter. The important thing is that they’re happening right now.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Blonde Redhead play \u003ca href=\"http://www.theindependentsf.com/july2009.htm\">The Independent\u003c/a> in San Francisco July 14 and 15, 2009, as part of the \u003ca href=\"http://bicyclefilmfestival.com/\">Bicycle Film Festival\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>New York indie sophisticates \u003ca href=\"http://www.4ad.com/blonderedhead/\">Blonde Redhead\u003c/a> are hitting San Francisco for two nights this week on a strange and unique musical mission. They aren’t in the middle of a tour. They have no promotional schedule to speak of. Their most recent album of idiosyncratic mood music, \u003cb>23\u003c/b>, was released more than two years ago. Sure, they’re in the early stages of writing a follow-up, but no one knows when that might be released, not even their PR rep. Indeed, if it wasn’t for the dubious claim that their gig is being held as part of the \u003ca href=\"http://bicyclefilmfestival.com/\">Bicycle Film Festival\u003c/a> (yeah, that’s right, a \u003ci>film\u003c/i> festival) then they would be crossing the country for \u003ci>absolutely no reason at all\u003c/i>.\u003c/p>\n\u003cp>Just think: a rare chance to see a bunch of musicians from out of town play music for the sake of playing music. What is the world coming to? Someday you’ll want to tell your kids about this extraordinary event.\u003c/p>\n\u003cp>But isn’t this exactly how things are supposed to be happening in our brave new online world? Last we heard, the internet was on the verge of creating an artist-controlled nirvana where albums are irrelevant and it’s all about live shows and ringtone downloads. Bands are meant to be popping into town at all sorts of odd times, Twittering word of their arrival in between posting new tracks on Myspace. Or something. Except back here in Reality Land not very much has changed, and most artists are stuck in the same old alternating trudge of creating product and peddling merchandise.\u003c/p>\n\u003cp>Thankfully, a few artists are beginning to break the mold, and it’s fitting that — this week at least — Blonde Redhead are among them. They are, after all, an unusual band, and not just because of their off-kilter saturnine sound. Having eased the harsh discordance and buzzing distortion of their earlier albums, they now come across like the soundtrack to some imagined noirish art-house movie. But the most unusual thing about them is less where their music has ended up, and more the fact it has changed at all. In an age when so many acts seem to fast-forward through early hype to premature burnout, Blonde Redhead started out the old-fashioned way, taking time to mature and develop before appearing on the main stage as if by stealth (which is pretty much how they’re going to show up again this week).\u003c/p>\n\u003cp>So, are these gigs a sign of things to come or a throwback to the past? It doesn’t matter. The important thing is that they’re happening right now.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Blonde Redhead play \u003ca href=\"http://www.theindependentsf.com/july2009.htm\">The Independent\u003c/a> in San Francisco July 14 and 15, 2009, as part of the \u003ca href=\"http://bicyclefilmfestival.com/\">Bicycle Film Festival\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The bombastic, tireless, and occasionally goofy Fleshies are playing a rare show at the Elbo Room in San Francisco tonight. A Fleshies show brings the promise of a boisterous performance, exuberant fans, and punk rock anthems. When I leave a Fleshies show, I frequently find myself thinking that it was the best show ever. It’s because of the excitement from the audience and from the band, a sense of bonhomie and good times mixed with the ridiculous volume and antics of any good punk show.\u003c/p>\n\u003cp>The Oakland quintet has been playing fewer live shows in the last couple years, but they haven’t been completely inactive. Instead they’ve been holed up recording a new album, \u003cb>Brown Flag\u003c/b>, which is coming out later this year on Recess Records. Plus members of Fleshies are in other bands, including \u003ca href=\"http://www.myspace.com/triclopsband\">Triclops!\u003c/a>, and \u003ca href=\"http://www.myspace.com/bikefight1\">Bikefight\u003c/a> that play more regularly. So while the Bay Area hasn’t gotten to see much of Fleshies lately, it’s not because they haven’t been around.\u003c/p>\n\u003cp>And that’s lucky for us, because Fleshies have been a pillar in the Bay Area’s roiling punk scene for close to a decade. In their earlier years they founded S.P.A.M. Records, which put out joyful, strange, and alienated albums by young local bands, and hosted \u003ca href=\"http://en.wikipedia.org/wiki/Geekfest\"> Geekfest\u003c/a>, a festival featuring more of the same. They’ve stuck with punk record labels, small clubs, and dark basements throughout their years of creative success. And that means that punk’s young fans, in addition to those who have stayed around since the ’90s, continue to rally around them (disclosure: it’s a tightly knit scene; Fleshies’ drummer Brian Hamilton has a recording studio, and one of the many local bands he has recorded was mine).\u003c/p>\n\u003cp>Fleshies shows are loud. The phrase “wall of sound” has always made me think of the pure buzz coming from their duel guitars, rather than Phil Spector’s orchestral pop arrangements. They’re exuberant. Lead singer Johnny can barely make it through a song without hurling himself into the audience. He frequently ends up naked by the end of a set, and his acrobatics and energetic performance would be exhausting without the addition of his shouting and singing. And they’re fun. Fleshies do not take themselves deathly seriously, and though most songs are heavy, melodic rock, they don’t shy away from more nimble tunes (for instance, they frequently cover cult glam band \u003ca href=\"http://allsparks.com/\">Sparks\u003c/a>). Fleshies attract a mosh pit-prone crowd, but it’s a friendly one.\u003c/p>\n\u003cp>Fleshies are playing Friday, July 17, 2009 at the Elbo Room with reunited 70’s punk band \u003ca href=\"http://www.myspace.com/wildweekend77\">The Zeros\u003c/a>. For \u003ca href=\"http://www.elbo.com/\">tickets and information\u003c/a> visit elbo.com.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The bombastic, tireless, and occasionally goofy Fleshies are playing a rare show at the Elbo Room in San Francisco tonight. A Fleshies show brings the promise of a boisterous performance, exuberant fans, and punk rock anthems. When I leave a Fleshies show, I frequently find myself thinking that it was the best show ever. It’s because of the excitement from the audience and from the band, a sense of bonhomie and good times mixed with the ridiculous volume and antics of any good punk show.\u003c/p>\n\u003cp>The Oakland quintet has been playing fewer live shows in the last couple years, but they haven’t been completely inactive. Instead they’ve been holed up recording a new album, \u003cb>Brown Flag\u003c/b>, which is coming out later this year on Recess Records. Plus members of Fleshies are in other bands, including \u003ca href=\"http://www.myspace.com/triclopsband\">Triclops!\u003c/a>, and \u003ca href=\"http://www.myspace.com/bikefight1\">Bikefight\u003c/a> that play more regularly. So while the Bay Area hasn’t gotten to see much of Fleshies lately, it’s not because they haven’t been around.\u003c/p>\n\u003cp>And that’s lucky for us, because Fleshies have been a pillar in the Bay Area’s roiling punk scene for close to a decade. In their earlier years they founded S.P.A.M. Records, which put out joyful, strange, and alienated albums by young local bands, and hosted \u003ca href=\"http://en.wikipedia.org/wiki/Geekfest\"> Geekfest\u003c/a>, a festival featuring more of the same. They’ve stuck with punk record labels, small clubs, and dark basements throughout their years of creative success. And that means that punk’s young fans, in addition to those who have stayed around since the ’90s, continue to rally around them (disclosure: it’s a tightly knit scene; Fleshies’ drummer Brian Hamilton has a recording studio, and one of the many local bands he has recorded was mine).\u003c/p>\n\u003cp>Fleshies shows are loud. The phrase “wall of sound” has always made me think of the pure buzz coming from their duel guitars, rather than Phil Spector’s orchestral pop arrangements. They’re exuberant. Lead singer Johnny can barely make it through a song without hurling himself into the audience. He frequently ends up naked by the end of a set, and his acrobatics and energetic performance would be exhausting without the addition of his shouting and singing. And they’re fun. Fleshies do not take themselves deathly seriously, and though most songs are heavy, melodic rock, they don’t shy away from more nimble tunes (for instance, they frequently cover cult glam band \u003ca href=\"http://allsparks.com/\">Sparks\u003c/a>). Fleshies attract a mosh pit-prone crowd, but it’s a friendly one.\u003c/p>\n\u003cp>Fleshies are playing Friday, July 17, 2009 at the Elbo Room with reunited 70’s punk band \u003ca href=\"http://www.myspace.com/wildweekend77\">The Zeros\u003c/a>. For \u003ca href=\"http://www.elbo.com/\">tickets and information\u003c/a> visit elbo.com.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"marketplace": {
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"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.",
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"mindshift": {
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"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>",
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"order": 12
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"onourwatch": {
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"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?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"pbs-newshour": {
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},
"perspectives": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
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